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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 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 attack on the institution of business is acelerating at a more furious pace. In this post‐Watergate era the momentum of the assault is being fuelled by the almost daily revelations of corporate misdeeds. America's growing anti‐business mood may culminate in more government controls being imposed on the economy and possibly the nationalisation of some industries. Clearly, the implications for the social, political, and economic system are most serious. The problem is compounded by the artist, especially the writers of fiction. Both current novelists and those of previous eras have presented a consistently negative image of the typical businessman. Shylock in Shakespeare's Merchant of Venice and Ebenezer Scrooge in Dickens' A Christmas Carol paint portraits of very ugly businessmen. Indeed, that same portrait is replicated by virtually every artist to the present day.

This paper aims to investigate the ways in which “non-collaborative co-creation” can affect brand equity as perceived by independent observers. It reports a study of the different effects on that perception attributable to non-collaborative co-creation that takes the form of either “brand play” or “brand attack” and is executed either by established artists or mainstream consumers.

A 2 × 2 between-subjects experiment (brand play versus brand attack; consumer versus artist) measured observers’ perception of brand equity before and after exposure to purpose-designed co-created treatments.

Non-collaborative co-creation has a negative effect on observers’ perceptions of brand equity and brand attack, causing a stronger dilution of brand equity than brand play. Artists either mitigate the dilution or have a positive effect on those perceptions.

Future research could usefully investigate the relative susceptibility of brands to non-collaborative co-creation, the effects on brands of higher complexity than those in our experiment, exposed in higher-involvement media, and the effects of more diverse forms of co-creation.

Brand managers must recognise that co-creation carries considerable risks for brand equity. They should closely monitor and track the first signs of non-collaborative co-creation in progress. It could be beneficial to recruit artists as co-creators of controlled brand play.

This study offers a more complete insight into the effect of non-collaborative co-creation on observers’ perceptions of brand equity than so far offered by the existing literature. It connects the fields of brand management and the arts by investigating the role and impact of artists as collaborative or non-collaborative co-creators of brand equity.

Arts participation fosters social inclusion in a way that other social and recovery programmes do not. The professional role of an artist is an appealing and socially valid role in the community. For many people with a mental illness, arts‐based programmes become a catalyst to resume and/or pursue their art practice more seriously. The focus of this paper is to uncover the complex boundaries that exist for artists who have mental health needs in contemporary culture, and to review these artists' perceptions of their opportunities to create a place for their creative expression to emerge in its own right, and not on the basis of their illness. We also comment on the specific issue of public perception of the ‘outsider artist’ and refer in parts to the apparent question of how such art is perceived and treated. This paper refers specifically to the experiences of eight visual artists with mental illnesses living in Queensland, Australia, who contributed to an exhibition titled Artist Citizen as part of a participatory action research programme. The topics of discussion by the eight artists explore familiar themes to mental health: stigma, exclusion and the integration of identity within limited membership groups. This paper details the expressed concerns of the artists around the value and connection of their creative output. It should be relevant and of interest to mental health service personnel for insight into integration and recovery for people with mental health needs into mainstream social and cultural environments.

The purpose of this paper is to discuss findings from an Arts and Humanities Research Council (AHRC)-funded research project into the heritage culture of British folk tales. The project investigated how such archival source material might be made relevant to contemporary audience via processes of artistic remediation. The research considered artists as “cultural intermediaries”, i.e. as actors occupying the conceptual space between production and consumption in an artistic process.

Interview data is drawn from a range of 1‐2‐1 and group interviews with the artists. These interviews took place throughout the duration of the project.

When artists are engaged in a process of remediation which has a distinct arts marketing/audience development focus, they begin to intermediate between themselves and the audience/consumer. Artist perceptions of their role as “professionals of qualification” is determined by the subjective disposition required by the market context in operation at the time (in the case of this project, as commissioned artists working to a brief). Artists’ ability (and indeed willingness) to engage in this process is to a great extent proscribed by their “sense-of-self-as-artist” and an engagement with Romantic ideas of artistic autonomy.

A consideration of the relationship between cultural intermediation and both cultural policy and arts marketing. The artist-as-intermediary role, undertaking creative processes to mediate how goods are perceived by others, enables value-adding processes to be undertaken at the point of remediation, rather than at the stage of intermediation.

