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The purpose of this paper is to analyse the symbolic forms used in selected mainstream management models and to assess whether it would be expedient for enforcing the connection between leadership and individual human reality if such management models were fundamentally inspired by a successful manager and artist.

The theoretical starting point of this article is Cassirer's philosophy on symbolic forms. The paper analyses the symbolic forms embedded in the management discourse practice of art in the way that the concept is practiced by Kasper Holten, the highly successful Artistic Director of the Royal Danish Opera.

The analysis shows that conventional management control models are rooted in the symbolic form of science, but are at risk of getting caught in assumptions of the form gliding into the symbolic form of religion and myth, where all the forms tend to oppress essential aspects of individuality. Kasper Holten integrates the symbolic forms of art and science, which makes him capable of binding to the individual's life‐world.

Analysing Kasper Holten's views on management reveals features and structures for a new management discourse practice which is far better suited to most of the knowledge jobs in contemporary society than the more conventional management discourse.

The paper provides novel insight into the interrelationship between the specific way of using language and the way of managing and constructing a world. It paves the way for another way of doing management control and accounting.

This paper aims to present a quantitative analysis of arts management/marketing articles in leading general management/marketing journals, including an examination of the extent to which those top tier journal articles on arts/culture‐related topics cite authors of leading arts management journal articles.

Using bibliometric techniques, this study examines the content of 20 top tier management and marketing journals over 22 years to identify articles published on arts management/marketing, which authors were cited, and from which arts management/marketing journals.

Analysis indicates that: relatively few citations in the top management/marketing journals reference arts management/marketing journals; assessment of interaction between the parent management/marketing disciplines and the arts management/marketing sub‐discipline indicates that authors draw upon a large reserve of diverse literatures; and top journal arts‐related management/marketing articles tend to utilize citations to journal articles grounded in the social sciences and aesthetics of management, with an increasing trend of citations to arts management/marketing journals.

This study of the extent to which top journals have published arts/culture‐related articles and the citation impact of arts management/marketing journals is the initial academic study on the topic and suggests opportunities for further research.

Analysis of arts management/marketing journal impact contributes to professionalization of the field and increased perceived value of those journals by industry practitioners.

This research is the first to examine the spectrum of arts management/marketing literature, including both top general management/marketing journals and sector‐oriented arts management/marketing journals, establishing a body of knowledge for augmentation by future research over time.

The purpose of this paper is to examine the role of social capital for career success and sustainability among arts managers and the implication for human resource practice.

This paper is a qualitative study comprising interviews with 73 arts managers in Australia.

While answering an occupational calling and having a sense of passion for the arts is a key driver to embark upon a career in arts management, it is social capital that is essential for both objective and subjective career success and thus for career sustainability. The authors also identify the value of education, global experience and well-honed soft skills for building social capital.

The study is located in Australia – arts management in other national contexts and industries may be different.

This paper identifies the need for arts managers to develop heterogeneous social capital to support both career success and sustainability. It also indicates that whereas passion for the arts may be an important driver, other skills and competencies are required. Both of these themes need to be incorporated into human resource practice in the arts industry.

This paper demonstrates the growing need to acknowledge the impact of relational social capital in the arts in an increasingly volatile work environment.

This paper fills the gap in our understanding of careers that bridge both the arts and management as professional domains of activity and extends understanding on the role of social capital in management careers more generally.

The paper seeks to focus on the management of art galleries in the context of contemporary visual art markets, viewed from the institutional and industrial network approaches. The aim is to understand the shaping of management practices. The characteristics of the visual art market, the immaterial value of products and the key role of relationships and networks, make the contemporary visual art market an insightful context to study the management practices.

A qualitative research method was chosen – altogether 80 interviews were conducted in European markets.

The contemporary art market can be seen as a network structure consisting of actors who participate in creation and change of the practices. The management practices of galleries were created and changed by imitations and through isomorphic forces. It is proposed that major changes in management practices originate mainly from financial reasons, where the driving force is to survive economically. The striking similarity of gallery management practices was interesting. The shared practices are used as means to create stability for the market.

