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The purpose of this paper is to assess the notion of art as a product. This paper develops a detailed understanding of how established visual artists engage with the notion in their art making and market interactions, drawing insight from the longitudinal debate on the essence of art, including its connection with entrepreneurial marketing.

The authors uses a conceptual framework involving artists’ and other stakeholders’ philosophical positions, artists’ career stages, reputation (including branding), market associations and the forms of value generated by artists and consumers to help shape their qualitative research design involving in-depth interviews with 16 established Australian artists. NVivo software aided data analysis to improve theory building.

Market orientation, entrepreneurial market creation, co-creation, co-production activities and sharing value among interested stakeholders are important factors in viewing art as a commercial product. Sustainable value creation is also crucial. Key emergent themes were motivation to create, engagement with the market and artists’ attitudes towards art as a product. This paper identifies a fluidity in the relationship between an artist and their art.

Co-creation, co-production and sharing value among interested stakeholders are important factors as are market orientation versus entrepreneurial market creation activities. Sustainable value creation is also crucial. Key emergent themes were motivation to create, engagement with the market and artists’ attitudes towards art as a product.

Established artists have made a conscious decision to engage, or otherwise with the marketplace. This research uncovers the merits of adopting a product approach in engaging with the market and artist centred creation which avoids marketplace interaction.

This research has the potential to contribute to policy decision-making in the sector and in stimulating future comparative research. There are wider implications for the cultural and creative industries where entrepreneurial market creation can stimulate creativity and innovation.

The purpose of this paper is to explore the professional biography of Ethel A. Stephens, examining her career as an artist and a teacher in Sydney between 1890 and 1920. Accounts of (both male and female) artists in this period often dismiss their teaching as just a means to pay the bills. This paper focuses attention on Stephens’ teaching and considers how this, combined with her artistic practice, influenced her students.

Using a fragmentary record of a successful female artist and teacher, this paper considers the role of art education and a career in the arts for respectable middle-class women.

Stephens’ actions and experiences show the ways she negotiated between the public and private sphere. Close examination of her “at home” exhibitions demonstrates one way in which these worlds came together as sites, enabling her to identify as an artist, a teacher and as a respectable middle-class woman.

This paper offers insight into the ways women negotiated the Sydney art scene and found opportunities for art education outside of the established modes.

The purpose of this paper is to report on an independent evaluation of a three-year “Creative Ageing” programme, focussing on the impacts for participants and factors promoting successful delivery of sessions.

Artists provided feedback through reflective journals and questionnaires, while the views of care staff and participants were also captured in a standard format at the end of each arts session. Thematic analysis of the qualitative data identified common themes.

Twenty-three arts projects were delivered across a range of settings and through diverse art forms including dance, drama, music, visual arts and poetry. They reached nearly 2,200 participants who recorded over 8,100 session attendances in total. Participation in high quality creative experiences improved well-being for older people, as well as increasing social interaction and reducing isolation. Several factors facilitated successful implementation and delivery of the activities, particularly the need to hold planning meetings with staff to provide guidance around participant numbers and suitability, minimising disruption of the sessions and the supportive role of staff during the sessions. Opportunities for reflection enabled artists to address potential challenges and adapt their practice to meet the needs and preferences of participants and to the complexities of diverse settings.

Previous research has largely focussed on the impact of activities in a single setting. This study supports the role of creative arts in increasing social interaction as an attempt to tackle isolation and loneliness, both for older people living in the community and for those living in a communal setting such as care homes and supported living schemes.

The aim of this paper is to aid the DIY artist in moving towards sustainability through the use of new technologies, which will be achieved by defining DIY music culture, identifying the creative and business needs of an artist as well as establishing a model for artists to be self‐sufficient.

The research methodology consisted of a mixture of unstructured interviews, such as e‐mail, telephone and face‐to‐face. A total of 15 interviews were conducted with DIY artists from local music scenes around the UK.

The DIY musicology model is a foundation for the DIY artist to be self‐sufficient through the three main perspectives: artistic process, managerial process and information systems.

Many artists and managers continue in their struggle to be independently sustainable, therefore it is necessary to continue this research on a wider scale.

By gaining a more in‐depth understanding of the sub‐sectors within the music industries, artists and managers can understand more about how to manage their own creative activities or projects.

