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Information makes an important contribution to the promotion of the creativity of visual artists. This work aims to explore relevant research through a systematic review of the literature and discuss the impact of information on visual artists' creativity.

A systematic literature review was conducted through Preferred Reporting Items for Systematic reviews and Meta-Analyses method. The authors searched and retrieved 1,320 papers from which, after evaluation, 41 papers have been analyzed.

Two thematic categories were identified for visual artists' information needs: (1) the need for professional development and (2) the need for creative techniques and materials. In terms of information sources visual artists employ, the authors have also identified seven broad categories: (1) conventional resources (galleries, museums, etc.), (2) professional scholar sources, (3) digital art websites, (4) informal information online and colleagues, (5) libraries, (6) personal collections and (7) professional scholar social networks. In addition, the study proceeded to classify the obstacles faced by visual artists in their search for visual information into two general categories: (1) environmental barriers and (2) digital literacy barriers.

Although the investigation of the information needs satisfaction of visual artists as well as the evaluation of their information behavior patterns and information literacy competences is essential, it is understudied. This paper summarizes the relevant literature in a concrete and systematic way providing evidences to be considered in a variety of situations, i.e. developing lifelong learning programs, managing visual art library collections, library services development for artists, etc.

The purpose of this paper is to understand young children’s knowledge of visual literacy elements as well as their ability to comprehend newly introduced visual literacy concepts. The study also examined existing support for visual literacy programs from parents and educators.

The study explored the knowledge of basic visual literacy elements of young children enrolled in two private schools in the New York City metropolitan area. The authors interviewed 17 children, aged four to six years old, about fine art paintings using a semi-structured interview format. Children’s responses were qualitatively analyzed to determine their initial level of visual literacy and their ability to learn and retain the concepts of visual literacy after receiving basic instruction. The children’s educators and parents completed online questionnaires that were quantitatively analyzed to determine their level of support for visual literacy programs.

The findings show that young children exhibited extensive knowledge of simple visual literacy elements (color, shape, line), and limited understanding of more abstract elements (perspective and salience). Children’s knowledge of visual elements improved after instruction. Parents and educators expressed support for incorporating visual literacy instruction in early childhood education.

The study relied on a sample of children and adults drawn from two private schools. The sample’s demographics might have affected study findings. More studies are needed using a larger and more diverse sample.

The study suggests that young children are ready to receive instruction on visual literacy elements using art images. Children reacted positively to the images and were engaged in the discussions about them, supporting the use of fine art paintings as an instrument to introduce visual literacy concepts to young children. Survey of children’s parents and teachers indicated strong interest in, and support for such programs.

With the increase of visual information production and consumption, it is important to introduce visual literacy early in life. The study advances research in methods for developing visual literacy instruction for young children.

There are no previously reported studies that have examined pre-kindergarten children’s knowledge of basic visual literacy elements and reactions to visual literacy instruction.

To contemplate how the arts might inform organizational studies by investigating how historically based visual art images contribute to an understanding of workers' experiences during the Depression era (1930‐1941) in the USA.

Inductively looked for patterns among collected visual art images pertaining to work during the Depression era to establish narratives about how workers experienced work.

Two contrasting characterizations of workers are revealed, namely the “manly worker” and the “beholden worker.” The former shows workers as healthy, robust, and well‐muscled, in control of the machine, and optimistic about the future. In contrast, the “beholden worker” images illustrate workers as tired and dejected, in servitude to the machine, and uncertain about finding a healthy balance between technology and person. Closer scrutiny of the results reveals how visual art images aid organizational scholars by providing useful information and raising new questions about the organizational environment during the Depression era, how workers might have behaved in this setting, the significance of the “beholden worker” characterization, and the meaning of work. Moreover, the approach taken by visual artists offers potential methodological contributions to organizational research namely through attention to description, worker and setting selection, and individual emotions.

Neither of the image narratives of workers exist in the organizational literature suggesting that new management visions can come from revisiting the past and considering other disciplines. More specifically, the visual images help in better understanding the Depression era, and demonstrate how organizational studies could benefit by including an arts perspective.