A gallery manager should reflect the implicit norms and values of the art field in their art gallery management. The knowledge of these management practices is of importance especially for new galleries entering the market.

The theoretical contribution of the study builds on elaboration of the practices concept by combining aspects of the institutional approach and the industrial networks approach.

This chapter analyzes art-based methods that focus on the deliverables required from the student in an academic exchange.

The study will focus on a group of second-year Master’s students who, accompanied by an artist-coach and a researcher, were asked to produce an artwork reflecting their views on the technical or theoretical issues in accounting. These works were invented and realized in a four-day workshop and exhibition organized by the students.

Student submissions were found to fit into four types of outcomes: instrumental, developmental, directed, and embedded. The first two are produced by the processes mobilized in art-based teaching, while the second two are linked to the specific form of the artwork engaged in by the teaching process. Observing that few theories have explored the range of outcomes attributable to the form, the author draws on the experiment as well as Winnicot’s concepts of transition and intermediate objects to define the specific transformative quality of art forms. By investigating the special area where the delimitations between the self and the world are blurred and changing, the art-maker student adopts a posture of a natural researcher who creates knowledge at the moment he defines his self — or to put it differently, through art-making, the student produces his/her self and his/her knowledge at the same time.

Recognizing that empowering the complexity of expression liberates access to knowing abilities and independent critical learning.

During the twentieth and twenty-first centuries, debate about the governance and management of national cultural institutions has largely focused on the problematic relationship between art and the economy. However, several more recent changes have made this discussion outdated. These include loss of autonomy in the art world, transformation of cultural production and distribution and instrumentalisation of cultural policies to generate a new context leading to the emergence of art managers.

In terms of cultural policy, the interplay between the governance and management of national cultural institutions is currently problematic, with the work of art managers now replacing the previous “art versus economy” binomial. Here, we demonstrate the growing centrality of the governance paradigm and generation of public value in the local context, by qualitatively examining the discourses of politicians and national cultural institution managers in Barcelona.

We concluded that a new interface between policymakers and managers has appeared in twenty-first century cultural institutions, and that this has replaced the previous antagonism between artistic directors and managers. Finally, although there is a consensus that the objective of national cultural institutions should be to enhance public value, we also identified the presence of a symbolic battle over how this public value is defined and who should evaluate it.

This paper reveals the centrality of this new debate: policymakers and managers have developed discourses and strategies so that their vision of public value now predominates. In turn, this debate has become the new “battlefield” of cultural policy and reflects a rebalancing between the artistic and political spheres.

The world of work is constantly evolving such that the Workforce in the previous era was driven by the need for stability and is now driven by the desire for creative disruption. While firms must respond to the challenges and dynamics continuously, employees must be ready for any upcoming change to progress despite the turbulence and attain a competitive position. This paper's focal theme is Workforce agility – the ability of employees to respond to and make the most out of changes. Studies on the personal factors affected by changes, in turn, influencing Workforce agility have been scarce. The authors propose a conceptual model with propositions to address this gap. Additionally, the authors propose an employee-centric experiential training practice to foster agility.

The authors have employed conceptual description methodology to build propositions about the personal factors influencing Workforce agility and an arts-based intervention to enhance it.

Intermodal arts-based intervention (IABI) can influence employees' epistemic curiosity, which aids with managing ruminative thoughts, thus enhancing Workforce agility, while dispositional joy moderates this relationship.

The proposed “Intermodal Arts-Based Intervention (IABI)” can help firms move from a traditional training-based approach to an experiential one to foster their Workforce's agile capacities. Considerations for its implementation are explained.

This study is one of the first attempts to integrate multiple art forms as a change management practice. The conceptualized model also brings out the adaptive and maladaptive aspects of epistemic curiosity and rumination and the role of joy in promoting agile behaviors.

The purpose of this conceptual paper is to deepen the theoretical understanding on value (co-)creation particularly in the context of arts.

Through critical readings of the current theories on co-creation and co-production, we analyse literature relating to the network and service-dominant logic from the perspective of the arts field.

It is argued here that the context for value co-creation might be better analysed through network relationships, allowing a better identification of actors and their roles. We highlight the role of non-expert consumers through their co-creational experiences. In addition, we question the implicit assumption that the outcome of value co-creation is always progressive.

