000			03178nam a2200205 i 4500
001			47364
003			ES-BaOER
005			20250304152815.0
008			250304s2022 uk |||||r|||| 0|| ||eng d
020			_a9781789385717
040			_aES-BaOER _bcat _cES-BaOER
100	1		_aEssig, Linda _918781
245	1	0	_aCreative infrastructures : _bartists, money, and entrepreneurial action : essays 2017-2020 / _cLinda Essig
250			_a1st ed.
260			_aBristol : _bIntellect, _c2022
300			_a196 p.
520	8		_aA new collection of connected essays that examines the relationships between art, innovation, entrepreneurship and money. Essig uses her extensive knowledge of the field of arts entrepreneurship and puts it to broader practical use and greater impact by offering a theory for arts entrepreneurship that places more emphasis on means over ends. Essig uses illustrative case studies to show how her theoretical framework explains a number of innovative efforts in culturally and racially diverse communities. The Ouroboros, the serpent eating its own tail, is a visual metaphor deployed by Essig in the opening essay to shift commonly held perspectives on, especially, the relationship between art and money. Art is the head; money is the tail, feeding and nourishing the head in a cycle that enables the organism to not only survive but also thrive. Between the art and the money is the body: innovation and entrepreneurship. Innovation is understood to be a novel idea that is implemented and has impact on a domain. For that is what the artist does: create something new and unique that has impact. Entrepreneurship is conceived of as the discovery or creation of a mediating structure that can convert the artistic innovation into capital (financial and other types) that can be re-invested in the artist and the making of more art. This book endeavours to untie the knotty relationships between artists and entrepreneurship in order to answer the question 'How can artists make work and thrive in our late-capitalist society?' (...) This book is ideal for use in training programmes for arts administrators and advocates; policy analysts and business schools that are looking to add in arts programmes. It will be of great interest and significance to people working in the cultural industries in the United Kingdom and Europe, especially Germany, where there has also been some recent research interest on similar topics. It is also relevant to the many artists who participate in training and professional development programmes in their community, as well as those who are just starting out. (Font: Editor)
595			_aPrologue -- Essay One: An Ouroboros of self-sustainability -- Essay Two: Motivation, symbolic meaning, and social impact -- Essay Three: Art, capitalism, and its discontents -- Essay Four: Novelty, uniqueness, originality -- Essay Five: Making way for impact -- Essay Six: The nature of (arts) entrepreneurial action -- Essay Seven: Being an entrepreneurial artist -- Essay Eight: Eschewing scarcity and finding abundance -- Essay Nine: Buying up, not selling out -- Epilogue: A future imaginary -- Bibliography.
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