The purpose of the paper is to study the interconnections between visual management, performance management and continuous improvement programmes and to suggest a practical framework to establish an effective visual management programme in association with performance management and continuous improvement systems. For the sake of simplicity, this paper refers to such a programme as integrated visual management (IVM) throughout this paper.

The following research included proposals and discussion, which were based on a case study which took place at a quality assurance (QA) department in PACCAR Australia, a global premium truck manufacturer, as well as authors’ own findings and experience, in addition to a literature-based review on visual management, performance management and continuous improvement. A systematic approach was followed to establish an effective IVM system. This paper is composed of two sections. Some of the most important literatures on visual management, performance management and continuous improvement are reviewed in the first section. Then the findings, as well as some other author findings, on why visual management works are summarised. The second section is dedicated to the case study.

Visual management can provide a simple and yet effective solution to enhance information flow in organisations. However, for visual management to yield its full benefit, it needs be part of a bigger plan. It has to be linked to a performance management programme, which provides input into visual management, and a continuous improvement initiative, which receives inputs from visual management. This paper proposes a practical framework to establish an IVM programme and provides a detailed description of its phases. The paper also presents the results achieved, during our case study, and views on the integration benefits, as well as on how to successfully implement an IVM programme. A systematic approach to establish an effective IVM system was followed. It laid a solid foundation to facilitate an effective flow of information in QA in its respective areas. This programme not only improved an understanding of the processes and raised awareness about the performance and associated issues, it also boosted transparency, discipline, shared ownership, team involvement and scientific mindset. It assisted in achieving significant and concrete process improvements. It helped in establishing a productive continuous improvement programme. It was observed that while visual management, performance management and team or company continuous improvement programmes each served a benefit individually, when they were linked together, as a whole, their synergy allowed for more significant achievements.

The scope of this research is limited to use of visual management to manage performance and to lead continuous improvement initiatives. The research was performed in a manufacturing environment. Even though it is believed that the suggested framework for IVM and the findings are applicable to other business environments as well, further research in this direction is required. Also, the interconnection between visual management, continuous improvement and performance management based on a case study was investigated. More quantitative researches, on bigger scales, are required to better understand the mentioned interactions and to enhance our knowledge of these tools in a holistic manner.

The originality of the papers comes from its holistic approach to visual management, performance management and continuous improvement programmes and the suggested framework to establish an IVM programme.

The purpose of this paper is to look into the knowledge‐intensive work that entangles the use of various visual representations such as drawings, CAD images, and scale models. Rather than assuming that knowledge is exclusively residing in the human cognitive capacities, most knowledge‐intensive work integrates a variety of perceptual skills and the use of language.

A case study of a Scandinavian architect bureau, including semi‐structured interviews with architects, design engineers and managers, was conducted.

The study shows that architects mobilize and use a variety of visual representations in their day‐to‐day work. Such visual representations serve a variety of roles and purposes but actually more generally enhance communication between colleagues and external stakeholders. The paper concludes that visuality and visual representations deserve a more adequate analysis in the knowledge management literature.

The paper contributes to an understanding of how visual representations are constitutive of knowledge and central to architect work. Rather than residing in language or being embodied, knowledge is developed through the use of a variety of tools and aids.

A great artist creates a mural which, bearing his name, eventually reaches the hands of a purchaser who objects to the nude figures that the creator had seen fit to incorporate into his tableau. The purchaser, therefore, employs another artist to drape the figures. In a now famous decree the German Supreme Court, in 1912, held that the transferee of the mural in a case involving these facts, could not have changed it to suit his individual preferences.

This study aims to discern emerging trends and provide a longitudinal perspective on merchandising research by identifying relationships between merchandising-related subdomains/themes.

This study sourced 657 merchandising-related articles published since 1960, from the Scopus database and 425 from Web of Science. After processing and normalizing the data, this study performed co-word and thematic network analyses. Taking a text mining approach, this study used topic modeling to identify a set of coherent topics characterized by the keywords of the articles.

