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The purpose of this paper is to report on the current state of arts entrepreneurship education at higher educational institutions (HEIs) in the UK and Germany. It is based on findings from questionnaire surveys among 210 lecturers in fine art at 89 HEIs in the UK and Germany.

This paper explores issues related to fine art curriculum in higher education in the UK and Germany via survey questionnaires among 210 fine art lecturers with focus on arts entrepreneurship.

The study shows evidence that an arts entrepreneurship education, although considered by lecturers to be important and necessary for the professional and entrepreneurial preparation of fine art graduates, is definitely not implemented at HEIs, in neither the UK nor Germany.

The findings stimulate the discussion in the field of arts entrepreneurship and the redesigning of fine art curriculum to prepare fine art graduates for their entrepreneurial and professional careers.

There is still a marked paucity of research that focusses on arts entrepreneurship education. This study contributes to the knowledge by presenting specific findings related to fine art curriculum.

The purpose of this paper is to elucidate the current state of arts entrepreneurship education at higher educational institutions (HEIs) by reviewing the relevant literature and surveying lecturers in Fine Art.

The analysis of fine art students’ educational situation at HEIs in the UK and Germany is conducted in two steps: first, a literature review provides an overview of the current state of arts entrepreneurship education, followed by the second step of a cross-sectional survey by questionnaires among fine art lecturers to capture their perspectives of fine art students’ professional preparation.

The study confirms the assumed poor state of arts entrepreneurship education at HEIs by showing evidence that an entrepreneurial education of fine art students is definitely not implemented at HEIs, neither in the UK nor in Germany.

The findings stimulate the discussion of HEIs’ task and responsibility to professionally prepare fine art graduates for their entrepreneurial and professional career.

The study contributes to knowledge by presenting relevant findings related to fine art curriculum and current state of fine art graduates’ vocational preparation.

I can think of no better way of beginning this paper than by defining a Fine Arts Library; and no better definition of a Fine Arts Library than that given by Mr. Wheen in describing the Victoria and Albert Museum Library. It is, he says, a library for the study of the history, philosophy, technique and appreciation of the arts. The arts referred to are of course what are generally known as the Fine Arts, and those, for the purposes of this paper, are in three main classes: Painting, which includes sculpture, drawing and applied fine art; Architecture, which includes town planning; and Music, with which we may include the dance, the drama, and other entertainment arts developing from them.

This study aims to determine the influence of relationship marketing on consumer behavior in the fine arts sector. Specifically, it examines the relationship marketing dynamics that significantly impact art enthusiasts' intention to purchase and their satisfaction with the artist.

The proposed model was tested through the “structural equation modeling” technique to explain how and to what extent each variable affected purchase intention and satisfaction. Using a paper-based and online survey method to gather data, the authors analyzed 303 responses from art students, art collectors and art dealers in Mongolia. Eight hypotheses, including two mediating hypotheses, were developed and tested.

The results indicated that relationship investment and communication significantly influence trust, satisfaction and purchase intention, while trust significantly influences satisfaction and purchase intention. The study also assessed the vital role of trust as a mediator.

The study's results provide insights that may help artists, art collectors and art dealers promote and improve the sales of their art products. The interactions demonstrated between the construct reveal essential implications for art marketers interested in relationship marketing strategies.

This study is the first to explore the application of relationship marketing in the fine arts industry.

The purpose of this paper is to refine and measure esthetic development.

Three phrases of data collection were conducted utilizing four separate student samples (n = 120, 154, 241, and 343). In Phase I, an initial esthetic development stage model was tested with a constructed response test format using generalizability measurement theory. In Phase II, this conceptual model in esthetic development was refined with a modified constructed response format. In Phase III, a selective response test format was designed with five esthetic development stage scores, which were correlated with several artistic discipline-based and interdisciplinary courses.

Higher esthetic development stages correlate with verbal ability and grades in interdisciplinary general education arts courses. Lower esthetic development stages were associated with lower verbal ability and grades in traditionally taught discipline-based arts courses.

What this study did not do is examine whether attendance at arts events and activities support or lead to higher esthetic development.

People at Stages Four and Five of this esthetic development model are able to compare artistic experience – whether visual or performing art – within a historical and cultural context or perspective. Individuals at these highest stages are able to communicate about the social significance and societal themes of the artistic experience to wider audiences.

