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Graduate unemployment is widely reported not only in Ghana but also across the globe. The purpose of this study is to examine the relevance of the HND Commercial Art Programme, Graphic Design (CAPGD) option, to the graphic art industry and to determine the work readiness of graduates of HND CAPGD at the world of work.

A qualitative, evaluative case study research design was adopted to examine the perspectives of stakeholders of CAPGD. It was a multiple case study, which involved faculty members, graduates and industry-based supervisors. The study was conducted using in-depth semi-structured interviews and focus group discussions to obtain in-depth interpretations and conclusions that reflected the perceptions of the stakeholders.

The qualitative results indicate that the existing curriculum, based on the old polytechnic educational system, does not provide adequate practical approach to teaching and learning processes. Hence the majority of graduates lack competencies to meet industry's expectations.

The key limitation is lack of database on the HND Graphic Design graduates at Takoradi Technical University. This affected the data collection process as the HND Graphic Design graduate participants were not easily accessible, and, as such, much effort and risk were required to contact them. Considering the implication for education policy, the findings propose stakeholders' collaboration to ensure cross fertilization of ideas (Nwajiuba et al., 2020). Hence, a compilation of database could engender further study in this area and thus form the bases of a mixed method approach resulting in in-depth analysis for fresh insights into the study.

The findings provide unique insights into work readiness of Commercial Art graduates, specifically in Ghana, as it seeks to bridge a gap in literature.

The information age is upon us. In schools across the country, administrators are making important decisions about how best to employ computer technology. This case study of an expert educational administrator looks at computer use from a problem‐solving perspective, focusing on the relationship between how this school leader thinks about and acts on technological capacity. It examines the personal attributes and perceptions that underlie his effective application of technology and finds them interwoven with the same cognitive and behavior skills he employs across his problem solving. It explores the connections he makes between school and community and between administrative and instructional technology.

Argues that the general area of commercial sponsorship activity, while attracting increasing interest from marketing practitioners as an important strategic option in marketing communications, has not been the subject of sufficiently rigorous and comprehensive investigation by theoreticians. States the purpose is to establish and consolidate the available body of knowledge combining an overview of the standard conceptual approaches to marketing communication with an examination of the recent academic research in sponsorship, while maintaining a focus on current marketplace practice. Argues for a coherent and structured approach to the management of sponsorship expenditure through the application of a ‘management by objectives’ approach. Parameters are established in terms of a working definition of sponsorship, a review of its commercial development and an overview of current activity. Develops a commercially ration framework within which sponsorship activity may be undertaken. Views objective‐setting as the cornerstone of sponsorship management and outlines a classification of sponsorship objectives that subsumes current practice clarifies the range of potential benefits. Examines the criteria that govern rational sponsorship selection and proposes an evaluation strategy based on stated criteria. Methods of evaluating effects of marketing communications (sponsorship particularly) are examined and new evaluation techniques are advanced to facilitate the implementation of this rigorous scientific approach.

The main purpose of this paper is to approach the legal problems of mass privatisation in Poland. The authors present the structure of national investment funds which intend to be the experimental financial intermediaries in Poland. Their assets are quoted on the Stock Exchange in Warsaw from the beginning of May 1997. New and controversial roles of management firms are discussed in this paper.

Television critics play a central role in the interpretation of cultural forms, objects, and productions. In contrast to critics in elite art worlds, the role and status of television critics are less institutionalized and less well understood. One indicator of the degree and status of the institutionalization of critics’ roles is the codification of evaluative criteria and critical practices. Our research examines whether critics in television draw upon a recognizable set of evaluation criteria, and if so, whether that repertoire of aesthetic concepts increasingly parallels criteria employed by critics in elite art worlds. Using multidimensional scaling to delineate television criticism over the last two decades, a period of considerable transformation in the industry, we find that television criticism attends to a core set of conventional criteria. These include appraisal of formal aesthetic elements, signaling increased attention to television as an art form, while retaining consideration of factors such as entertainment value that are of interest to audiences and business constituencies alike.

In recent years, OpenGLAM and the broader open license movement have been gaining momentum in the cultural heritage sector. The purpose of this paper is to examine OpenGLAM from the perspective of end users, identifying barriers for commercial and non-commercial reuse of openly licensed art images.

Following a review of the literature, the authors scope out how end users can discover institutions participating in OpenGLAM, and use case studies to examine the process they must follow to find, obtain and reuse openly licensed images from three art museums.

Academic literature has so far focussed on examining the risks and benefits of participation from an institutional perspective, with little done to assess OpenGLAM from the end users’ standpoint. The authors reveal that end users have to overcome a series of barriers to find, obtain and reuse open images. The three main barriers relate to image quality, image tracking and the difficulty of distinguishing open images from those that are bound by copyright.

This study focusses solely on the examination of art museums and galleries. Libraries, archives and also other types of OpenGLAM museums (e.g. archaeological) stretch beyond the scope of this paper.

