Artivate

Monika Herzig

Artivate A Journal of Entrepreneurship in the Arts

Guest Editor's Introduction

客座编辑介绍

The majority of learning in arts entrepreneurship education is experiential (Essig &amp; Guevara, 2016). Experiential and entrepreneurial learning theories indicate that to facilitate entrepreneurial knowledge generation which “enables [entrepreneurs] to recognize and act on entrepreneurial opportunities and to organize and manage new ventures” (Politis, 2005, p. 400), individuals need to exercise personal agency and engage in explorative behavior (Kolb &amp; Kolb, 2009; Politis, 2005). If arts entrepreneurship education is to help students generate such entrepreneurial knowledge, arts entrepreneurship educators should create learning environments in which their students can exercise personal agency and behave exploratively. Despite this, how students exercise personal agency and explore within arts entrepreneurship education has not been empirically studied. This empirical paper attempts to answer the following question: How do students explore and exercise personal agency in arts entrepreneurship education? Using rigor to systematically analyze qualitative data (Gioia et al., 2013) from a five-week course in entrepreneurship in higher music education to produce a data structure and model, I find that within a teacher-created learning environment, students balance personal factors (their values and beliefs, habitual modes of thought, prior experience and personal goals) against social factors (social interdependencies and conditions of approval) while taking actions to reduce uncertainty. The findings imply that teacher-created learning environments and engagement in social contexts influences how students exercise personal agency and explore.&#x0D;

Ben Toscher

Blank Canvas

空白画布

There is a disconnect between artists' applications of entrepreneurial behavior in their practice and evaluations of artists as productive members of community.Informed by interviews with Nashville-based artists, this study investigates how artists understand their creativity, artistic practice, and approaches to entrepreneurship in the context of an artistically oriented community.The results demonstrate that artists engage in entrepreneurial behavior by deploying creativity in multiple domains, including art, business, and the social, with their skills in each being important in preserving the motives of their artistic practice.The findings highlight artists as multifaceted creatives capable of transforming their practices through entrepreneurial pursuits.

Megan Robinson

Jennifer Novak-Leonard

Refining Understandings of Entrepreneurial Artists: Valuing the Creative Incorporation of Business and Entrepreneurship into Artistic Practice

精炼对创业艺术家的理解：重视将商业与创业融入艺术实践的创造性

Alistair Campbell

Helen Rusak

Entrepreneurial Orientation among Arts Managers in Western Australia

西澳大利亚艺术管理者中的创业导向

Economic developers refer to universities as anchor institutions because they are rooted regional economic drivers that are sites for development, incubation, entrepreneurship, workforce training, and knowledge transfer.Most anchor research speaks generally about the university or focuses on STEM.Our study asks: to what extent are public universities arts and cultural anchors?Through a comparative case analysis supplemented with interviews of field innovators and a translation of transdisciplinary literature, we deepen the anchor concept, and we propose a conceptual assessment tool.Our applied research helps universities move from being an arts patron to an arts entrepreneur, investor, innovator, and catalyst.

Amanda Ashley

Leslie Durham

Universities as Arts and Cultural Anchors: Moving Beyond Bricks and Mortar to Entrepreneurship, Workforce, and Community Development Approaches

大学作为艺术和文化锚点：超越砖瓦建筑，迈向创业、劳动力和社区发展路径

Extant literature has revealed the issue of gender inequality in art and design education and entrepreneurship. Given that gender inequality hinders socio-economic development in any nation, it is crucial to gather empirical evidence on whether the entrepreneurial potential of art and design students is influenced by gender. Hence, this study examined the relationship between art and design students’ gender and their entrepreneurial potential. Using a well-structured questionnaire, the study sampled 204 art and design undergraduate students from different higher institutions across Nigeria. Data were collected from participants using a questionnaire that included measures of their entrepreneurial traits. The hypothesized relationships among variables were tested based on Confirmatory Factor Analysis (CFA) and Structural Equation Modeling (SEM). The findings indicate that CFA and SEM results showed a good fit between the proposed model and the observed data for both female and male groups. This suggests that both genders of art and design students have significant potential to become entrepreneurs without any biases.

Peter Oluwagbenga Odewole

Evaluating an Art and Design Students’ Gender-Based Entrepreneurial Potential Model

评估艺术与设计学生基于性别的创业潜力模型

This paper investigates whether entrepreneurship training subsequently impacts artists’ labor market outcomes. Collecting data from major universities, we find that only 9.7% have arts entrepreneurship certificates; just 11.4% have any required arts entrepreneurship classes. Analyzing data from the American Community Survey (ACS) and controlling for demographic factors, fine arts graduates are 1.3% less likely to be employed and earn 8.7% lower annual earnings. However, individuals with both arts and entrepreneurial business training earn more and offset the earnings disadvantage by roughly a half. These results underscore the importance of integrating art entrepreneurship education with the sustainability of the arts sector.

Christos Makridis

Jonathan Kuuskoski

Narrowing the Gap

缩小差距

Written as a concise guide for students and working professionals, this article examines and critiques the “portfolio career” in arts professional development to offer an alternative conceptual strategy to forge a sustainable life. Eight modes of arts work are explored (performing, teaching, creating, writing, healing, manufacturing, distributing, and administering). The “Platform Career” is proposed as an extension of and possible solution to the shortcomings of the portfolio career. In the platform model, one professional activity serves as a financial base for the artist’s panoply of creative work, providing health insurance and other employment benefits plus additional financial stability to reduce financial and emotional precarity.

Mark Clague

From Portfolio to Platform Career

从投资组合到平台职业

Cases on Arts Entrepreneurship (Tonelli, M., &amp; Heise, A. [Eds.]. [2023]. Cases on Arts Entrepreneurship. Edward Elgar Publishing) presents a collection of thirteen case studies that will be much appreciated by professors who teach and students who are studying entrepreneurship in the arts. Each case study exhibits a similar framework: a descriptive narrative that runs between seven and sixteen pages, including references; Teaching Notes that include an abstract, learning outcomes, keyword topics, discussion questions, a seventy-five-minute class plan, and supplemental readings (if any). The editors provide a brief introduction to the book’s purpose as well as a seven-page concluding chapter that identifies five themes that emerge across chapters: exposure to the arts at a young age, network and relationship building, kindness and collaboration, financial management, and balancing multiple income streams.

Margaret J. Wyszomirski

Cases on Arts Entrepreneurship

艺术创业案例研究

To launch Volume 12 of Artivate and mark the editorial team transition, we offer the following set of editorial essays to help catalyze conversations and contributions on the past and future of the field. The first is by outgoing coeditors Paul Bonin-Rodriguez and Neville Vakharia, who reflect on the field-building focus of their tenure and some of their key accomplishments. Their excellent retrospective is followed by essays from each of the new coeditors, exploring the origins and nature of their relationship to the field of arts entrepreneurship as well as the evolving topics those origins inspire. We hope that these essays encourage a similar reflection among our community and foster a more expansive conversation and examination of entrepreneurship in the arts.

涉及主题	artsentrepreneurshiparts managementarts administrationcultural managementarts entrepreneurship
出版信息	出版商: University of Arkansas Press，出版周期: ，期刊类型: journal，开源期刊: 是
基本数据	创刊年份: 2019，原创研究文献占比: ，自引率:， Gold OA占比:
平均审稿周期	8 weeks

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