Artivate: A Journal of Entrepreneurship in the Arts

A lean startup process is an attractive route to business ownership for people with limited funds or who are risk averse, as such a process is designed to avoid significant loss and support success (Thickett, 2013). This article contends that ideal tools to facilitate this lean startup methodology of experimentation, reflection, and flexibility are social media platforms and third party selling. This reflective case study examines the author’s process using these tools to lean launch a niche web-based artisan business.

To address the call for examination of academic and professional approaches to arts entrepreneurship, we summarize the academic arts entrepreneurship programs in the State of North Carolina and conduct a pilot study with data gathered from arts entrepreneurs who attended the 5th annual Southern Entrepreneurship in the Arts Conference in Greensboro, North Carolina. Our review of the descriptive data reveals that arts entrepreneurs face a variety of needs and challenges, which are psychological (e.g., peer support) as well as technical (e.g., start-up skills). These findings suggest that, as prior literature stresses, arts entrepreneurship education programs should entail both the “entrepreneurship mindset” aspect and the “venture creation” aspect, so we advocate a holistic approach that combines both these perspectives with other related courses. We conclude, based on our exploratory study, that collaborative and flexible approaches, such as cross-campus programs for arts entrepreneurship education in higher education, could have beneficial outcomes for art entrepreneurs. Implications for future research are discussed.

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.