Art Entrepreneurship: An Introduction

Scherdin, Mikael; Zander, Ivo

doi:10.4337/9781849808507.00008

Cited by 18 publications

(16 citation statements)

References 12 publications

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“…Certainly, a number of scholars have tried to provide a definition of ‘arts entrepreneurship’. Some of them argue that in the arts ‘entrepreneurship is about the discovery and pursuit of new art ideas, using a multitude of artistic expressions and organizational forms as vehicles by which to express and convey these ideas to the public’ (Scherdin & Zander, 2011, p. 3). Nevertheless, other scholars point out that ‘arts entrepreneurship is not a discipline’ (Beckman, 2014, p. 8), warning that the identification of the industrial contexts embraced by arts entrepreneurship is problematic since creative industries, cultural industries and the arts do not completely overlap (Rivetti & Migliaccio, 2018).…”

Section: From Economics To Artsmentioning

confidence: 99%

When theory and practice meet: Avenues for entrepreneurship education in music conservatories

Reizábal¹,

Gómez

2020

International Journal of Music Education

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In the field of higher music education conservatories, and more specifically in the so-called ‘classical music’, the first steps towards research regarding entrepreneurship are being taken, although the main obstacles to overcome are still at a conceptual level (to define what is entrepreneurship in this field, what the profile of a musician entrepreneur is, what exactly is understood when we talk about an entrepreneurial identity referred to Western classical music) and on a referential level (research is scarce on the professional identity of classical musicians, on motivation that leads to professional success, on employability of a musician in the 21st century). At the same time, thought and analysis are lacking on how music education addresses entrepreneurial spirit and how conservatories for higher education in Western classical music could provide their students with the necessary capacities to become professional entrepreneurial musicians. This article aims to explore the state of entrepreneurship of classical musicians and analyse what challenges and barriers are found in particular in this subfield. In order to clarify the key concepts, the most relevant and recent literature in entrepreneurship education has been reviewed. Searching for avenues for entrepreneurship education in music conservatories, theory and practice have been merged by applying the literature findings to some practical considerations raised at the International Conference on Music Entrepreneurship recently held in The Hague, together with the personal experience in the specific context of higher music education conservatories.

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Section: From Economics To Artsmentioning

confidence: 99%

When theory and practice meet: Avenues for entrepreneurship education in music conservatories

Reizábal¹,

Gómez

2020

International Journal of Music Education

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“…Many scholars tried to provide a definition of "arts entrepreneurship." Scherdin and Zander ( [4], p. 3), argued that in the arts "entrepreneurship is about the discovery and pursuit of new art ideas, using a multitude of artistic expressions and organizational forms as vehicles by which to express and convey these ideas to the public." Rentschler ([5], p. 3), suggested that, through arts entrepreneurship, are fully expressed creativity, which is "the specific mission of arts," and innovation, namely "the specific tool of entrepreneurs [6]."…”

Section: Arts and Entrepreneurshipmentioning

confidence: 99%

“…On the basis of his argument, there is the conviction that art and culture cannot be simply conceived through the logic of business. 4 According to Klamer ([37], p. 147), this view on the conflict between art and business and the consequent attempts to combine them do not give the idea of the "complexity of the artistic process." The main purpose of the entrepreneurs in the arts is not profit, but rather the realization of cultural values, and business is only a tool used in this end ( [37], p. 154); this means that the cultural entrepreneur, in creating these values, should not in any way follow the logic of business ( [37], p. 141).…”

Section: The Entrepreneur In the Arts: Identity And Characteristicsmentioning

confidence: 99%

Arts and Entrepreneurship: Disentangling the Literature

Rivetti¹,

Migliaccio²

2018

Entrepreneurship - Trends and Challenges

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Arts entrepreneurship is not a new area of investigation, but it is far from constituting a consolidated topic. Scholars coming from several fields rediscovered it only in recent years, after a period in which it has been slow to emerge. Since the early 2000s, they developed a heterogeneous literature, which is difficult to disentangle. The purpose of this study is to shed light on arts entrepreneurship literature, outlining the most significant issues emerged and their trajectories for future development. We attempted to achieve the purpose of this chapter through a qualitative analysis of the relevant literature on the topic. Results revealed the most relevant issues to which scholars are devoting their efforts. With respect to these, we tried to identify subthemes and we attempted to trace the trajectories for future research. The first main theme concerns the entrepreneur in the arts, focusing on aspects such as identity and characteristics, and examining training and entrepreneurial education. Another theme regards entrepreneurship and training, which is attracting increasing attention, thanks also to the emergence of specific curricula and arts incubators. Besides these themes, other collateral issues emerged. Ultimately, literature is complex and multifaceted, but it is possible to read it with greater clarity.

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“…Our answer to this question is based on multi-sited micro-ethnographic research that followed four arts entrepreneurs in St. Louis, Missouri, as they collaborated with clients over 11 months. Although aesthetic processes are integral to all organizations (Gagliardi, 2006), they are foregrounded in arts entrepreneurship, where artists turn their novel ideas into tangible objects (Scherdin & Zander, 2011a). Moreover, because arts entrepreneurs routinely collaborate with their customers on custom pieces, arts entrepreneurship scholars are well positioned to explore the processes by which entrepreneurs and customers co-create value (Scherdin & Zander, 2011b).…”

Section: Introductionmentioning

confidence: 99%

The Aesthetics of Entrepreneurship: How Arts Entrepreneurs and their Customers Co-create Aesthetic Value

Elias

Chiles

Duncan

et al. 2017

Organization Studies

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Despite the fundamental role customers play in entrepreneurial creation processes, little is known about how value emerges from interactions and collaborations between entrepreneurs and their customers. We begin to address this question by exploring the relational and embodied processes through which entrepreneurs and their customers interact to co-create aesthetic value. On the basis of an 11-month multi-sited micro-ethnography of arts entrepreneurs, we abductively derive three interrelated processes: imagining, contemplating, and consensus building. Our key insight is that the customer plays a vital role throughout the entrepreneurial creation process: neither the entrepreneur nor the customer has the final say; rather, their embodied experiences combine with an evolving product to co-create aesthetic value.

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Art Entrepreneurship: An Introduction

Cited by 18 publications

References 12 publications

When theory and practice meet: Avenues for entrepreneurship education in music conservatories

When theory and practice meet: Avenues for entrepreneurship education in music conservatories

Arts and Entrepreneurship: Disentangling the Literature

The Aesthetics of Entrepreneurship: How Arts Entrepreneurs and their Customers Co-create Aesthetic Value

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