


































Microsoft Word - EDITORS INTRODUCTION Layout.docx


Artivate: A Journal of Entrepreneurship in the Arts  Volume 3, Issue 2 
http://artivate.org  pp. 1-2 
______________________________________________________________________________________________________________________ 

_____________________________________________________________________________________________________________________ 
Copyright © 2014     
 
 

EDITORS’ INTRODUCTION TO VOLUME 3, ISSUE 2 (SUMMER 2014) 
Linda Essig, Arizona State University 
Joseph Roberts, Webster University 
   
 Successful entrepreneurial endeavors are not the product of the lone individual working 
in isolation. Rather, enterprises are launched and grown by entrepreneurs who leverage 
partnerships, resources, and collaborations.  Similarly, Artivate: A Journal of Entrepreneurship 
in the Arts is the product of the tam effort of its authors, volunteer editors and editorial board 
members, part-time staff, and feedback from its readership.  Recently, the editorial board and 
staff met (virtually) to discuss the journal, its focus, and its role in delineating arts 
entrepreneurship as a field and a discipline.  In future issues, in addition to full-length articles, 
you are likely to see short pieces by our editorial board members conceptualizing arts 
entrepreneurship, its relationship to the arts and within individual arts disciplines, and to business 
research topics, including entrepreneurship studies.  In every issue, we intend to continue to 
circumscribe the field of arts entrepreneurship in theory and in practice, and as it is increasingly 
taught in courses in colleges and universities across the US and elsewhere.  We are pleased to 
include in this issue articles that touch on each of these: theory, pedagogy and curriculum, and 
practice.  Arts entrepreneurial action occurs at a grand city-changing scale as described by 
Marisa Enhuber in Is Damien Hirst a Cultural Entrepreneur?. But arts entrepreneurship also 
happens in the lean DIY fashion described in Julia Griffey’s reflective case study, Daily 
Blogging for a Year: A Lean Pathway to Launching a Web-based Business. Often, especially in 
higher education, arts entrepreneurship is viewed as the self-employment endeavors of individual 
artists, such as those surveyed by Dianne Welsh and her colleagues in Responding To The Needs 
And Challenges Of Arts Entrepreneurs: An Exploratory Study Of Arts Entrepreneurship In North 
Carolina Higher Education. Arts entrepreneurial enterprises are often launched in the social 
entrepreneurship sphere.  This interconnection is highlighted in Mark Rabideau’s review of 
Intrapreneurship and All that Jazz, a new book on social “intrapreneurship” from Greenleaf 
Press. 
 One of the thorniest issues for scholars and educators of arts entrepreneurship (or 
“cultural entrepreneurship” as it is more widely understood in Europe) is the issue of boundary. 
What makes one type of action or enterprise “arts entrepreneurship” and another one not so?  
Marisa Enhuber examines this very question in Is Damien Hirst a Cultural Entrepreneur? by 
theorizing on the delineation between an “economic entrepreneur” and a “cultural entrepreneur.”  
Using the early work of Damien Hirst and framed by the Kalmer’s “valorization model,” she 
finds that Hirst’s spheres of action, especially in his revitalization of urban spaces in London, 
characterize him as a cultural entrepreneur, but one who blends the aesthetic and market spheres. 
 As interest in arts entrepreneurship grows in academic institutions, educators are seeking 
both successful models for and empirical evidence about curriculum, pedagogy and institutional 
structures.  Welsh, Onishi, deHoog, and Syed, in The Needs And Challenges Of Arts 
Entrepreneurs: An Exploratory Study Of Arts Entrepreneurship In North Carolina Higher 
Education, offer an overview of successful arts entrepreneurship training programs in North 
Carolina and then analyze results of a pilot survey they conducted of participants at the Southern 
Entrepreneurship in the Arts Conference.  They assert that cross-campus interdisciplinary efforts 
can be effective in arts entrepreneurship training. 
 Finally, Julie Griffey brings us into the realm of practice in Daily Blogging for a Year: A 
Lean Pathway to Launching a Web-based Business. In this reflective case study, Griffey explains 



            Editors’ Introduction 
______________________________________________________________________________________________________________________ 

 
_____________________________________________________________________________________________________________________
Artivate 3 (2)   

2 

how the very act of blogging enhanced her professional discipline while also increasing her own  
knowledge and her customer base.   
 Please note that the deadline for submissions to the Winter 2015 edition (Issue 4, Number 
1) is October 31, 2014.  
 