The purpose of this study is to investigate the role of the physical environment characteristics on artists’ creativity.

Based on mixed-method of research the data was collected through questionnaires and interviews with 40 artists. The parameters of the physical environment characteristics included light, object design, color, window, the possibility of communication, flexibility and the existence of personal space.

The effect of these factors used simply and naturally on artists’ creativity was evaluated to be positive. It was found that if these factors were not present and only a simple, non-inspiring space was designed, the results would be simpler and less creative. It was suggested that designers need to design a space according to the artists’ individual and social needs and their perceptions.

This study is mostly limited to Iranian artists; however, it is a starting point for broader implications.

The main contribution of this research is providing environmental characteristics, which can assist in creating an appropriate workspace for artists.

The purpose of this paper is to examine how artists deal with having multiple potentially incompatible work-related identities as a result of a career transition from making a living exclusively as artists to taking on additional work outside the creative industries.

In all, 40 semi-structured in-depth interviews were conducted by telephone with artists in the Netherlands. A grounded theory approach was used to analyze the findings.

Four different strategies for dealing with multiple potentially incompatible identities were identified: integration, accumulation, separation and dis-identification. The findings suggest that the informal social context, the support of rejection of important others, influenced the strategy adopted by the artists. Invalidation from the environment often leads to stress and separation or dis-identification strategies, while validation seems to lead to integration and accumulation strategies that are less psychologically straining.

The findings stress the importance of the external environment. While the workers had to deal with their own psychological stress and regret about not succeeding at working exclusively as artists, they also had to create a feasible story that allowed them to “sell” their transition to others.

Careers are becoming increasingly non-linear, and the number of workers who need to juggle multiple (potentially conflicting) work-related identities is rising. However, how workers deal with this has received only limited attention from researchers.

This paper aims to explore how Indonesian males who are entrepreneurs in make-up artists navigate their businesses in a society that relies on hegemonic masculinity. This goal is reached by concentrating on male make-up artist entrepreneurs in five Indonesian provinces and investigating how they actively rewrite their gender and inherent vocations by societal norms.

This paper adopts a qualitative phenomenological approach with methods. In-depth interviews and observations were conducted with 28 informants in five provinces of Indonesia.

These findings show that, aside from self-concept, family support is the most crucial determining factor that pushes men make-up artists to become businesses in the face of so many rejections. Persistence in battling for their fate is also critical in efforts to erase themselves, who are constantly subjected to hegemonic masculinity. Aside from that, it appears that the government's role in attempts to promote gender equality in all fields of business in Indonesia remains limited.

This paper contributes to the gender and entrepreneurship literature by providing a broader exploration of male entrepreneurs working in the field of female make-up artists in a society that still adheres to hegemonic masculinity.

The idea of “creating something from nothing” resonates strongly with the creation process associated with artists. The Levi-Strauss and Baker and Nelson discussions also refer to entrepreneurial bricolage as something that entails a “make do with what is at hand”. The purpose of this paper is to investigate how artists utilise bricolage to create projects and develop their skills. Little is known of their perceptions of entrepreneurial behaviour and bricolage, and how they construct these bricolage networks. The tension between sharing, creating and to maintain a personal brand is negotiated by leveraging these bricolage relationships.

In-depth interviews with artists that actively make a living from their involvement in the creative industries were conducted. This provided insight into their perceptions on networking and bricolage. Since networking is such an individual and interchangeable process the interviews allowed the author to unravel these complexities of the relationships.

The findings produced two themes. The first, demonstrated the entrepreneurial behaviour of these artists and their unique contributions. The second theme involved the bricolage relationships formed to overcome resource constraints. The collaborative nature highlighted the co-creation relationships that are strategically formed to provide long-term opportunities and sustained working relationships.

This study contributes to literature on bricolage, management, creative industries and entrepreneurship in non-traditional settings.

This study contributes to theory on bricolage and entrepreneurial behaviour in small enterprises and creative industries. Artists can benefit from the knowledge to build strategic networks to secure future work.

Educators can use this information to prepare aspiring artists to create more independent and/or interdependent entrepreneurial projects.

This work encourages further cross-disciplinary research on the arts, entrepreneurship, networking and small business studies.