Perception of Creative Identities by Artistic and Non-Artistic Individuals: Consequences for Management

Abstract

The interdisciplinary research on the perception of creative identities like artists, creators,entrepreneurs, leaders, and managers brings substantial conclusions for understanding the way of thinking, internal features, and motivations of decisions of individuals with and without artistic factor. For this purpose, an international quantitative examination of 160 individuals was undertaken. The research exhibited that individuals with and without artistic identity perceive artists, creators, entrepreneurs, leaders, and managers statistically similar (chi-square test of independence used, p < 0.001). The negative verification of the hypotheses was astonishing and a novelty in the investigated area. The novelty should be seen as an artistic potential existing in each individual. The additional qualitative analysis of the 50 features constituting the investigated identities revealed that individuals with and without artistic identity see particular features of these identities slightly differently (the most important, the least important, and the most equally perceived features were described in detail). The outcomes were discussed with the literature on the subject, confirming most other researchers’ theses and revealing some contradictions and can be used to understand the qualities of artistic identity and the perception of investigated identities by individuals, groups, and societies dominated by persons with and without artistic factors. The applicability of the results is broad, mainly due to the role of artistry in today’s world as potential laying in every individual. Specific triggers should be catalyzed instead of looking for artist-born individuals. The education process of artists should focus on revealing artistic potential underlining the role of inspiration, and discovering the motifs of artistic activity.

Creativity Management Within the Aesthetical Situation Regarding the in-Real or Digital Form of Participation in Arts: Art Receivers’ Perspective

“…Organisations can benefit from aesthetics on many levels: 1) translating arts into organisational action using the potency of art forms (Pöppel et al, 2018); 2) applying artistic interventions for individual and group creativity development or problems solving (Schnugg, 2019;Johansson Sköldberg et al, 2016;Williams, 2001); 3) applying theoretical concepts of aesthetics into management theory and practice (Szostak, 2021a(Szostak, , 2023Szostak & Sułkowski, 2020a, 2020b. Based on this, management -understood as achieving goals efficiently -is about choosing and moderating the optimal type of participation in each type of art considering the acceptable level of creativity/artistry loss/gain for art creators and/or receivers.…”

Impact of Digitalization on Visual Arts Consumers’ Behavior during the COVID-19 Pandemic: Generational Perspective of Art Management

“…Within the creator's character, the foundational processes that constitute the essence of creativity unfold. The artwork serves as a vessel for conveying both creativity and artistry (Szostak, 2020); at the same time, the level of creativity and artistry (including universal values) positioned in the artwork varies depending on the art recipient's attitude and the their form of participation in arts (Szostak, 2021a). Specified factors like personality and social conditions or a wealth of experience shape the activity of artistic creation.…”

“…The COVID-19 pandemic increased the speed of digital participation in numerous cultural areas, including the visual arts (Lei & Tan, 2021;Szostak, 2022dSzostak, , 2022aSzostak, , 2022c. Considering visual arts from the perspective of the aesthetic situation, an examination of the involvement should be undertaken from two sides: the creators and the recipients (Gołaszewska, 1984b;Szostak, 2020Szostak, , 2021aSzostak & Sułkowski, 2020a). Hence, the core of this investigation revolves around the synergy between the "aesthetic situation" and "digital technologies", aimed at uncovering insights into shifts in creative and artistic potential.…”

Management of Art During the COVID-19 Pandemic:Musical Arts Creator Perspective

“…The artist's organisational activity may concern three dimensions: 1) selfmanagement (Jones, 2009;Kostera, 2014;Marra, 2019;Sims, 2003;Szostak and Sułkowski, 2021a), 2) managing the aesthetic situation (Böhme, 2021;Gołaszewska, 1984b;Szostak, 2021;Szostak and Sułkowski, 2020), 3) managing a cultural institution, if an artist with managerial skills was employed for this purpose (Morozova et al, 2016;Rius-Ulldemolins and Klein, 2021). Therefore, considerations regarding managerial issues in the artist's activity can be placed on self-organisation and self-management, where self-awareness and the ability to reflect are essential.…”

“…In this context, the musical arts creator plays the role of a manager of the aesthetic situation because of the content of the message (the choice of values and their location in the elements of the natural world) and its form (applied schemes, styles or formal solutions) will depend on him. For this purpose, the musical arts creator has three streams of influence at his disposal: virtuosity, artistry and creativity (Szostak, 2021;2022). A conscious musical arts creator manages these streams in a controlled mannerboth at the stage of building his competencies in this area and, above all, at the stage of using them in the creative process.…”