This study identified the following merchandising-related themes: branding, retail, consumer, behavior, modeling, textile and clothing industry and visual merchandising. Although visual merchandising was the first type of merchandising to be used in-store, only recently has it become an emerging topic in the academic literature. There has been a further trend over the past decade to understand the adoption of simulation technology, such as computer-aided design, particularly in supply chain management in the clothing industry. These and other findings contribute to the discussion of the merchandising concept, approached from an evolutionary perspective.

The conclusions of this study hold implications at the intersection of merchandising, sectors, new technologies, research methodologies and merchandising-practitioner education. Research trends suggest that, in the future, virtual reality and augmented reality using neuroscientific methods will be applied to the e-merchandising context.

The different dimensions of merchandising can be used to leverage store managers’ decision-making process toward an integrated store-management strategy. In particular, by adopting loyalty merchandising tactics, the store can generate emotional attachment among consumers, who will perceive its value and services as unique, thanks to merchandising items designed specifically with that aim in mind. The stimulation of unplanned purchases, the strategic location of products and duration of each merchandising activity in the store, the digitalization of merchandising and the application of findings from neuroscience studies are some of the most relevant practical applications.

This study provides the first-ever longitudinal review of the state of the art in merchandising research, taking a holistic perspective of this field of knowledge spanning a 60-year period. The work makes a valuable contribution to the development of the marketing discipline.

The aim of this study is to investigate how the information needs satisfaction of visual art teachers affects their creativity. Visual art teachers’ information seeking behaviour and specifically the association of information needs satisfaction with creativity has been an understudied area, despite competent information seeking being considered essential for high quality practices of art teachers.

A questionnaire survey was developed addressing the information seeking behaviour of art teachers, informed by Wilson’s model (1981), including visual art teachers’ information needs, information resources, obstacles faced while seeking information and the perceived impact of information needs satisfaction on visual art teachers’ creativity.

The study included 298 visual art teachers in Greece. The results demonstrated that the key information needs of art teachers were mainly related to materials’ properties, techniques for creating artwork and artwork promotion methods. Online information sources were the preferred sources of art information, followed by colleagues, personal collections and visits to galleries and museums. Our study identified lack of time, lack of specialized libraries and copyright, as the main barriers to information seeking.

Information about art plays a substantial role in visual art education, while visual art teachers’ information needs satisfaction positively influences their creative endeavours. There is a need to further explore the digital information needs of visual art teachers.

This paper aims to offer a novel participatory visual research method, the mapping of identity (MOI) protocol that embraces the complex nature of contemporary consumers’ lived reality.

The MOI protocol is a two-phase methodology. The first phase includes collage creation, based on a taxonomy of attachments, followed by an elicitation interview structured around the participant’s collage. In phase two, the categories elicited in phase one are synthesised into key themes in collaboration between the researcher and the participant.

MOI methodology provides an effective platform for participants to bring together disjointed memories, fragments and thoughts. Two individual cases are presented that seem similar on the surface; however, when deconstructing these narratives, their lived experiences and the effect that these narratives have on the construction of the self are very different. Treating participants as co-researchers and letting the choices they make in their collage creation lead the interview empowers the participant and enables the researcher to better understand their complex identity articulations.

This study contributes a visual methodology capable of exploring and celebrating the complexities of self-identity.

MOI is a useful tool for facilitating self-exploration in liquid markets. Marketing experts should provide materials that are not too confining and facilitate consumers in expressing multiple voices.

The participatory nature of MOI methodology allows for the emergence of stories from those that might otherwise go unheard, helping to understand unfamiliar and sometimes unrecognised identities.

Marketing literature recognises the complex nature of contemporary lived reality; however, some of the intricate aspects of this reality have not been dealt with in all their complexity. A reason for this gap is the paucity of suitable research methods. The MOI protocol presented in this paper addresses this, providing an effective visual tool to explore the complex web of contemporary consumer life.

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.