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Information makes an important contribution to the promotion of the creativity of visual artists. This work aims to explore relevant research through a systematic review of the literature and discuss the impact of information on visual artists' creativity.

A systematic literature review was conducted through Preferred Reporting Items for Systematic reviews and Meta-Analyses method. The authors searched and retrieved 1,320 papers from which, after evaluation, 41 papers have been analyzed.

Two thematic categories were identified for visual artists' information needs: (1) the need for professional development and (2) the need for creative techniques and materials. In terms of information sources visual artists employ, the authors have also identified seven broad categories: (1) conventional resources (galleries, museums, etc.), (2) professional scholar sources, (3) digital art websites, (4) informal information online and colleagues, (5) libraries, (6) personal collections and (7) professional scholar social networks. In addition, the study proceeded to classify the obstacles faced by visual artists in their search for visual information into two general categories: (1) environmental barriers and (2) digital literacy barriers.

Although the investigation of the information needs satisfaction of visual artists as well as the evaluation of their information behavior patterns and information literacy competences is essential, it is understudied. This paper summarizes the relevant literature in a concrete and systematic way providing evidences to be considered in a variety of situations, i.e. developing lifelong learning programs, managing visual art library collections, library services development for artists, etc.

This paper argues that Bruno Latour’s work on translation provides an alternative to dominant anthropocentric, individualistic and managerial approaches in career studies by considering careers as precarious effects of networks instead of the implicit assumption of individual strategic career actors in extant career research paradigms.

The article first compares the three main current approaches to studying careers – structural functionalist, interpretivist and critical – illustrated by three exemplary empirical studies. Subsequently, three concepts from the sociology of translation that are relevant for the study of careers are introduced: career making as translating interests, careers as effects of networks and career action as dislocated and overtaken. Taken together, these three concepts allow us to conceive of careers as practices performed by human and nonhuman actors. Finally, an example from an ethnographic case study in the field of contemporary art illustrates how a Latourian approach can be used.

Latour’s work on translation provides conceptual and methodological tools to investigate career processes and practices in an era of unpredictability.

The paper introduces Bruno Latour’s work on translation to the study of careers.

The primary aim of this study is to gain insight into the entrepreneurial marketing strategy (EMS) decisions made by microenterprises in the craft sector and draw comparisons between the marketing strategy formulation and implementation of conventional businesses and those of craft-based microenterprises with a specific focus on the context of emerging markets, particularly India.

This paper follows a qualitative interpretivist paradigm using a multiple-case methodology approach. It tracks craft-based microenterprises that make furniture or home décor products in India. The study participants were the founders, principal designers, studio managers or craftspersons.

This study’s findings reveal that craft-based microenterprises implement an EMS that adopts a hybrid form of market orientation strategy. In this approach, the product or creative concept is at the centre of the decision-making, and the customer needs are factored in at a later stage for customisation. These microenterprises prioritise product positioning over segmentation and targeting strategies.

This study tries to understand marketing strategy decision-making processes among craft-based microenterprises in India. Given that study participants came from only two-product-based craft businesses, this limits the generalisability of the findings to similar or related contexts. This study provides a framework and methodology for replication in other contexts and industries to formulate a nuanced understanding of micro, context-specific, craft-based businesses.

This study uses qualitative analysis to understand EMS in craft-based businesses in India. This study contributes to this fledgling stream of literature at the interface of marketing and entrepreneurship to understand entrepreneurial marketing. This study analyses the marketing strategy of craft-based businesses using the framework of Morgan et al. (2019).

By examining types of literacies taught by public libraries and the modes through which these programs were offered, this study aims to explore how public libraries might integrate data literacy training for the general public into existing library educational programs.

This study examined programs offered in 30 US public libraries during 2019 and 2020 to better understand types of literacy education announced to the public through library website listings and Facebook Events pages.

While public libraries offered educational programs in literacy areas ranging from basic reading and writing to technology, vocational skills, health literacy and more, data literacy training was not widely offered. However, this study identified many already-existing programs highly compatible for integrating with data literacy training.

This study offered new insights into both the literacies taught in public library programs as well as ways for public libraries to integrate data literacy training into existing educational programming, in order to better provide data literacy education for the general public.

Today, collaborative fashion approaches are a popular method of reimaging and positioning in contested markets. Fashion collaborations see brands, designers, artists, and companies come together, offering consumers new, alternative products. While shopping continues to be a popular leisure and touristic activity, it is becoming comparable across cities. At present, scholars and practitioners have paid scant attention to collaborative fashion consumption (Botsman & Rogers, 2010). This chapter considers how destinations should become involved with fashion collaborations and drop culture from the offset, establishing specific events for tourists to experience. Ultimately, changing the culture and behavior of shopping tourists to one of event experience and not solely product ownership.

