Management skills for artists: ‘learning by doing’?

Abstract

Although artists must usually be self-reliant when managing their business, an artist's education typically concentrates on artistic skills rather than managerial knowledge. This paper analyses the current curricula of 154 art institutions (public and private), focussing on the so-called DACH countries (Austria, Germany and Switzerland). The results show a deficit in the implementation of economic and, especially, business-related topics in the education of artists at art universities and institutions. A glimpse at Anglo-American countries shows that, unlike in Europe, art schools are more open-minded about implementing economic content into their curricula.

A Competence Portfolio for Professionals in the Creative Industries

“…According to several of the above‐mentioned authors who work in the Creative Industries, certain fundamentals are required for all fields of work. According to Schröter (), this includes, first and foremost, a basic knowledge of the law, knowledge of business administration, such as project management, and a certain measure of enthusiasm for technology (von Reibnitz, ; Burdick, ; Bauer, Viola & Strauss, ). In particular, entrepreneurial thinking is gaining importance.…”

“…The overall aim of this study is to identify: (a) the shifting trends in competence needs and their implications, and (b) which competences are essential for (future) creative professionals in order to deal with the dynamic and uncertain nature of the Creative Industries. The high relevance of this topic is seen, for example, by governments worldwide and supranational institutions like the EU (European Commission, ) or the UN (UNCTAD, ), due the large share of national workforces and extraordinary growth rates of number of employees who work in the Creative Industries; by companies in the Creative Industries that rely heavily on creative professionals whose individual creativity and ability are key assets to respond to external changes and trends (Cunningham et al., ; Preston, Kerr & Cawley, ; Hotho & Champion, ); and by educational institutions that design the relevant curricula (Bauer, Viola & Strauss, ; Bridgstock, ; Haukka, ). Scholars focusing on the working perspective in this sector have mainly addressed the precarious working conditions (Christopherson, ; Randle & Culkin, ; Smith & McKinlay, ; Raunig, Ray & Wuggenig, ; Menger, ), knowledge and skill acquisition (O'Mahony & Bechky, ; Grugulis & Stoyanova, ) and the training contents and concepts of students with creative background (e.g., Bauer, Viola & Strauss, ; Bridgstock, ).…”

The Suffering of Arts Entrepreneurs: Will Fine Art Students be Educated on How to Become Successfully Self-Employed?

“…Considering this, the study focuses firstly on the identification of the entrepreneurial skills which are crucial for fine artists' success in the arts and secondly on the analysis of organised and supervised fine art degree programmes and extra-curricula training offerings at HEIs, particularly in the UK and Germany in order to answer the research question whether fine artists will be equipped during their studies with the required skills. The availability of entrepreneurship education is becoming a factor in the choice and long-term reputation of HEIs as fine art students increasingly demand training that helps them create a successful arts-based career after graduation (Abbing, 1999;de Monthoux, 2004;Weinhold, 2005;Bauer, et al, 2011;Beckman, 2011;Cobb et al, 2011).…”

‘Am I Still an Artist?’ Sustaining Arts Practice in an Age of Austerity

“…They state that 'managerial education is crucial for artists by highlighting that basic knowledge in, for instance, (self-)marketing … managerial knowledge and skills grant artists access to the market, set them on rewarding career paths and bring them income from artistic work'. 9 This version of the artist as 'managerial' rankles with some in the field, although the small study conducted for this article suggests more strongly that artists who perceive themselves as professional have a business-like approach to conducting themselves in relation to work, including promotion and application, seeking additional work such as residencies and organizing exhibitions. Contemporary artist Emily Speed suggests that a flexible approach to being an artist is in fact essential to sustaining creative practice; as a visiting lecturer she provided insights to students at the School of Creative Arts at Blackpool and the Fylde College into the practical aspects of professional practice, framed in relation to her creative and critical practice.…”