An on-going academic debate occupying Entrepreneurship researchers for the past several decades is concerned with defining what an entrepreneur is and what an entrepreneur does. The debate also extends to exploring the influence different types of entrepreneurs have on their environment. In the new creative economy, entrepreneurship has become a central issue for the regeneration of urban space. This essay first differentiates between economic and cultural entrepreneurs and second explores what influence cultural entrepreneurs, especially, have on urban developments. By using Damien Hirst as exemplar for the discussion of the entrepreneurial character and spheres of action, the analysis of his career demonstrates how difficult it is in practice to draw a line between artistic, cultural and commercial activities in the creative economy. Hirst’s approach to contemporary conceptual art and his factory-like art production are both controversial and successful as defined by the author. Nevertheless, there seems to be agreement that his entrepreneurial artistic work has had a profound impact on the revitalization of East London and thus can be used as model for urban planners. The author posits that Hirst is a cultural entrepreneur based on this model for creating/regenerating viable economic urban spaces who embraces the blending of the artistic and market spheres.

Artists play a seminal role in advancing humanity through place-based creative initiatives that change not only the aesthetics of place, but also the aesthetics of belonging. Creative placemaking initiatives should provide authentic opportunities for community members to express their relationship with their physical and social environment. Current models of creative placemaking are tethered to the built environment and urban revitalization. An expanded model of creative placemaking is needed to address the complexities of today’s urban neighborhoods, a new model that develops places of belonging for the collective good; measures empowerment, cultural stewardship and community attachment as indicators of success; and is committed to addressing the root causes of social inequity through artist-led civic engagement activities. Artists develop arts-based initiatives that fully engage and empower a community’s capacity to self-express their distinct cultural identity through place. Artists equipped with nimble entrepreneurial skills who are guided by a spirit of authentic collaboration can be significant change agents in their communities. Established and emerging creative practitioners will benefit from identifying cross-sector collaboration that expands the role of artistic life into civic life.

This paper applies the social bricolage construct to arts entrepreneurship, utilizing an indepth case study for illustration. The importance of six key elements including: making do, a refusal to be constrained by limitations, improvisation, social value creation, stakeholder participation, and persuasion, are identified and discussed in light of the recent formation of the Grand River Jazz Society. Bricolage is shown to be a process whereby entrepreneurs with local knowledge and access to local resources are best able to create enterprises using the materials at hand, rather than overextending their efforts with externally directed attributes requiring unattainable resources. As such, entrepreneurial process elements may be emulated from successful social bricolage examples, recognizing that each context, community, and circumstances will require their own unique solutions.

Creative and performing arts schools are increasingly facing the challenge of developing curricula to address an employability agenda in higher education. Arts entrepreneurship education is thought to address this need because it supports the unique nature of the work circumstances of creative and performing arts graduates. As an emerging area of research, arts entrepreneurship education faces the challenge of not only being relevant and important to creative and performing arts education but of being robust enough to contribute to a “paradigm shift” (Beckman, 2011, p. 29). With this in mind, this article attempts to clarify a recurring theme of arts entrepreneurship education, this being the development of an “entrepreneurial mindset.”

We argue that if an entrepreneurial mindset is to be considered an essential aspect of arts entrepreneurship education, educators need to have a good understanding of what it means and how it might be taught. We examine data from four interviews with arts educators who have responsibility for teaching arts entrepreneurship in creative and performing arts schools. Their experiences enable us to clarify the meaning of an “entrepreneurial mindset” in a creative and performing arts context in higher education and to make suggestions about teaching and learning.