The paper provides deeper understanding for art managers of the mechanisms of value (co-)creation.

The paper provides new knowledge of the variety of levels of relations in the value co-creation.

The novelty of the paper lies in the new conceptual framework that offers both a wider perspective for theory building of value (co)creation in the context of arts management and deeper understanding for art managers of the mechanisms of value (co-)creation.

This paper aims to analyse and discuss five longitudinal case studies in which the authors have investigated how, in a specific subset of the creative industry, i.e. the arts and crafts organizations, knowledge can be systematized and transferred, becoming a real source of competitive advantage.

As no prior empirical research on the relationship among knowledge, knowledge transfer the role of craftsmen is available, an exploratory, qualitative research design seems advisable to study the phenomenon in detail. In setting up a multiple case study, the authors established a sampling frame of criteria associated with the theoretical background and research interest of this study: the case firms had to be arts and crafts organizations well-known for the high quality and value of their artifacts and have a solid reputation for preserving the tradition and the uniqueness of their manufacturing processes.

It has emerged the importance of craftsmen within arts and crafts organizations, whose know-how and technical skills are high valued by colleagues, by the market (customers), within the society and the territory where they operate. The knowledge acquired and retained by the craftsmen becomes therefore crucial for the survival of the arts and crafts organizations and for their profitability in the long term.

From the empirical investigation, it has emerged a certain unawareness at managerial level of the strategic relevance of the craftsmen knowhow and skills and of how to practically and effectively transfer their knowledge to a future generation of young craftsmen to continue to satisfy a unique and exclusive market demand. Furthermore, it has emerged the lack of a common knowledge transfer policy to different organizations. Therefore, it has not been possible to define a standard framework for the knowledge transfer process because it is influenced by the organizational structure, the management style of the organization owner (very often a family that retains the totality of the organization shares/quota), the social context and the territory where the organization is located, as well as the target market and the specific niche of customers who buy the organization’s products. This result represents a potential threat for the survival of arts and crafts organizations in the long run.

A common result that has emerged is that craftsmen play a crucial role for the success of arts and crafts organizations, through the creation and production of exclusive, high value products; hence, it is crucial to preserve and transfer properly their knowhow and skills. This result is particularly relevant for the world of practice: in a time where globalization demands for the relocation of production processes and technology automates several job tasks, the variegated world of arts and crafts, where the handmade abilities and skills of craftsmen cannot be replicate, imitate or standardize, becomes extremely important for the economy of several countries, among which Italy.

At social level, the activity of arts and crafts organizations help preserve the uniqueness and exclusivity of the heritage and culture of the territory where they are located, and reflect the tradition of such territory, the knowhow and ability of its inhabitants and help preserve this unique reservoir of competences and knowhow.

The contribution builds on the lack of practical understanding of the relationship between knowledge and the role played by craftsmen in the knowledge transfer process within arts and crafts organizations, and how effective such process is realized. This because despite the interest of many authors toward both knowledge management and transfer within the creative industry, there is a lack of studies aimed at linking systematically these two research areas. This is a relevant issue since knowledge in creative industries mainly refers to the traditions and values at the basis of an organization’s culture, tends to manifest itself in a tacit way and is difficult to analyze because it mainly exists in the mind of individuals as the result of their working experience not expressed in an explicit form.

The purpose of this paper is to visually map the arts marketing journal literature.

An extensive title and abstract search was carried out to identify literature on the relationship between art and the market. Papers were then classified by topic. Visual maps were drawn showing topic coverage in relevant areas.

The literature dealing with the relationship between art and the market is found to be extensive and multi‐disciplinary. The search found just over 1,500 papers.

This was a mapping exercise rather than an analysis of the issues. Many different disciplines have a stake in understanding the art‐market relationship. Arts marketing scholars can benefit from engaging with research in this area, which is outside the marketing academy.

The maps provide a visual guide to the work, which has already been done across a wide range of disciplines and journals. They enable academic and professional readers to see where knowledge and insights may already exist and where work remains to be done.

Given the recent growth in arts marketing research, the paper provides a timely map of the territory.