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The purpose of this paper is to consider whether art experiences can inform service‐dominant logic (SDL) discourse through an exploration of the co‐production and co‐creation processes of art experiences.

Empirical knowledge gained about art experiences is analysed to identify emergent themes about co‐production and co‐creation. Four modes of qualitative data collection are employed: research participant diaries, photo elicitation, in depth interviews and focus groups.

Key findings are there are three stakeholders involved in the co‐creation of art experiences, which all have critical and different roles; co‐creation and co‐production are both temporally based and evolving and there are points where they interact and intersect; and high levels of engagement in co‐production enhance individuals' contribution to the co‐creation of positive value and make their participation in future co‐production opportunities more likely.

The paper is exploratory and not a general population study. The methodology and sample of participants employed do not allow for the generalisation of the findings to the broader population.

Organisations may benefit from devising strategies to encourage greater dialogue and connection between all stakeholders involved in co‐production and co‐creation. The higher the level of individuals' co‐production of art experiences the greater likelihood of positive value being co‐created. Furthermore, the greater the possibility of individuals engaging in other co‐production experiences in the future. While individuals are attracted to co‐production possibilities, there are factors that are external to an experience that can act as either barriers to or facilitators of co‐production, and that consequently impact on co‐creation.

There is little extant research that explores the applicability of art experiences to SDL. This paper is significant in that it employs empirical research methods to develop knowledge on the topic. Furthermore, this paper is innovative in that it seeks to see whether the art experiences can inform generic marketing models, rather than whether generic marketing models can inform arts marketing.

This study aims to understand the characteristics and formation of artists’ production sensibilities and relations with other actors within an emerging hybrid art market structure.

To unravel senses and map out relationships and structures in the context of this study, qualitative methods, including in-depth interviews and analysis of secondary data sources, were applied.

The authors describe three art production sensibilities and market-based relationship logics rooted in the artist and the artwork’s diverse role in the market.

The findings suggest that artistic sensibilities motivate managers working in the hybrid art market to develop a more nuanced positioning of artists and their creative outputs to improve harmony and collaboration.

This study demonstrates that the hybrid structure of art markets allows for the harmonious separation and collaboration of non-market (artistic) and market logics. This study uncovers how artists combine their non-market creative position with market needs in the process of marketization and hybridization.

The purpose of this paper is to explore how art production and marketing in China is attempting to move up the value chain as increasing number of Chinese replica-selling galleries seek to break free from the image of Chinese art towns as skilled but imitative centres of art production.

In-depth interviews were conducted among seven gallery owners in Wushipu art village over three weeks to discover how art production in China has evolved and to chart its future growth.

In the Chinese setting with its distinctive cultural patterns, tensions between the emergent national pride in original art and the facile and commercial moneymaking potential of simply selling industrially produced art are revealed.

The changing dynamics of arts markets in China provide marketers and researchers a glimpse into a parallel trend: the gradual but rising shift to innovation, originality and luxury occurring in the China-based manufacturing centres of material goods.

The attempts to break from the imitative mass production of art and strike a balance between creating and meeting the art needs of the Chinese consumer indicate how domestic market priorities and economic growth are likely to serve as the new fuel for contemporary China’s socioeconomic development.

Via an interpretive look at contemporary Chinese modes of arts production and marketing, the paper revisits the antagonism between the creation of original art and the production of industrial art in a context not well-known in the west, the massive art production centres of China.

The purpose of this paper is to report the findings from a study that explored the use of art and visual production as a means through which 20 third-graders developed and represented their social studies understandings. The author describes the ways the process of visual production and the finished products illustrate the nature of the students' social studies learning.

The project was grounded in an inductive qualitative approach privileging student voice. This paper reports analysis and interpretation of multiple data sources, including photographs of students' projects, digital recordings of the visual productions and student interviews, as well as field notes and informal teacher conversations.

Results suggest that in the process of visual production and in their final pieces, students moved in fluid ways between making sense of new knowledge, developing important social studies skills, and representing their knowledge. More specifically, students used historical evidence to present humanized versions of history through personalized narratives. These outcomes suggest that the integration of art and visual production can be a valuable and effective way for students to develop and apply social studies skills as well as represent their understanding.

This study provides insight into how young children can use art and visual production to develop social studies skills, make sense of new knowledge, and represent their learning, contributing knowledge on an understudied topic and population in social studies education.

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 explores the nature of art as a product through a network perspective, accounting for key contributing stakeholders in shaping its essence.

This study adopted a qualitative data collection and analysis design and is centred on a series of face-to-face interviews with established Australian visual artists.

Results support the notion of an art product shaped by interconnections and interdependencies of actors in the art market. In particular, attention is paid to the roles of actors in conceptual, production and distribution networks.

Although there are idiosyncrasies that (in part) define the Australian art market context, the issues identified here are nonetheless useful in determining the nature of the interconnectedness of the art market in other similar Western contexts. Many Australian artists have achieved similar recognition and status to other established artists elsewhere. Future cross-cultural comparative research should be carried out in order to assess this relationship in the longer term.

Artists at different stages of their careers can transfer the findings of this research into the development of a series of relevant strategies and tactics for developing their art and culture products more effectively.

Although philosophical assessments of art as a product have been carried out elsewhere, there is a lack of evaluation from an art versus marketplace lens in considering the perspectives of interested stakeholders

The purpose of this paper is to analyse how contemporary artists construct and position their “person brands” and reflects on the extent to which artist brand building results from strategic brand management.

A conceptual framework proposes a spatial perspective on artist brand building to reach an analytical insight into the case of visual artists in London. The empirical analysis is qualitative, based on serial and in-depth interviews, complemented by participant observations.

Artist brand building relies on the creation and continuous redefinition of “in-between spaces” that exist at the blurred boundaries separating an individual and isolated art studio, and the social and visible art scene. Artist brand building is a bundle of mechanisms that, mainly occurring without strategic thinking, are “nested” within the art production process throughout which learning, producing and performing are heavily intertwined.

This study was undertaken with a focus on visual artists and specific operations and spatialities of their individual art projects. Further empirical research is required in order to fully explore the manifold of practices and spatialities that constitute contemporary artistic practice.

This study fosters artists’ awareness of branding effects that spillover from artistic production, and thus potentially opens the way to a more strategic capitalization on these.

The adopted spatial perspective on the process of artist brand building helps to uncover “relatively visible” and “relatively invisible” spatialities that, usually overlooked in branding debate, play a significant role in artist brand building.

The 1922 Supreme Court anti-trust exemption awarded to organized baseball was quick to grasp the prerogatives of the emerging U.S. popular culture industries, and displays the anomalies of performance in the law. The trade and commerce in cultural performances yield contradictory opinions about the distinctions between the functions of work and play, as well as the properties of work and the performing arts. The interconnecting functions of a sport like organized baseball, as an industry, an art, and a popular cultural entertainment makes baseball a rich object for analysis in the perplexing historical puzzle of decentralized U.S. cultural policy.

What are the value theories used by art economists which can help define the field as a unique research program? We categorize the research program in art economics in Lakatosian terms and find that art economists share a value system around art which is that art contains value beyond that of exchange. This difference introduces a “paradox” of value to be addressed (either implicitly or explicitly) by the art economist in practice, in that mainstream economics assumes value is realized through exchange only. We then survey the literature and find evidence to support this value paradox claim. We also find that the art economics research program does not adequately address the potentiality of the state using art as instrumental value and introduce political economy to factor in a self-interested state using art production as a means to reproduce and ideally expand state legitimacy and power in society. We then give two examples of art-statism in practice to illustrate the possibility of art’s instrumentality.