ARTIVATE: A Journal of Entrepreneurship in the Arts, Volume 1 Number 1 -- Table of Contents: 

“Artivate Volume 1, Number 1: Table of Contents” p. i. 

“Arts Entrepreneurship” by Gary D. Beckman and Linda Essig, p. 1-8.

“What’s in a Name?: Typifying Artist Entrepreneurship in Community Based Training” by Paul Bonin-Rodriguez, p. 9-24.

“The Case of the Pittsburgh New Music Ensemble: An Illustration of Entrepreneurial Theory in an Artistic Setting” by Jeffrey Nytch, p. 25-34.

“Shattering the Myth of the Passive Spectator: Entrepreneurial Efforts to Define and Enhance Participation in ‘Non-Participatory’ Arts” by Clayton Lord, p. 35-49.

ARTIVATE: A Journal of Entrepreneurship in the Arts, Volume 1 Number 2 -- Table of Contents:

“Editor’s Introduction” by Gary D. Beckman, p. 1.

“Artivate Volume 1, Number 2: Table of Contents” p. 51. 

“Infusing Entrepreneurship Within Non-Business Disciplines: Preparing Artists and Others for Self-Employment and Entrepreneurship” by Joseph S. Roberts, p. 53-63.

“Frameworks for Educating the Artist of the Future: Teaching Habits of the Mind for Arts Entrepreneurship” by Linda Essig, p. 65-77.

“Dostoevsky’s ‘The Grand Inquisitor’: Adding an Ethical Component to the Teaching of Non-Market Entrepreneurship” by Gordon E. Shockley and Peter M. Frank, p. 79-91

ARTIVATE: A Journal of Entrepreneurship in the Arts, Volume 2 Number 3 -- Table of Contents:

“Artivate Volume 2 Number 3: Table of Contents”

“Editors’ Introduction” Linda Essig and Gary D. Beckman, p. 1-2.

“Situated Cultural Entrepreneurship” by Johan Kolsteeg, p. 3-13.

“Culture Coin: A Commons-Based, Complementary Currency for the Arts and its Impact on Scarcity, Virtue, Ethics, and the Imagination” by Vijay Mathew and Polly Carl, p. 14-29.

“Barriers to Recognizing Arts Entrepreneurship Education as Essential to Professional Arts Training” by Jason C. White, p. 28-39.

Book Review: 

The Culture of Possibility: Art, Artists, & the Future by Arlene Goldbard” reviewed by Stephani Etheridge Woodson, p. 40-42

ARTIVATE: A Journal of Entrepreneurship in the Arts, Volume 3 Number 1 -- Table of Contents:

“Artivate Volume 3 Number 1: Table of Contents” 

“Editors’ Introduction” by Gary Beckman and Linda Essig, p. 1-2.

“The ‘Entrepreneurial Mindset’ in Creative and Performing Arts Higher Education in Australia” by Vikki Pollard and Emily Wilson, p. 3-22.

“Social Bricolage in Arts Entrepreneurship: Building a Jazz Society from Scratch” by Stephen B. Preece, p. 23-34.

“Placemaking and Social Equity: Expanding the Framework of Creative Placemaking” by Debra Webb, p. 35-48.

Book Reviews:

“Creativity and Entrepreneurship: Changing Currents in Education and Public Life” edited by Lynn Book and David Peter Phillips, reviewed by Susan Badger Booth, p. 49-50. 

“Creative Communities: Art Works in Economic Development” edited by Michael Rushton with a foreword by Rocco Landesman, reviewed by Mark A. Hager, p. 51-53.

ARTIVATE: A Journal of Entrepreneurship in the Arts, Volume 3 Number 2 -- Table of Contents:

“Editor's Introduction to Volume 3, Number 2” by Linda Essig and Joseph Roberts, p. 1-2. 

“How Is Damien Hirst a Cultural Entrepreneur?” by Marisa Enhuber, p. 3-20. 

“Responding to the Needs and Challenges of Arts Entrepreneurs: An Exploratory Study of Arts Entrepreneurship in North Carolina Higher Education” by Dianne H.B. Welsh, Tamaki Onishi, Ruth H. DeHoog, and Sumera Syed, p. 21-37.

“Daily Blogging for a Year: A "Lean" Pathway to Launching a Web-based Business” by Julia Griffey, p. 39-50.

Book Review:

“Social Intrapreneurism and All That Jazz: How Business Innovators are Helping to Build a More Sustainable World” by David Grayson, Melody McLaren, and Heiko Spitzeck, Foreword by John Elkington, p. 51-53

ARTIVATE: A Journal of Entrepreneurship in the Arts, Volume 4 Number 1 -- Table of Contents:

“Artivate Volume 4 Number 1: Table of Contents” 

“Editor’s Introduction” by Joseph Roberts, p.1.

“Perspectives on Arts Entrepreneurship Part 1” by Andrew Taylor, Paul Bonin-Rodriguez, and Linda Essig, p. 3-7.

“Creativities, Innovation, And Networks In Garage Punk Rock: A Case Study Of The Eruptörs” by Gareth Dylan Smith and Alex Gillett, p. 9-24.

“Creative Toronto: Harnessing The Economic Development Power Of Arts & Culture” by Shoshanah B.D. Goldberg-Miller, p. 25-48.

Book Review:

“Performing Policy: How Contemporary Politics and Cultural Programs Redefined U.S. Artists for the Twenty-First Century (Palgrave)” by Paul Bonin-Rodriguez, review by Neville Vakharia, p. 49-52.

The male body, followed by male reproductive organs from which the sperm originates, is depicted from top to bottom at the left. Under the male reproductive organs is a diagram of a single sperm. To the right of the sperm diagram, the physiological and morphological changes a sperm undergoes to fertilize an egg are depicted from left to right. Each change is associated with a light pink rectangle background. Each light pink rectangle corresponds to the location of the sperm within the female reproductive organs, which is depicted above it. In addition, a molecular view of each change is directly under each light pink rectangle.
It is important to note the background color of the illustration. A blue to purple gradient depicts the two phases of sperm capacitation: sperm capacitation is in blue, and the acrosome reaction is in purple. It is still unclear where the two phases differentiate and thus a gradient is used as opposed to two distinct colors. The title location for each phase designates the approximate start of each phase.