Arts Incubators: A Typology

Essig, Linda

doi:10.1080/10632921.2014.936076

Cited by 30 publications

(38 citation statements)

References 11 publications

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“…The research is contextualized by a review of the extant literature on arts incubators and especially their use as policy tools as well as a review of the literature on the evaluation of small business incubators as no such literature exists on the evaluation of arts incubators beyond what I have recently published (Essig, 2014a and2014b).…”

Section: Methodsmentioning

confidence: 99%

“…Grimaldi & Grandi, 2005) include provision for linking capital to new ventures or, at least, the introduction of potential investors to emerging entrepreneurs, while others do not (Peters, Rice, & Sundararajan, 2004). Because the target clients of arts incubators are more likely to be individual artists or nonprofit arts organizations (see Essig, 2014a), this business incubator output is not as relevant in the arts incubator universe as their nonprofit analogs of grant support and fiscal sponsorship. Kahn's (1995) monograph on arts incubators examined six organizations that "are concerned with nurturing arts organizations by facilitating their organizational growth and development" (p. 1).…”

Section: Bergekk and Norman (2008) Observe This Shiftmentioning

confidence: 99%

“…In support of their capacity-building objectives, arts incubators often provide training, usually in the form of workshops on strategic planning, finance, and legal issues. Training is provided by all of the six incubators profiled by Kahn (1995) and Gerl (2000) as well as by 28 of 43 incubators examined in my later typology (Essig, 2014a). Public investment in such training aligns with policies that implement economic New Growth Theory.…”

Section: Arts Incubator Outputsmentioning

confidence: 99%

“…Through a comparative case study of four different types of arts incubators (Essig, 2014a), I will show that arts incubation activities are similar to, but distinct from, business incubation activities undertaken in small business incubators in the Unites States since the 1950s. Literature suggests that arts incubators serve cultural, economic, and community development functions by supporting individual artists, nonprofit arts organizations, and creative industries entrepreneurs.…”

Section: Research Questionsmentioning

confidence: 99%

“…Association's description of incubation, my research (Essig, 2014a) indicates that arts incubators are more likely to be supporting individual artist development (e.g.…”

mentioning

confidence: 99%

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Value Creation and Evaluation in Arts Incubators

Essig

2015

SSRN Journal

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This research explores and deepens our understanding of an element of arts infrastructure in the United States: the arts incubator, an organizational form or programmatic initiative that exists at the intersection of artistic production, entrepreneurship, and public policy. The study is a qualitative cross-case analysis of four arts incubators of different types: Arlington Arts Incubator, Intersection for the Arts, Center for Cultural Innovation, and Mighty Tieton, situated within the context of the literature of arts incubators, business incubator evaluation, and a theoretical framework for understanding entrepreneurship in the US arts and culture sector.The research opens the black box of incubator operations to find that arts incubators create value for client artists and arts organizations both through direct service provision and indirect echo effects but that the provision of value to communities or systems is attenuated and largely undocumented. Arts incubators, like many small arts organizations, tend to look retrospectively at outputs rather than at the processes that convert inputs to tangible impacts, or means into ends. This is an issue not relegated only to the arts and culture sector; business incubators share some of these tendencies. Despite these issues, arts incubators remain a potentially impactful tool of cultural policy if their processes and activities align with their strategic goals and those processes and activities are assessed formatively and summatively.ii

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Section: Methodsmentioning

confidence: 99%

Section: Bergekk and Norman (2008) Observe This Shiftmentioning

confidence: 99%

Section: Arts Incubator Outputsmentioning

confidence: 99%

Section: Research Questionsmentioning

confidence: 99%

“…Association's description of incubation, my research (Essig, 2014a) indicates that arts incubators are more likely to be supporting individual artist development (e.g.…”

mentioning

confidence: 99%

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