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There is a long association between the arts and mental well‐being, but this can also be an area of contest and debate. In this commentary on the issues raised by the papers in this special arts and mental well‐being issue of the journal, James Oliver and Paul Murray question the attempt to impose scientific measures of outcome on arts participation, and ask if we should not, instead, regard access to opportunities for creative expression as a legal right and moral duty owing to those whom we, as a society, have excluded from the mainstream through incarceration or labelling.

The purpose of this paper is to introduce the inaugural edition of Arts Marketing: An International Journal and highlight its vision for arts marketing and establish its research agenda.

Relevant articles are discussed through the prism of current academic thinking and the latest policy developments affecting the arts.

It is found that arts marketing promotes significant academic debate, and practical insights are offered into the ways in which the arts (broadly understood) can grow in a commercial world.

Creative solutions are needed not only to offset, but to enable arts marketing itself to grow as a discipline: marketers need to embrace the arts equally as much as artists need to embrace the market.

The “creative insights” section will bring practitioner expertise into the field of the arts from a variety of different perspectives.

The arts, in their varying forms impact on all of society in some shape or form. This journal aims to help raise the profile of the arts, which will in turn, benefit society as a whole.

This introduction establishes a broad arts marketing research agenda for the future.

The purpose of this paper is to focus on arts-based interventions as a management tool for personal, team and organisational development. How have management teams implemented art in their organisations, and toward what end? The literature has focused predominantly on a single case, creating many possibilities of constructing arts-based interventions. Yet, a typology is still missing. This paper examines various arts-based interventions and their underlying principles from a business perspective.

The paper is based on a systematic review of the literature in English and German, with special consideration for articles and books within the field of business.

The typology presented in this paper, based on a mapping of the field, should contribute to a more coherent understanding of arts-based interventions. My goal is to provide researchers with a more structured perspective for approaching this academic area. Furthermore, the findings suggest that over and above the various types of arts that can be introduced to organisations, there are three basic principles for the achievement of this goal.

This paper presents a mapping of the cases in literature on arts-based interventions and presents a coherent understanding of ways of bringing art into organisations.

The three underlying principles presented in this paper should assist practitioners in designing arts-based interventions for specific problems.

This paper provides assistance to consultants, business executives, leaders, managers, researchers and students for understanding the basics of arts-based interventions. Furthermore, it provides a structure for the body of literature on cases of arts-based interventions.

This article is a profile of CoolTan Arts, a pioneering arts and mental heath charity based in South London that believes that mental well‐being is enhanced by the power of creativity. CoolTan Arts exists to inspire the well‐being and creative participation of a diverse range of people through the production of quality arts. It is a participant‐led organisation, run by and for adults experiencing mental distress, underpinning all its activities with advocacy. Totally unique in its approach, CoolTan Arts integrates people with serious and common mental distress with the general public through its gallery and public events.

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.

This review article seeks to draw on experience in the UK to describe the different forms that arts in health activity can take and to examine the challenges for research in this field.

A case study is used to describe the kind of arts in health project that intends to enhance the social capital of its community and to show how difficult it is to measure the effects of this work using conventional measures of health improvement. However, those who are responsible for providing funding for arts in health are increasingly demanding results that indicate a measurable health gain from the projects.

A literature review of the evaluation of arts in health projects in the UK has shown that few aim at direct health improvement but rather at intermediate indicators of health gain, such as raising awareness of health issues and social activity and participation. This suggests that artists instinctively locate their work as having value within a social model of health where improvements in social inclusion and social cohesion are the important indicators which may go on to lead to long‐term improvements to the health of the community in which they are working.

Understanding the nature of this work has implications for the kind of research appropriate to measure its effect and the timescale required for such research.

This article considers how an evidence base may be found for the effectiveness of using arts in mental health care services. It looks at what arts in health work brings to the promotion of social inclusion and summarises current issues in the field. It calls for arts in health workers to share their practice and undertake research as a preliminary to evaluation. It outlines the contextual factors that appear to have a bearing on the successful development of arts in mental health services.

The purposes of this editorial are first, to review the background to, and development of, the Special Issue call for papers issued in March 2013 on the topic of “Brands in the Arts and Culture Sector”, second, to introduce the eight papers in the double issue (seven in the Special Issue plus one paper (by Caldwell)) which was submitted to the journal in the normal course and whose topic fits well with the arts and cultural branding topic, and third, to set out a framework designed to facilitate the analysis of individual arts and cultural brands, as well as the directions for future research in the area.