Through a strong DIY ethic, with an emphasis on creativity and self‐management, a clear understanding of local music scenes helps to identify one of the key sub‐sectors of the music industries as well as demonstrate that sub‐cultures have value.

The paper discusses issues of sustainability within local music scenes from the perspective of the DIY artist, which is a new area of academic research.

Increasing industry interest in visual artists and commercial brand collaborations has heightened the need for research on exactly how visual art can add meaning to brands in ways that enhance brand value to existing consumers and potentially reach new consumers. Consumers are known to select brands on the basis of how well these brands reflect their own personalities. The purpose of this research is to understand whether brand alliances with artists exhibiting distinct personalities can make brands more attractive to consumers whose personalities do not currently match the brand.

Two experiments are used to examine the impact of artists’ personality (in)congruence on consumers’ perceptions of the brand and purchase intentions of the brand’s products.

The results show that consumers whose personalities do not match the brand’s current personality are likely to alter their view of a brand when the brand partners with an artist whose personality matches with that of the consumers’. This happens without negatively affecting the brand personality perceptions of current consumers who already identify with the brand.

When seeking to attract a new target segment, brands can ally with visual artists who convey a personality that matches that of the new target segment.

This paper adds to a nascent literature on the power of artist–brand alliances, and demonstrates that these partnerships need not only be between artists and brands with consistent personalities but can also effectively be used to target new consumers.

The purpose of this paper is to investigate the preservation practices of new media artists, in particular those working outside of the scope of major collecting institutions, examining how these artists preserve new media artworks in their custody.

The paper builds case studies of seven new media artists of differing practices and artistic approaches. For each case study, semi-structured interviews with the artists were conducted in conjunction with visits to the artists’ studios.

The study finds that new media artists face a number of shared preservation challenges and employ a range of preservation strategies, and that these challenges and strategies differ markedly from that of art museums and cultural heritage institutions.

This study considers preservation practices for new media artists generally. Further research into specific communities of artistic practice could profitably build upon this overall framework.

The findings of this research pose a number of implications for art museums and cultural heritage institutions, suggesting new ways these institutions might consider supporting the preservation of new media artworks before works enter into institutional custody.

The literature on new media art preservation emphasizes the importance of working with artists early in the life cycle of digital artworks. This study advances this by investigating preservation from the perspective of new media artists, deepening the understanding of challenges and potential preservation strategies for these artworks prior to entering or outside of institutional custody.

The purpose of this paper is to examine artists’ experiences of involuntary career transitions and its impact on their work-related identities.

Semi-structured interviews with 40 artists in the Netherlands were conducted. Self-narratives were used to analyze the findings.

Artists who can no longer make a living out of their artistic activities are forced to start working outside the creative realm and are gradually pushed away from the creative industries. This loss of their creative identity leads to psychological stress and grief, making the professional transition problematic. Moreover, the artistic community often condemns an artist’s transition to other activities, making the transition psychologically even more straining.

This study provides in-depth insights into how artists deal with changes in their work-related identities in the light of involuntary career transitions.

The purpose of this paper is to present the formulation of the first exhaustive price index for Argentinian (and other Latin American countries) visual artists using 5,069 works sold in auctions by 71 Argentinian artists during the years 1980-2014.

The authors estimated a regression of hedonic prices using the ordinary least squares method. When the regression was run and the results were analysed, the authors then estimated the annual price index of Argentinian artists’ work to then compare them with different financial and economic variables.

The average annual nominal arithmetic rate of return in dollars for Argentinian art during this period was 6.81 per cent, with a 29.11 per cent standard deviation. Argentinian art shows a low correlation with Argentinian and US companies’ shares and a slightly negative correlation with US bonds. This is the reason for artworks to be included in investors’ portfolios despite the relatively high volatility.

Valuating works of art in Argentina can be explained by a series of their attributes. The benefits of art as an investment should be contrasted with factors including illiquidity and high transaction costs that are inherent when investing in works of art.

Argentinian artists’ works have higher prices when, ceteris paribus, they are dated; they are auctioned in either Christie’s, Sotheby’s, Galería Arroyo, Roldan & Cia, Meeting Art, or Naon & Cia; they are oil or acrylic paintings; they are larger in size – although the price increase is decreasing when the size of the painting increases; and when the artist dies before their work is auctioned.

