Organizational resilience remains an under-explored topic in the nonprofit management literature (Searing et al., 2021). Despite an increasing number of studies framed by management perspectives and organizational theory, their focus is on how forprofit organisations react against external crisis by developing 'resilience capabilities'; ways of understanding and of working designed to reduce uncertainty and restore balance to the organisation (Lengnick-Hall, et al., 2011;Williams et al., 2017). This article draws on literature on 'resilience capabilities' and on in-depth interviews with nonprofit fundraisers, carried out during the early stages of the Covid-19 pandemic, to examine how they compensated for a sudden drop in financial revenue by devising alternative, strategic ways of fundraising. It argues that non-profit fundraisers deployed cross-capability building, which combined and merged emotion-related and behavioural capabilities to achieve strategic, practical results.

This paper argues for the centrality of organisational practices in occupational learning with a case study of fundraising in the non-profit UK's arts and higher education sectors. Despite the need to increase charitable giving to non-profit organisations, little is known about the work, fundraisers must do in order to carry out their jobs. We argue that fundraisers develop strategic understandings and competences within organisational environments, which they put into practice in their relationships with stakeholders within and outside the organisations where they work. Our findings suggest that one of the main ways in which fundraisers learn is by negotiating and surmounting obstacles both internally, within their organisational environments and externally, around the perception of fundraising as a profession. We thus argue for the importance of establishing a "fundraising culture" within organisational environments; a shared organisational competence where fundraising is practiced as a legitimate and strategic type of practice.

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This article explores how nationality is articulated as a form of art value in the art market, where art is defined in two related ways: instrumentally, in terms of its economic value, and culturally, by defining its meaning and significance. Focusing on the auction market of Irish art in London and in Dublin, and drawing upon interviews with auctioneers in both capitals, it investigates how nationality is produced and marketed as a form of cultural value for Irish art, comparing the specific dynamics of this process in both London and Dublin auction markets. Whilst the findings in this article agree with existing literature on the economic and cultural forms of art value prevalent in art markets, they add to the literature by arguing that the cultural, national element of value-making for Irish art is very pronounced.

This article explores the possibilities offered by Collins’ model of interaction rituals to an understanding of the emotional dynamics of art auctions. It argues that whilst it explains how the art object becomes the focus of attention, and thus the repository of solidarity and emotional energy, it also obliterates some of the institutional aspects of the auction market that can influence such outcomes. It discusses the need to include an examination of the specific practices of auction houses operating in an international market in their capacity to target specific audiences for their sales.