The papers in this Special Issue use a variety of approaches-some qualitative (e.g. ethnography, expert interviews), others quantitative (e.g. laboratory experiment, surveys); others deal with conceptual issues for individual artists and for the arts market.

Findings and insights relate to topics such as: how the “in-between spaces” (e.g. art studios) can be key building blocks of a strong artist’s brand; the importance of western ideas for the Chinese art market; how pro-activeness, innovation, and risk-taking are the three key drivers for the decision to integrate blockbusters as a sub-brand in museum brand architecture; the importance of experiential design for low-involvement museum visitors; the utility of the notion of brand attachment in explaining volunteering; the potential of visual arts branding for general branding theory; the concept of millennial cultural consumers and how to reach them; and celebrity casting in London’s West End theatres.

The authors believe that all of the papers have implications for future thinking, research, scholarship, paedagogy, and practice in the area of arts and cultural branding.

As far as the editors are aware, this is the first ever journal Special Issue on arts and cultural branding. More specifically, the authors have taken the opportunity to present in this editorial essay the “C-Framework” of arts and cultural brands, which offers a new way of thinking about arts and cultural brands − one which can accommodate classical or so-called “mainstream” branding ideas as well as insights from cultural, media, and consumer studies, and other disciplines. This framework can be applied to individual arts and cultural brands as well as to the entire field.

The purpose of this paper is to relate the growing body of evidence about the impact of creative arts on the health and well-being of older people to the debate about active ageing, prevention and demographic change.

It draws on a range of researched examples in order to illustrate the impact of three different art forms – singing, dance and visual arts – on health and well-being.

The evidence exists in increasing volume and diversity that creative arts not only improve personal feelings of well-being but also key physiological measures. The arts are increasingly recognised as playing a major potential role in the delivery of health and social care interventions. Greater recognition and action are needed from policy makers, commissioners and care providers in health and social care that the arts are not a marginal and elitist avenue but a mainstream tool supporting older people to remain active, healthy and independent. Importantly, they represent a powerful source of motivation, agency and confidence.

It argues that creative arts should become an integral and more prominent part of ageing policy. The evidence exists in increasing volume and diversity that creative arts not only improve personal feelings of well-being but also key physiological measures. The arts are increasingly recognised as playing a major potential role in the delivery of health and social care interventions. Greater recognition and action are needed from policy makers, commissioners and care providers in health and social care that the arts are not a marginal and elitist avenue but a mainstream tool supporting older people to remain active, healthy and independent. Importantly, they represent a powerful source of motivation, agency and confidence.

An important research challenge remains, namely to plot cause (arts intervention) and effect (reduced demand on health and care services), if the creative arts are to occupy a central place in commissioning investment at a time of acute financial stringency in the public sector.

Arts-integration is a promising approach to building students’ abilities to create and critique arguments with data, also known as informal inferential reasoning (IIR). However, differences in disciplinary practices and routines, as well as school organization and culture, can pose barriers to subject integration. The purpose of this study is to describe synergies and tensions between data science and the arts, and how these can create or constrain opportunities for learners to engage in IIR.

The authors co-designed and implemented four arts-integrated data literacy units with 10 teachers of arts and mathematics in middle school classrooms from four different schools in the USA. The data include student-generated artwork and their written rationales, and interviews with teachers and students. Through maximum variation sampling, the authors identified examples from the data to illustrate disciplinary synergies and tensions that appeared to support different IIR processes among students.

Aspects of artistic representation, including embodiment, narrative and visual image; and aspects of the culture of arts, including an emphasis on personal experience, the acknowledgement of subjectivity and considerations for the audience’s perspective, created synergies and tensions that both offered and hindered opportunities for IIR (i.e. going beyond data, using data as evidence and expressing uncertainty).

This study answers calls for humanistic approaches to data literacy education. It contributes an interdisciplinary perspective on data literacy that complements other context-oriented perspectives on data science. This study also offers recommendations for how designers and educators can capitalize on synergies and mitigate tensions between domains to promote successful IIR in arts-integrated data literacy education.