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- All Subjects: Arts--Management
- All Subjects: Internet
- Creators: Essig, Linda
Description
When a friend approached me and asked me to join his team and apply to the Edson Student Entrepreneur Initiative, a student business plan competition at Arizona State University, I accepted. Not only did I find his idea interesting, but I also believed that applying to the Edson program would give me a first glimpse into being an entrepreneur. The business, called Social Artworking, proposed to create an online platform to connect businesses, who need art, with artists through a unique bidding process. Through Social Artworking, businesses indicate the maximum amount they are able to pay while artists bid what they are willing to do the job for. Then a business or individual is able to pick the best artist that can meet his quality and price needs. In addition to the exchange platform, Social Artworking would jointly launch a social networking site and an online portfolio service for artists. Social Artworking was trying to address the problem of small businesses having a hard time finding affordable and high quality artist and designers while at the same time helping students gain paid experience to increase their portfolio before graduation. In the months leading up to the Edson application, I had a hard time catching up to my partner's knowledge of the business idea and the art, web and crowdsourcing industries. On many occasions, I felt like I was depending on him as an expert to write the application. After two months of working on the application, we submitted the proposal to Edson. The idea did not advance to the final round.
ContributorsDuran, Regina (Author) / Peck, Sidnee (Thesis director) / Essig, Linda (Committee member) / Garner, Benson (Committee member) / Barrett, The Honors College (Contributor) / W. P. Carey School of Business (Contributor)
Created2012-12
Description
This research explores and deepens our understanding of an element of arts infrastructure in the United States: the arts incubator, an organizational form or programmatic initiative that exists at the intersection of artistic production, entrepreneurship, and public policy. The study is a qualitative cross-case analysis of four arts incubators of different types: Arlington Arts Incubator, Intersection for the Arts, Center for Cultural Innovation, and Mighty Tieton, situated within the context of the literature of arts incubators, business incubator evaluation, and a theoretical framework for understanding entrepreneurship in the US arts and culture sector.
The research opens the black box of incubator operations to find that arts incubators create value for client artists and arts organizations both through direct service provision and indirect echo effects but that the provision of value to communities or systems is attenuated and largely undocumented. Arts incubators, like many small arts organizations, tend to look retrospectively at outputs rather than at the processes that convert inputs to tangible impacts, or means into ends. This is an issue not relegated only to the arts and culture sector; business incubators share some of these tendencies. Despite these issues, arts incubators remain a potentially impactful tool of cultural policy if their processes and activities align with their strategic goals and those processes and activities are assessed formatively and summatively.
The research opens the black box of incubator operations to find that arts incubators create value for client artists and arts organizations both through direct service provision and indirect echo effects but that the provision of value to communities or systems is attenuated and largely undocumented. Arts incubators, like many small arts organizations, tend to look retrospectively at outputs rather than at the processes that convert inputs to tangible impacts, or means into ends. This is an issue not relegated only to the arts and culture sector; business incubators share some of these tendencies. Despite these issues, arts incubators remain a potentially impactful tool of cultural policy if their processes and activities align with their strategic goals and those processes and activities are assessed formatively and summatively.
ContributorsEssig, Linda (Author) / Schugurensky, Daniel, 1958- (Thesis advisor) / Fahlman, Betsy (Committee member) / Shockley, Gordon (Committee member) / Arizona State University (Publisher)
Created2015