Despite a large volume of theoretical and empirical research, defining the ‘entrepreneur’ and ‘entrepreneurship’ within the cultural and creative sector, a sector with high heterogeneity in organisational and other aspects across its various segments remains challenging. In this regard, there should be a wide variety of differences in the characteristics and challenges of cultural entrepreneurs across industries, countries and regions. Nonetheless, the key role of the arts and cultural sector has increasingly piqued the interest of policymakers and the private sector, and it has been recognised for its importance within the South African economic landscape; as a result, the government has prioritised arts and culture as a pillar in their development strategies. Furthermore, while there has been some consensus over the past decade on what constitutes a creative industry, many questions about defining arts and cultural entrepreneurship still need to be answered, necessitating further definitional and policy coherence. As a result, some efforts at definitions are required to advance the sector and develop useful knowledge in policy formulation.

This chapter proposes an understanding of arts and cultural entrepreneurship as an exploration of a person, a community or a network's artistic resources (arts, creative and cultural) in value creation. It utilises meta-analysis, a non-empirical method, to review and analyse the existing literature. Further research is needed to investigate and evaluate the efficacy of established arts incubators, and the extent to which perceived entrepreneurial competencies affect organisational performance. Moreover, additional research is required to examine the entrepreneurial factors inhibiting or stimulating the influence on start-up financing (capital acquisition) in the South African arts and cultural industry.

The policies in creative and cultural industries (CCIs) are often based on an implicit assumption that work in the cultural and creative sectors is ‘good work’ and dominant discourses tend to over-celebrate entrepreneurship. The authors argue that enough attention has been paid to the real work in CCIs. The stake is to better address the symptoms observed for a sustainable and inclusive economy in the CCIs. Through the entrepreneurship-as-practice perspective, the authors document the professionalisation difficulties in music sector, with a qualitative study in a French city, with a particular focus on the marginalisation experienced by the young artists. With the identification of their work specificities and the tendencies for the twenty-first century, the authors point out the diversity of the tasks, the multi-activity and collective practices and the need for some innovative support organisational forms to develop training and skilling (both artistic and entrepreneurial).

Arts-integration is a promising approach to building students’ abilities to create and critique arguments with data, also known as informal inferential reasoning (IIR). However, differences in disciplinary practices and routines, as well as school organization and culture, can pose barriers to subject integration. The purpose of this study is to describe synergies and tensions between data science and the arts, and how these can create or constrain opportunities for learners to engage in IIR.

The authors co-designed and implemented four arts-integrated data literacy units with 10 teachers of arts and mathematics in middle school classrooms from four different schools in the USA. The data include student-generated artwork and their written rationales, and interviews with teachers and students. Through maximum variation sampling, the authors identified examples from the data to illustrate disciplinary synergies and tensions that appeared to support different IIR processes among students.

Aspects of artistic representation, including embodiment, narrative and visual image; and aspects of the culture of arts, including an emphasis on personal experience, the acknowledgement of subjectivity and considerations for the audience’s perspective, created synergies and tensions that both offered and hindered opportunities for IIR (i.e. going beyond data, using data as evidence and expressing uncertainty).

This study answers calls for humanistic approaches to data literacy education. It contributes an interdisciplinary perspective on data literacy that complements other context-oriented perspectives on data science. This study also offers recommendations for how designers and educators can capitalize on synergies and mitigate tensions between domains to promote successful IIR in arts-integrated data literacy education.

The case’s resolution will inspire students to engage in critical analysis of the hurdles encountered by Madhubani Paints amid the pandemic. It will prompt them to dissect cause-and-effect chains stemming from decisions made during this period, fostering a mindset of critical thinking and problem-solving. Additionally, it aims to cultivate a profound comprehension of the Indian entrepreneurial landscape, highlighting the pivotal role of micro-enterprises and women entrepreneurship. Furthermore, it will task students with brainstorming inventive solutions to the specific challenges faced by Madhubani Paints, particularly focusing on differentiation strategies and enhancing customer engagement in the online marketplace. The case highlights the strategic utilization of digital avenues for business expansion, showcasing how Madhubani Paints not only persevered through a challenging pandemic but excelled, securing 35% of its revenue through digital channels.

Madhubani Paints was a micro-enterprise in the small town of Darbhanga (India) that traded hand-painted products. The protagonist had a strong interest in Madhubani painting, and her enthusiasm led her to establish her own micro-enterprise. This case study highlights the protagonist’s journey towards entrepreneurship and what were the challenges faced during the COVID-19 pandemic. Additionally, the case study showcases how micro-enterprises leverage digital technologies to improve their business performance. Through this case study, students will be able to learn what the contribution of an entrepreneur is to the development of our society and will understand the fundamental concept of marketing and entrepreneurship.

The case study can be used in management for the course of marketing and entrepreneurship and is appropriate for post-graduate students. Discussion would be the most appropriate method for teaching this case study. The students would need to understand the concept of marketing mix, segmentation and targeting and the basics of marketing strategy to ensure effective learning.

Teaching notes are available for educators only.

CSS3: Entrepreneurship.