Kunstenaars kijken anders naar de wereld dan bijvoorbeeld wetenschappers en technologen: ze verbreden de horizon van wetenschap en technologie dankzij hun verbeelding en creativiteit. In welke vormen jagen kunstenaars innovatie aan?
Artists, designers & business in cross-sector collaboration : a report on the untapped potential for systemic change
Kouzmine-Karavaïeff, J., Hameed, K.
This report raises awareness of the potential of cross-sector collaboration between artists, designers, and the corporate sector. Companies face challenges in a world of increasing volatility, uncertainty, complexity and ambiguity (VUCA), and they must overcome these challenges to survive and thrive. The report makes seventeen recommendations that can help to engineer changes in how cross-sector collaboration in these sectors is approached and practised.
Innovation in the arts : concepts, theories, and practices
This guide aims to increase what we understand by innovation in the arts and identify and support opportunities and strategies for the unique ways in which artists and arts administrators think about, engage in, and pursue successful innovation in their diverse creative practice. Innovations in the arts are often marginalised from a research perspective, in part because of the lack of a sound and compelling theoretical framework to support and explain process distinctions from business and management innovation. This book identifies three key concepts - art innovation, art movement innovation, and audience experience innovation - supported by formal theory for each concept presented and evidenced through case studies in art history.
Creative infrastructures : artists, money and entrepreneurial action
As in sports, business, and other sectors, the top 1% of artists have disproportionately influenced public expectations for what it means to be successful. In this book Essig takes an unconventional approach and looks at the quotidian artist—and at what they do, not what they make. All too often, artists who are attentive to the business side of their creative practice are accused of selling out. But for many working artists, that attention to business is what enables them not just to survive but to thrive. When artists follow their mission, Essig contends that they don’t sell out, they spiral up by keeping mission at the forefront. Through illustrative case studies from culturally and racially diverse communities, Essig examines the relationships between art, innovation, entrepreneurship, and money while offering a theory for arts entrepreneurship that places more emphasis on means than ends.