No accepted model or assessment method about the arts in higher education is available. Although the arts are commonly accepted as important in higher education, there is a paucity of research about esthetic development in the curriculum. This paper attempts to address this gap, in part, and to advance further study about quality of arts’ programs and activities in higher education.

The purpose of this paper is to report on the outreach activities of the Fine Arts Library at Ohio State University.

Outreach at Ohio State is intended to have global impact, but successful outreach is often hampered by lack of partnerships, funding restrictions, and a monolithic approach to the patron. The paper reflects on each of these issues and discusses the strategies used by the Fine Arts Library to conduct outreach with user‐focus and budgets in mind.

The paper finds that there are techniques for outreach that involve small outputs of funds but have larger impacts. Moving past a “one size fits all” philosophy for outreach allows the Fine Arts Library to connect with the patrons it is best able to serve.

While the phrase “think globally, act locally” is well‐known, it can often be forgotten in libraries, where the goal to reach as many people as possible is very important. This paper suggests that the returns on the local investment are incredibly important to the global missions of libraries.

Communications regarding this column should be addressed to Mrs. Cheney, Peabody Library School, Nashville, Term. 37203. Mrs. Cheney does not sell the books listed here. They are available through normal trade sources. Mrs. Cheney, being a member of the editorial board of Pierian Press, will not review Pierian Press reference books in this column. Descriptions of Pierian Press reference books will be included elsewhere in this publication.

This paper aims to provide a classification for the process by which crafters find appropriate consumers in the post‐modern market structure that exists between black or gray markets where illegal or illegally obtained goods are sold, and the markets that serve the Fordist, mass‐production, mass‐distribution portion of an economy.

Principally the research was done via personal interviews and visits to craft show sites and comparing the findings to the existing street‐market structures of Europe.

The institutions that have evolved to support market segregation/segmentation in crafts markets are interesting and are better understood within a classification system like the one developed here. How these institutions differ from the street‐market culture of Europe lends an insight into this uniquely American post‐modern market system.

This study is the beginning of a larger body of work that should be undertaken to better comprehend how the increasing post‐modern market structure is interacting with and occasionally replacing, the traditional market structures in the USA.

As the post‐modern market structure becomes more prevalent in the USA understanding how it is similar to and differs from, the comparable market structures in Europe is important to policy decisions on the local level, particularly with respect to local support of this type of market.

This work extends earlier work looking at farmers’ markets into the crafts market environment. As such it brings the overall understanding of the post‐modern market structure in to more clear focus.

The purpose of this paper is to visually map the arts marketing journal literature.

An extensive title and abstract search was carried out to identify literature on the relationship between art and the market. Papers were then classified by topic. Visual maps were drawn showing topic coverage in relevant areas.

The literature dealing with the relationship between art and the market is found to be extensive and multi‐disciplinary. The search found just over 1,500 papers.

This was a mapping exercise rather than an analysis of the issues. Many different disciplines have a stake in understanding the art‐market relationship. Arts marketing scholars can benefit from engaging with research in this area, which is outside the marketing academy.

The maps provide a visual guide to the work, which has already been done across a wide range of disciplines and journals. They enable academic and professional readers to see where knowledge and insights may already exist and where work remains to be done.

Given the recent growth in arts marketing research, the paper provides a timely map of the territory.

Why should businesses invest in the arts? Why ‘sing for your supper’ when you can earn much more by coding? In an era when artificial intelligence (AI) is forecast to eliminate millions of jobs, many educators and policy-makers advocate scientific, technology, engineering and mathematics (STEM) education as the solution to future unemployment. They envision a workforce of diligent coders who automate everything, including their own jobs. While useful for finding tech jobs today, this myopic approach ignores the coming ‘Cambrian explosion’ of content and services that are being catalysed by exponential technologies. In Silicon Valley, virtual reality (VR) and augmented reality are already being applied to surgery, warehousing, retailing, architecture, construction, cars, therapy and concerts. Top VR managers and developers come from the social sciences and humanities, which provide the analytical and social skills for understanding customers and identifying new use cases and business models. STEM alone cannot answer the complex ethical and policy issues facing businesses: companies need employees with ‘soft skills’ who can integrate STEM with the arts (STEAM). In Silicon Valley today, the most challenging jobs are going to people who can offer practical answers to bottom-line questions about the value of social, cultural and artistic soft skills. What is the value of the arts for business growth? What can businesses learn from the creative industries? How can return on investment in the arts be measured? How will STEAM and exponential technologies enable new business models? How can STEAM education prepare people for the AI era?