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Debates about the role of liberal arts education in finding employment highlight both its benefits and the challenges of finding work after graduation – debates that are now well-documented and outlined in this paper. Adding to these debates, the purpose of this paper is to bring in the voices of recent graduates from social sciences and humanities programs who have firsthand and recent experience as they enter the professional job market. Their experiences guide our understanding of the nature of liberal arts programs and shed light on areas of improvement in line with improved career paths and employment outcomes.

The methodology involved a quantitative data study using an online survey completed by 1,901 graduates.

A survey completed by 1,901 graduates of IDS programs in Canada provided rich data about the challenges and opportunities of their education in relation to professional employment. Additional follow-up qualitative data provided by survey participants was also analyzed.

From these findings, several implications for curriculum design are highlighted to strengthen (not replace or alter) existing program offerings. Implications for curriculum design: The quantitative data and narrative responses from the survey of IDS graduates on their career paths highlight several important considerations for IDS and other liberal arts programs that are grappling with questions about whether and how to redesign curricula to better address concerns about the employability of students.

The central lesson from this research is that the perspectives of university graduates can provide valuable insights for debates about the roles of universities and the design of university curricula. While the voices of university administrators, professors, politicians, industry leaders and media pundits are all prominent in these debates, the perspectives of graduates are often left out, despite their firsthand experience in making the transition from campus to career.

This research project offers one model that other fields of study could follow to learn more from their graduates about the competencies and skills which they most value in navigating complex career paths and overcoming barriers to professional employment.

The purpose of this paper is to present and examine the addition of a “professional artefact” to the course requirements for the BA Honours Professional Practice (BAPP) (Arts) programme at Middlesex University.

This paper takes a case study approach using reflection, indicative theories and consideration of student work to evaluate the introduction of the “professional artefact” into the BAPP (Arts) curriculum. Following pragmatist and phenomenological descriptions of the lived experience as embodied (Dewey et al., 1989; Merleau-Ponty, 2002) and using learning models based on experience in the workplace (Boud and Garrick, 1999), the paper's methodology takes the work-based principle of “experience as knowledge” to examine the impact of the professional artefact on students learning.

The professional artefact has proven to be a useful way for the learners on the course to reflect on the purpose of their own study and the ways in which work-based learning can be incorporated into their practice through embodied “ideas”.

The paper suggests that the inclusion of a professional artefact to the curriculum provides a flexible means for bridging academic and workplace learning. The inclusion of the professional artefact could be recommended as a strategy for other work-based learning programmes.

The added value for professional practice is that the professional artefact provides a flexible and creative means of communication for emerging and establishing workplace professionals.

The purpose of this paper is to report on the current state of arts entrepreneurship education at higher educational institutions (HEIs) in the UK and Germany. It is based on findings from questionnaire surveys among 210 lecturers in fine art at 89 HEIs in the UK and Germany.

This paper explores issues related to fine art curriculum in higher education in the UK and Germany via survey questionnaires among 210 fine art lecturers with focus on arts entrepreneurship.

The study shows evidence that an arts entrepreneurship education, although considered by lecturers to be important and necessary for the professional and entrepreneurial preparation of fine art graduates, is definitely not implemented at HEIs, in neither the UK nor Germany.

The findings stimulate the discussion in the field of arts entrepreneurship and the redesigning of fine art curriculum to prepare fine art graduates for their entrepreneurial and professional careers.

There is still a marked paucity of research that focusses on arts entrepreneurship education. This study contributes to the knowledge by presenting specific findings related to fine art curriculum.

Collaboration between creative professionals (artists and designers) and companies has become more prominent. In so-called “crossovers,” indicated with the acronym CoCreaCO (collaboration of creative professionals with companies) when they concern specific crossover of creative professionals with companies, societal and organizational challenges such as becoming more innovative are addressed through multidisciplinary collaboration that increasingly embraces and exploits the distinctive way of thinking and working of artists and designers. Over the past years, several scholars focused their research on the effect of artistic interventions or arts-based initiatives (ABIs) and design thinking in organizations. Hardly any research has been done on the conditions (organizational and individual factors) that are conducive to ABIs in organizations, such as trust and common ground. The central question for this study is which conditions foster successful collaboration between creative professionals and organizations in crossovers. For this study, the conditions for collaboration between creative professionals and four Dutch organizations were studied by interviewing ten creative professionals, project managers and employees who worked together, following which a survey of 60 questions was filled in by 41 Dutch respondents. This study shows that despite the differences between the disciplines of creative professionals and employees for this type of crossover, both disciplines requested quite similar conditions for collaboration. Both creative professionals and employees should realize and encourage trust and common ground by focusing on an open process and outcome, a shared creative process started with a shared problem. Experience with this type of collaboration, art disciplines, the role and qualities of the artist (individual factors) as well as the organization's sector seem to influence neither expectations of collaboration nor the intention to engage in this type of cooperation in the future.

Both ten employees (project managers) and creative professional(s) with whom the organization cooperated were interviewed (four case studies, semistructured interviews). Thereafter, 41 respondents have been filled in a survey.

Successful cooperation can be explained by six concepts of determinants, which are briefing, qualities of creative professionals, organizational qualities, organization factors and common ground. More particular, creative professionals' independency and their ability to render observations and to reflect of these and organization's role by informing employees and organizing a clear work process need to be addressed before or during collaboration.

past years, many scholars focused their research on the effects of artistic interventions or ABIs and design thinking in organizations. There is hardly any research on the conditions that are conductive to artistic interventions in organizations such as trust and common ground.