This work presents the first rigorous price index of Argentinian artists’ works. Additionally, and as far as the authors have been able to observe, the time-period in this article is the longest that has been used in studies on art as an investment in emerging markets.

Este trabajo presenta la elaboración del primer índice exhaustivo de precios de artistas plásticos de Argentina (y de cualquier otro país de Latino América) a partir de 5.069 ventas de obras de 71 artistas argentinos realizadas en subastas durante el período 1980-2014.

Se estimó una regresión de precios hedónica por el Método de Mínimos Cuadrados Ordinarios. Una vez corrida la regresión y analizados sus resultados, se procedió a estimar el índice anual de precios de obras de artistas argentinos, para posteriormente relacionarlos con diversas variables financieras y económicas.

El rendimiento promedio aritmético nominal anual en dólares del arte argentino durante ese período fue de 6,81% con una desviación estándar de 29,11%. El arte argentino exhibe una baja correlación con las acciones de empresas argentinas y de EEUU y ligeramente negativa con bonos de EEUU, lo cual le confiere atributos para ser incluido en las carteras de los inversionistas, a pesar de la elevada volatilidad.

Se consigue que la valoración de arte en Argentina puede ser explicada por una serie de atributos de las obras de arte. Los beneficios del arte como inversión deben ser evaluados con la iliquidez y los elevados costos de transacción, entre otros costos, inherentes a la inversión en obras de arte.

Las obras de artistas argentinos tienen precios más altos cuando, ceteris paribus: están fechadas, se subastan en Christie's, en Sotheby's o en Galería Arroyo, son ejecutadas en óleo o en acrílico, tienen un mayor área, aunque el aumento de precio es decreciente al aumentar el área, y cuando el artista ya había fallecido al momento de celebrase la subasta.

Este trabajo propone el primer índice riguroso de precios de obras de artistas de Argentina. Además, y hasta donde hemos podido comprobar, el período utilizado en este trabajo es el más largo que se haya empleado en estudios del arte como inversión en mercados emergentes.

The US feminist art movement of the 1970s is examined through selected works written by artists, critics, and historians during the 1990s. Books, exhibition catalogues, dissertations, and articles place the movement within the broader contexts of art history and criticism, women’s history, and cultural studies. The art includes painting, drawing, collage, mixed‐media, graphics, installations, video, and performance. An increasing historical perspective allows scholars to examine the movement’s institutions and unresolved issues surrounding class, race, and sexual preference. Background is provided by an introductory essay, which summarizes the movement’s facets of protest, pedagogy, networks and professional associations, and art making while noting examples of publications and institutions that form part of the record of the movement. This article will be useful to librarians and scholars in art, women’s studies, history, sociology, and cultural studies.

This article seeks to provide a theoretical framework for facilitating talent management decisions in the music industry.

Strategic decision‐making theory and the resource‐based view of strategy are used to identify the talent‐selection process as a core capability in the entertainment industry. Their original combination leads to the introduction of a framework aimed at facilitating the selection and development of core competencies and capabilities in music companies, and thus at increasing their likelihood of creating and sustaining a competitive advantage based on their artist selection processes.

The integration of both theories in the music sector leads to the need for the organisation's ability to “improvise” and develop “skilled decision makers”. The industry is identified as an atypical high velocity environment, in which incremental approaches may not be sufficient to adopt by managers, because artist investments usually represent long‐term commitments for the firm. Three different existing types of talent valuation techniques are identified, which can be facilitated by complementing resource‐based and decision‐making perspectives.

The paper does not discuss differences in the types of music organisations such as publishers, record companies, labels etc. Moreover, it focuses on popular music in general only. Empirical testing of the proposed findings is needed to further validate the capability framework.

The framework provides a managerial guideline for implementing decision models in the music industry and increasing the success rate of artist selection.

The paper uses the specific context of the music industry to introduce a methodology of how organisational decision processes may eventually lead to a sustainable competitive advantage. It provides a starting point for linking resource‐based and strategic decision‐making theory, since it indicates how decision models should be developed from a core capability perspective.