Art Entrepreneurship by Mikael Scherdin, Ivo Zander PDF

By Mikael Scherdin, Ivo Zander

ISBN-10: 1848443692

ISBN-13: 9781848443693

This pioneering e-book explores the connections among artwork and inventive procedures and entrepreneurship. The authors expertly determine a number of parts and matters the place learn on paintings and creative tactics can tell and boost the conventional box of entrepreneurship study.

Nine unique chapters via a world staff of students take an in depth examine the resources of recent paintings principles, how they're remodeled into tangible gadgets of paintings, make their means via usually antagonistic choice environments, and eventually cross directly to turn into valued and permitted through most of the people. creating a variety of unique contributions on the crossroads of paintings and entrepreneurship, the booklet speaks to researchers throughout those fields, working towards artists drawn to selling and gaining attractiveness for his or her paintings, in addition to policymakers fascinated by sustained dynamics of the paintings area.

Entrepreneurship researchers attracted to new advancements within the box will locate this targeted publication invigorating. It additionally serves as a useful resource of concept for lecturers and practitioners drawn to social and cultural entrepreneurship.

Contributors: D. Barry, M. Bonnafous-Boucher, R. Cuir, P. Frankelius, S. Haefliger, okay. Lindqvist, S. Meisiek, M. Partouche, M. Scherdin, M. Søndergaard, I. Zander

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1988). The Economic Importance of the Arts in Britain. London: Policy Studies Institute. Øyhus, A. (2003). The entrepreneurial self-image: Lonely rider or social team player? Comparing entrepreneurs in Tanzania and Indonesia. Journal of Entrepreneurship, 12 (2): 201–23. , and Howorth, C. (2008). The language of social entrepreneurs. Entrepreneurship and Regional Development, 20 (3): 285–309. Phelan, P. (1990). Serrano, Mapplethorpe, the NEA, and You: “Money Talks”: October 1989. TDR, 34 (1): 4–15.

From this perspective, the firm in this capacity can be seen as a way of organizing necessary activities that are particularly difficult for others to grasp or believe in (Zander, 2007). Is this one of the reasons why contemporary artists (1960 to the present) are particularly interested in business? In what ways are artists concerned with the entrepreneurial model? Is business the most appropriate form of action for the production of the new? THE ARTIST AND THE FIRM The ongoing internationalization of the art world – the increasing number of contemporary art fairs, biennales and exhibition facilities throughout the world – not only has the effect of boosting the number of players in the international art market (with, for example, the appearance of countries such as China, South Korea, Qatar, and the United Arab Emirates) but also of exposing artists to new demands.

Copenhagen: CBS Press: 27–54. Lindqvist, K. (2008). The myth of management as art, the management of art as myth. In M. ), Organizational Epics and Sagas. Tales of Organizations. Basingstoke: Palgrave Macmillan: 131–41. A. (2001). Cultural entrepreneurship: Stories, legitimacy, and the acquisition of resources. Strategic Management Journal, 22 (6–7): 545–64. , and Charue-Duboc, F. (2008). Enhancing discontinuous innovation through knowledge combination: The case of an exploratory unit within an established automotive firm.

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Art Entrepreneurship by Mikael Scherdin, Ivo Zander


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