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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.

This paper describes how a pre-service teacher’s knowledge and pedagogy changed as she documented her reflective practice while teaching arts-integrated lessons in a fifth-grade classroom during her pre-service teacher preparation program. The pre-service teacher spent three-months conducting an action research project in collaboration with a university mentor.

This paper explores what she and her mentor learned as she prepared arts-integrated lesson plans based on the four studio structures for learning and analyzed them along with identifying and documenting evidence of deep learning through field notes and video recordings.

Analysis of field notes, video recordings and lesson plans led the authors to take a deeper look at where the four studio structures for learning overlapped in the teaching event. In the data the intersections of the four studio structures shared a pattern of increased evidence of deep learning for the students. This paper describes the phenomenon in the classroom at various points of intersection.

This action research study is preliminary, and the findings are suggestive of further research that would require indexing what deep learning looks like and gathering and analyzing student data.

It is recommended that teachers use the four studio structures to integrate the arts in their classrooms and to enhance and encourage creativity, communication, critical thinking, collaboration, character and culture and as teachers work toward deep learning for students.

This case shows how a university partnership provides fertile ground for educators of all skills and experience to participate in the expansion of the field of education as well as personal and professional development.

Nonprofit organizations (NPOs) increasingly view social entrepreneurship as means to expand their mission scope while simultaneously diversifying revenue streams and strengthening financial foundations. However, the pursuit of social entrepreneurial ventures often incites a tug-of-war phenomenon between the deep-rooted social welfare logic of the parent NPO and a newly evolving commercial logic at the subsidiary social enterprise (SSE). The present study seeks to understand how NPOs navigate such logic conflicts as they strive to become more entrepreneurial. Based upon case studies of two NPOs, we found divergence in organizational identity, legitimacy, and mission/vision between parent nonprofits and their SSEs as they struggled with a defining question: Are we a program or are we a business? Our research indicates that organizations reconcile such cognitive dissonance through four distinct processes: connecting, variegating, separating, and augmenting social welfare and commercial logic spheres. We, thus, contribute to the social entrepreneurship and nonprofit management literatures by illustrating ways in which noncommercial organizations may address issues of logic divergence when engaging in revenue-generating commercial activities.

The purpose of this paper is to document and describe an omni-disciplinary ethnography of a complex arts and cultural regeneration organisation in Durham (TESTT Space). The organization and its art spaces are hybrid combination tools explicitly designed to test and experiment with ideas, social forms, human interactions and arts practice. Its ground or practice is a repurposed meanwhile space in a city centre embedded in a unique cultural landscape of local communities, a University and a World Heritage Site. The research attempted to understand its groundwork, its interactions and its civic mission and aspirations in a time of radical change and rupture.

The authors assumed an ethnographic approach, working with and within this organisation for a year, thinking of the research as embedded, intimate research and committed to social change. It was a work of co-production – working with studio-holders, curators, artists and facilitators using a range of triangulated qualitative research methods. These include structured interviews, auto-ethnography, ethnography of spaces, arts-led research, art as research and research as art.

TESTT Space has allowed both the retention of artists in the city and the propulsion of artists into the world. It has offered different ways of engaging in the complex lives of artists and curators, allowing them to test aesthetics and try out new social models. It has thought up its own network as a thinking practice, has developed its own politics, civics and imagined a set of new futures.

The paper documents interactions and aspirations, describing the lived phenomenological experience of being in this experimental space.

Our regular round‐up of innovative projects that support social inclusion for people with mental health problems

This paper aims to investigate the moderating impacts of seasonality on the effectiveness of new product commercialization strategies in short-lifecycle markets. The authors contextualize their theory in the vast and culturally significant entertainment industry sector and contrast the effects between independent films and big budget movies.

This study uses an econometric modeling approach.

This study finds that unlike new films by well-resourced studios, which must launch in a high season for best performance, independents can generate more revenue in low seasons under certain conditions. The study shows how seasonality moderates the effectiveness of new films’ commercialization strategies and how new product outcomes are different for small independent products than for big-budget productions with regards to distribution duration, advertising expenditure and product characteristics.

This research extends the literature on launch timing, which examines various strategic tradeoffs. In contrast with the few extant studies whose concern is sensitizing to the effects of seasonality (Siqueiraet al., 2016), this research treats seasonality as an exploitable opportunity that can be strategically factored into business planning for small producers. Accordingly, this is the first study to theoretically and empirically investigate the moderating relationship between seasonality, marketing decisions, product characteristics and performance.

To achieve useful specificity, the study constructs its discussion around the highly seasonal entertainment industry sector. The study shows that seasonality moderates the effectiveness of new films’ commercialization decisions and that the strategic outcomes are different for small independent products than for major studio productions in particular.

In contrast with extant research whose concern is sensitizing to the effects of seasonality, our research treats seasonality as an exploitable opportunity that can be strategically factored into business planning. Accordingly, ours is the first study to theoretically and empirically investigate the moderating relationship between seasonality, marketing decisions, product characteristics and performance.

Practitioner architects who teach design move between their professional practice and teaching, and these different work contexts and cultures shape their identity. When teaching, they need to self-regulate in order to perform independently and develop their teaching. This paper discusses what practitioner architects who teach design say they do in design studios, their conceptions about roles in design studios, how they develop their ability for evaluative judgement and shape their identity.

This study employs case study methodology. It relies on data collected via semi-structured interviews and focus group discussions. The audio recordings were transcribed and analysed by identifying persistent words, phrases and ideas that were grouped into themes. Each “idea” is drawn from terms used by participants (e.g. characterising aspects of their practices) and researchers’ interpretations and/or based on existing ideas (e.g. found in the literature). The “theory of practice architectures” is employed as a framework of analysis to investigate what professional architects who teach design say they do in studios and their conceptions of their roles, design teaching and development of teaching expertise.

Findings show that practitioner architects who teach design employ evaluative judgement to provide constructive feedback to students and monitor the quality of their own projects. They also use evaluative judgement to assess the quality of their own teaching and hence self-regulate their professional development as design educators. Participants do not identify as teachers; rather their identity is firmly rooted in professional practice.

The study focuses on practitioner architects who teach design and explores how they develop their ability for evaluative judgement and shape their identity through the lens of “theory of practice architectures” which offered a comprehensive view of practices as encompassing conceptions, intentions, actions and outcomes.

This paper aims to test a nudge, or intervention, designed through behavioral insights at a university campus to discover cost-effective means for increasing recycling participation and methods for estimating waste removal cost savings.

A series of studies were conducted demonstrating the effectiveness of behaviorally based recycling interventions. Study locations included an academic building, a performing arts/studio arts building, a sports complex and a campus library. All locations already had robust and visible recycling programs in operation. Following an observation period, modifications were made to the locations of waste and recycling containers. Waste auditing procedures were used to quantify existing waste diversion rates, and changes to those rates following changes in choice architecture.

Waste diversion rates improved and significant reductions in the proportion of recyclable materials in the trash were observed at all four study locations. Results indicate that the nudge of changing choice architecture can enhance recycling programs that are already recognized as successful. This paper also explains methods for estimating waste removal, which are important as it enables calculations of cost savings from such interventions. Finally, targeting plastic bottles to increase return on investment is recommended.

Other colleges and universities can apply these methods to improve existing recycling programs and realize cost savings.

This is the first study to investigate the use of a nudge on waste management issues on a university campus. An easy-to-replicate method, which allows measuring realized cost savings, is explained.