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The purpose of this article is to examine the similarities between creative business leadership and successful artists and to illustrate how the label “outside artist” is a romantic myth.

Making use of four cases in classical music history, this study analyzes how a quartet of musical artists negotiated their space inside highly organized and changing environments.

Many qualities exhibited by musical artists are similar to those required of successful organizational managers. One of the reasons that insider artistry is a complex phenomenon is that socio-organizational conditions are not fixed, they change. Therefore, each new generation of artists has to invent new strategies to get the job done.

Understanding the nature of these similar qualities will help clarify the issue of making art work inside organizations and dispel erroneous assumptions about the role of artists in these organizations.

This article will contribute to the practical as well as the philosophical conversation about the place of artists inside successful organizations in society.

The purpose of this paper is to examine the impact of digital platforms on the contemporary visual art market. Drawing on the theoretical insights of the technology acceptance model, the meaning transfer model and arts marketing literature, the authors conceptualise the role of user participation in creating the meaning and value of contemporary artworks in the online art market.

The authors conduct a qualitative study of Saatchi Art as an instrumental case for theorising. It is an online platform for trading visual artworks created by young and emerging artists. The data for this study were collected through direct observation and documentary reviews, as well as user comments and buyer reviews from Saatchi Art. The authors reviewed 319 buyer comments Art and 30 user comments. The collected data are supplemented with various secondary sources such as newspapers, magazines, social media texts and videos.

The growth of digital art platforms such as Saatchi Art provides efficiency and accessibility of information to users while helping them overcome the impediments of physical galleries such as geographical constraints and intimidating psychological environments, thereby attracting novice collectors. However, users’ involvement in the process of valuing artworks is limited and still guided by curatorial direction.

The first limitation of this research is that the data in this research cannot capture interactions between users, though users’ intention to use Saatchi Art is affected by the social influence of other users. Second, this research has not examined artists as users of digital art platforms and their interactions with other types of users. Artists’ intention to use the online platform might be underlined by enhancing their status in the peer group or seeking legitimacy in the field by following other artists and getting recommendations from important referents.

The outcomes of this research suggest that newcomers in the online art market should acknowledge that users’ intention to use the online art platform is determined by not only technological usefulness of the website but also the symbolic capital of the information provider.

User participation in the online art market is guided by curatorial direction rather than social influence. This confirms re-intermediation of marketing relationships, highlighting the role of new intermediaries such as digital platforms in arts marketing.

This chapter begins with a brief journey through the history of art in order to point out art serves both social and psychological functions and how it is tinged by civilizational and historical context by accumulating layers of purposes and sense from the past times and diverse mind frames. Art produced in the first quarter of the twenty-first century has absorbed the late trends of the twentieth century and has traced and reinforced some paths, especially those in connection to economy (art as a valuable market product) and society (art as statement, critical posture and participatory citizenship). The chapter brings together these ideas with examples showing, on one side, the economic connection of art to the market and mass consumption, while other projects, on the other side, include a politicized facet and activism through self and collective curatorship, participatory art and glocalization of its matters of interest, audiences and social impact.

This study aims to understand the lasting relationship between luxury fashion and art. The purpose of the paper is to explore whether the application of art, the cooperation with artists, the implementation of experiential strategies focusing on retail spaces and shows embedded in the strategic concept of a luxury brand lead to a competitive advantage and to a sustained value creation for luxury brands.

Based on the literature, the strategic role of art and the importance of experiential marketing for the value creation of European luxury fashion brands was explored through empirical data collection, consisting of 26 semi-structured in-depth interviews. The gained data have been analysed through a thematic analysis approach and triangulated to avoid bias.

The exploratory study revealed that when art is applied as a strategic tool, it is of relevance to achieve an authentic fit to the brand. When integrating art consistently and authentically within the whole value chain system, it leads to a higher brand equity.

The paper provides a guide for both academics and marketers as theoretical frameworks are examined, analysed and future recommendations are given, which are suited to be applied within the brand management principles.

The outcome contributes to a wider delineation regarding the future of luxury brands. The study reveals novel viewpoints concerning the integration of arts in luxury brand marketing and adds to existing literature.

This research makes a fresh contribution by exploring an understudied aspect of the Tropicália movement: visual performance. After offering a historical overview, we examine the movement’s communicative legacy. We contend that, in addition to song’s lyrics and musical symbols, it is vital to consider a third dimension: visual performance.

The addition of the visual allows for a more fundamental understanding of the many complex meanings that the Tropicalistas constructed in their resistance to political oppression, as well as broader cultural mores and expectations.

Our examination of archival performance videos reveals that Tropicalistas employed modes of dress and a specific, intentional orientation toward their listeners as particularly powerful tools of expression. Revealing these two dimensions of Tropicália performance allows us to better understand the importance of performance as a key element of resistance. The Tropicália movement’s performative reconfigurations of self and other became a vital channel through which the Tropicalistas manage to speak truth to power to challenge the oppressive military regime and question assumptions about Brazilian national identity.

Exploring the role of performance as part of the overall meaning of musical expression opens up new vistas of understanding. While relevant to Tropicália as a pivotal and wholly Brazilian artistic movement, the contributions of this study have implications beyond this particular setting. The analytical approach reveals how artistic movements can serve as both the substance and the expression of national being.

This chapter looks at New York City through the educational discipline known as aesthetic education (AE). It provides an example of an adaptation of this inquiry-based methodology that emerges from a freshman transition course, Discover New York (DNY) taught by the author at St. John’s University. Through an examination of classroom pedagogy within the context of the course focus – homelessness in New York City – readers gain: an understanding of aesthetic education as a powerful tool for student engagement in general; and strategies for adapting processes described in the chapter into their own educational practice. Aesthetic education is an approach to learning that has at its center the use of works of art as texts to ignite curiosity and the desire to know more. In the case of this chapter’s journey, the city itself serves as the text, the “work of art.” The chapter maps classroom activities that engage learners’ imaginations in general inquiry, and deeper investigations into the central focus of the course, homelessness, addressing as well an integral element of the course, Academic Service Learning. Finally, it invites the reader to imagine how AE methodology might prove useful to other relevant courses, contexts, and settings.

Based on the analysis of the data of the landscape live performances which have already been performed, this paper combs the development process of the live performances and other information of the performance types so that the public can have a clearer and clearer understanding of the live performances. Through time-frequency domain analysis method, the characteristic elements of waveform music are extracted and classified into sub-music segments in different rough emotional domains according to certain classification methods. And the application weights of the feature values of each music feature are defined in different emotion domains, which makes the input of the system more rational. For the output of the light action control data, this article has a certain interpretation of the DMX512 data, making the interpretation of the output more intuitive. The basic characteristics of music include speed, mode, beat, tone, volume, and the pitch, pitch, and length of notes. Therefore, in the future, the method of realizing music visualization in architectural lighting design and the method of realizing interaction with people will have more possibilities.