The authors identify practical barriers of commercial and non-commercial reuse of open images, outlining areas of improvement for participant institutions.

The authors contribute to the understudied field of research examining OpenGLAM from the end users’ perspective, outlining recommendations for end users, as well as for museums and galleries.

The purpose of this paper is to consider the social turn in contemporary capitalism and contemporary art through the lens of art-based social enterprises (ASEs) that aim to create positive social benefits for young people experiencing forms of marginalisation, and which trade creative products or services to help fulfil that mission. A growth in ASEs demonstrates a growing interest in how the arts can support social and economic development, and the ways new economic models can generate employment for individuals excluded from the labour market; extend opportunities for more people to participate in art markets; and challenge dominant market models of cultural production and consumption.

This paper considers a number of challenges and complexities faced by ASEs that embrace a co-dependence of three goals, which are often in tension and competition – artistic practice, social purpose and economic activity. It does so by analysing interviews from staff working with 12 ASE organisation’s across Australia.

While the external forces that shape ASEs – including government policy, markets, investors and philanthropy – are interested in the “self-sufficient” economic potential of ASEs, those working in ASEs tend to prioritise social values and ethical business over large financial returns and are often ambivalent about their roles as entrepreneurs. This ambivalence is symptomatic of a position that is simultaneously critical and affirmative, of the conditions of contemporary capitalism and neoliberalism.

This paper addresses a gap in social enterprise literature presenting empirical research focussing on the lived experience of those managing and leading ASEs in Australia.

The purpose of this paper is to explore the implications of a greater marketing orientation among arts organisations and its impact on funding through sponsorship.

Utilising a qualitative methodology, the study employs case studies for the purpose of formulating tentative and emergent knowledge.

The case study observations reveal the adoption of a marketing orientation across the sample and most significantly for the purposes of securing and consolidating sponsorship relationships. But contrary to popular academic theory this is managed without significant threat to artistic integrity or adaptation of theatrical productions.

Data were derived from a purposive but limited sample. The advantages of a qualitative method in producing rich data is well established, however a longitudinal study would facilitate the understanding of the temporal shifts in arts sponsorships and counter the limits of the cross‐sectional nature of the study.

The study reveals a managerial capacity for arts organisations to attract sponsorship through customer orientation without the need to compromise its artistic and social goals.

A central concern to the increasing significance of business and private funding for the survival of arts organisations is the impact this has on the producers ability to remain faithful to the artistic integrity of their productions. This longstanding academic debate now has predominance in arts marketing management and the issues addressed in this paper serve to address this shift in emphasis.

This chapter will look at the development, types and effectiveness of new forms of advertising in television (NFAs) and report on the current state of research in the field.

The most relevant contributions from the literature describing the practice and assessing the effectiveness of NFAs are presented and reviewed.

NFAs have emerged in response to the decreased effectiveness of conventional television advertising (spots) due to audience fragmentation, zapping, saturation and increased competition. Currently, NFAs are widely used around the world. Although the available empirical evidence indicates that NFAs are more effective than traditional spots in terms of recall, this chapter points to a need for better scientific understanding of key aspects of these new formats. Given the important role that NFAs play in how today’s television advertising market is managed, further research is needed on their effectiveness.

The literature on the practice and analysis of the effectiveness of NFAs is unfocused and varied, making it difficult to adequately determine whether the growing use of these formats can be justified on the grounds of proven arguments regarding the qualities that set them apart from traditional spots. In this regard, the summary provided in this chapter of both the state of knowledge about different types of new advertising formats on TV and their effectiveness is an important reflection of the state of the art in research on these formats.

The purpose of this paper is to discuss findings from the formative evaluation of a national public library development initiative in England, with a focus on the practice and impact of collaborative leadership.

A realistic evaluation approach was used in the study, enabling a nuanced assessment of the initiative’s contexts, mechanisms and outcomes in relation to its core objectives. These included testing innovative, partnership approaches to library service delivery, encouraging greater synergy between libraries and the arts and other public and commercial sectors. Evaluation findings are subsequently contextualised using a conceptual framework drawn from critical management studies on collaborative advantage.

Data show that the initiative was an effective catalyst for enhanced collaborative leadership in the public library sector, including the development of a cross-sector community of practice, with evidence of collective ownership and decision making. The relative collaborative advantages of the initiative are underpinned by evidence on the unique value of public library services to collaborating organisations and sectors.

Outcomes are of relevance to a range of public services and governing bodies with reference to shared strategic objectives with other sectors and services and collaborative leadership learning and practice.

There are implications relating to the public value of library services and how this can potentially be enhanced via collaborative leadership approaches to service design and delivery. This is especially pertinent given current cross-government policy drivers towards integrated public services.

The research makes an original contribution to contemporary debates on cultural value in considering the cross-sector role and impact of collaborative leadership.