This paper aims to explore graduate perspectives about the creation and use of professional artefacts to communicate work-based inquiry projects to professional audiences.

The study was based on constructivist qualitative interviews with 14 graduates from a part-time professional practice in arts programme and used thematic analysis to interpret and discuss the findings.

Participants indicated a perceived value in the use of the professional artefact as a way of articulating their professional inquiry. Professional artefacts enable essential communication skills for professional contexts, have the capacity for engaging with professional audiences that are external to the university, have the potential for enabling further study and workplace employability, show awareness of project management and leadership capabilities and helped some individuals build on and share their own personal philosophy of practice with peer professionals.

As a small-scale research project that used purposive sampling, the findings are not representative, but could provide the creative means to develop professional artefacts within work-related educational programmes and workplace learning programmes.

It is argued that the process and production of professional artefacts can provide the means for communicating work-based projects to professional audiences within workplace settings.

Professional artefacts explore and present developmental aspects of work-based inquiries with distinctive creative approaches to favour practice knowledge and innovation that can be expressively shared with peer professionals.

The purpose of this paper is to elucidate the current state of arts entrepreneurship education at higher educational institutions (HEIs) by reviewing the relevant literature and surveying lecturers in Fine Art.

The analysis of fine art students’ educational situation at HEIs in the UK and Germany is conducted in two steps: first, a literature review provides an overview of the current state of arts entrepreneurship education, followed by the second step of a cross-sectional survey by questionnaires among fine art lecturers to capture their perspectives of fine art students’ professional preparation.

The study confirms the assumed poor state of arts entrepreneurship education at HEIs by showing evidence that an entrepreneurial education of fine art students is definitely not implemented at HEIs, neither in the UK nor in Germany.

The findings stimulate the discussion of HEIs’ task and responsibility to professionally prepare fine art graduates for their entrepreneurial and professional career.

The study contributes to knowledge by presenting relevant findings related to fine art curriculum and current state of fine art graduates’ vocational preparation.

So far, most studies in cultural tourism have looked at visitors in relation to the experience itself. This study aims to bring a broader view on what constitutes the daily environment of younger visitors and how museums could use this knowledge to develop a service delivery that is more adapted to their needs without sacrificing the museums’ integrity and authenticity. As such, this research brings a unique and deeper analysis of young visitor behavior, in relation to arts and cultural practices that could be expanded to other areas of tourism experiences.

The present study examines the main art and cultural tourism activities among adolescents. Using 32 in-depth interviews with adolescents between 13 and 18 years of age, this research takes a closer look at their experience and perceptions of art museums and exhibitions.

The findings show that adolescents’ perception of arts and exhibitions do not correspond to museum art criteria held by cultural tourism professionals. Based on the key theoretical themes emerging from the empirical investigation, a conceptual framework of adolescents’ attitudes toward arts and exhibitions is now presented to provide insights into the dimensions of adolescents’ art consumption in today’s western consumer society. Figure 1 provides a graphic model that visualizes adolescents’ art consumption experiences and summarizes the main findings and marketing implications in the arts field.

Based on these findings, new ways of engaging with adolescents in the field of arts are suggested to create new business opportunities for the museum. The findings lean toward the necessity to develop a more youth-centric approach, which differentiates between how adults define art and what adolescents believe art is supposed to be. Thus, the findings demonstrate that adolescents’ art consumption experiences are deeply anchored within the context of their social environment and the value judgments of their peers. The adolescent-centric logic within the arts experiential context is taken into account to underline the gap existing in many current arts marketing strategies that are targeting young visitors – and especially adolescents.

This paper aims to deconstruct the validation process for contemporary art with a fresh take on the components and terminology of this process, here referred to as the art machine.

Existing literature is analysed and key theoretical aspects combined to support the theory that an art machine exists that may process contemporary art for legitimation, sustainability and market success.

Roles played by art professionals and institutions within what is pioneered in this paper as the art machine frequently overlap. Opportunities for success are maximised when and if artists, art schools, galleries, critics, auction houses, museums and collectors manage to work in unison towards the common goal of optimal symbolic and financial value for the contemporary art market.

A clear and intelligible deconstruction of the art machine's interacting components should enable interested agents in both established and emerging art markets to better operate mechanisms towards short‐term marketing objectives and long‐term sustainability within the highly competitive and fluid art environment.

Existing literature recognises layered spheres of activity that may combine for success in an art market seeking increasing symbolic and financial value and sustainability. This article innovatively pictures the dynamic, interlocking mechanisms in this on‐going, one‐way process of turning inconspicuous raw materials into a valued end‐product: this is the art machine.

This paper aims to demonstrate to lawmakers that the addition of art dealers to the designated non-financial businesses and professions (DNFBPs) definition would provide Australia with more comprehensive protection against money laundering within the art market.

The paper opted for an exploratory study using doctrinal and jurisdictional comparative analysis that focused on arguments for and against the inclusion of art dealers in respective DNFBPs definitions. Evaluation of these arguments concludes that art dealers should be included in Australia’s DNFBPs definition and subject to anti-money laundering (AML) regulation.

The current omission of art dealers from Australia’s DNFBPs definition perpetuates AML vulnerabilities within the Australian art market.

This paper fulfils an identified need to study high-value dealers not included in Australia’s DNFBPs definition and provide arguments for and against the inclusion of Australian art dealers in the listed DNFBP.