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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.

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.

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.

In this paper, the authors argue that fine wines can be considered art and as such can be awarded luxury status. The authors discuss the processes of artification, through which such wines are recognized as art (Shapiro and Heinich, 2012), and heritagization, in which the cultural differentiation implicit in the concept of terroir (the various elements of a microclimate that contribute to a wine's specific attributes) connects a wine to its history and provenance. The investigation focuses specifically on fine wines from Bordeaux and Burgundy, which are renowned worldwide for their depth and flavors. What traits are intrinsic to the definition of art, and what social processes culminate in transforming an entity from nonart to art?

It is a conceptual paper that requires blending several viewpoints to present the authors’ own viewpoints.

This study aims to address the above questions and argues that fine wines, as a source of aesthetic pleasure, are themselves an art form.

The implications for producers of fine wines and other artisanal products seeking to elevate brand awareness are discussed.

The findings of this study are of interest to wine scholars as well as wineries. They provide evidence as to how artification occurs.

While there are papers that address the issue of artification and heritagization individually, the authors bring to bear the importance of both concepts on specific wine regions in France: Burgundy and Bordeaux.

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.

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.

FINE blanking, the process of producing finished precision metal parts at one stroke of a press tool, is also a fine art so far as Bacol Industries Ltd are concerned. The company, a member of the Metalrax engineering group, is based at Bromsgrove, Worcs, occupying the biggest of a series of new factories on the Aston Fields Industrial Estate.

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 set an example of how people with severe learning difficulties could be more integrated into our society.

The installation consists of puzzles in the form of a specially designed table with an integrated touch screen. As the visual templates for the puzzles serve pictures painted by a person with severe learning difficulties. The pieces of the puzzles are manipulated directly by the player on the touch screen presenting an intuitive and easily learned user interface.

The framework for the work was a creation of an interactive art installation in the form of a game where users assemble puzzles on a touch monitor, housed in a specially designed table. Paintings by a person with severe learning difficulty served as visual templates for the puzzles. The pieces of the puzzles can be manipulated directly by the user on a touch screen presenting an intuitive and easily learned user interface, which stimulates the learning of fine motor skills and encourages practice, thus making it suitable for persons with severe learning difficulties in an art therapy setting.

As the work has the format of an interactive art installation, this enables it to gain publicity through exhibitions in art galleries.

The installation demonstrates how people with severe learning difficulties can be integrated into the broader society. At the same time, these people are encouraged to use modern computer information technology, which is becoming a necessity also for this group of users. Ethical issues regarding how this group of people can get involved in such work are also discussed.

Combining the habituation of people with severe learning difficulties with computer technology in the form of a game, and framing the whole process as a fine art undertaking, to win the public recognition, is a novelty in addressing the needs of these people.