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VOL. 11, NO. 1 
SPRING 2022 

 

Editors’ Introduction 

Neville Vakharia 
Drexel University 

Paul Bonin-Rodriguez 
University of Texas at Austin  

Welcome to Artivate: A Journal of Entrepreneurship in the Arts .. The spring season and 
warmer weather always seem to bring a sense of renewal and growth. This spring, we convened 
Artivate’s editorial board, a dedicated and talented team who are helping guide our growth and 
creating a strategic vision for our future. At the meeting, our partner in publishing, the Univer-
sity of Arkansas Press, shared with our editorial board Artivate’s continued evolution over the 
past decade, highlighting our increased readership, reach, and impact. 

We are also thrilled to welcome two new members to our editorial board. Jason C. White 
at Xavier University and Jose Ruiz-Resto at the University of Florida will bring new insights, 
enthusiasm, and knowledge to Artivate that will help us build on our successes to date. Both 
Jason and Jose have a wealth of experience in arts entrepreneurship from both a scholarly and 
practitioner perspective, and we are excited to have them join us. 

The articles in this issue cover diverse aspects of the growing field of arts entrepreneurship, 
exploring the perspectives of higher education, artists’ careers, and gender equity. In “The Great 
Generalization: Organizational Adaptation Strategies as Entrepreneurship in Higher Music Ed-
ucation,” Jacob Hertzog seeks to understand how music programs in higher education are 
adapting to the digital revolution, identifying the importance of entrepreneurial behavior for 
both musicians and the programs in which they are educated. Karen Munnelly explores how 
visual and performing artists construct, and prefer, meaningful portfolio careers in her article, 
“Motivations and Intentionality in the Arts Portfolio Career: An Investigation into How Visual 
& Performing Artists Construct Portfolio Careers.” Finally, Charlie Wall-Andrews and Mary 
Elizabeth Luka conduct an empirical investigation into the barriers women face in their career 
pathways as artist entrepreneurs in the music production field in their article, “Advancing Eq-
uity in Arts Entrepreneurship: A Case Study on Gender Equity and Empowerment in Music 
Production.” 



ARTIVATE 11.1 

This issue also features reviews of two new books. Linda Essig’s Creative Infrastructure: 
Artists, Money, and Entrepreneurial Action, reviewed by Wen Guo, provides a comprehensive 
understanding and overview of arts entrepreneurship in the context of late-capitalist society. 
Andrew Taylor’s book, The Artful Manager: Field Notes on the Business of Arts and Culture, 
reviewed by Michael DeWhatley, provides a compendium of Taylor’s past blog posts, insights, 
and ideas on artists, arts organizations, and entrepreneurial thinking.  

As Artivate’s reach and impact continue to grow, we continue to seek involvement from 
our community of scholars and readers. Our next issue, Artivate . (Fall ), will be a gen-
eral issue for which we are already receiving submissions. Artivate . (Spring ) will be a 
special issue on the expanded field of arts entrepreneurship co-edited by Adrienne Callander 
from the University of Arkansas and Johanna K. Taylor from Arizona State University. Their 
call is as follows: 

Arts entrepreneurs are continually reinventing how to expand their creative practice, the spaces 
in which that can happen, and the types of collaborators they engage along the way as they seek 
to connect their work with consumers and audiences. The papers in this issue will explore 
the social, economic, and political structures changing how and where arts entrepreneurship 
happens in our contemporary society beyond expected models. Papers could explore: new busi-
ness structures beyond the (c); financial models such as social impact investing; new tech-
nologies changing how and where art entrepreneurs operate such as NFTs and blockchain; ex-
panded fields which are collaborating with artists, from government to science; new cooperative 
models uniting artists in their individual goals; artists intentionally leveraging their creative 
practices in non-art spaces as consultants. 

 
We look forward to receiving submissions that advance new knowledge in our growing and 

thriving field of arts entrepreneurship.  
 
 
 
 
 

Cover image by Prawny from Pixabay 


