The uncertain and turbulent environment in which artists operate is similar to the environment faced by new ventures and this book offers a comparison between managing start-ups and managing artists. New case studies from a range of international perspectives reveal the practical realities of artist career development in the creative sector.
The uncertain and turbulent environment in which artists operate is similar to the environment faced by new ventures and this book offers a comparison between managing start-ups and managing artists. New case studies from a range of international perspectives reveal the practical realities of artist career development in the creative sector.
Guy Morrow is a Lecturer in Arts and Cultural Management at the University of Melbourne, Australia. He is co-author of The New Music Industries. His research interests include the use of agile management strategies within the creative and cultural industries.
Inhaltsangabe
Chapter 1: Introduction: Artist management in the creative and cultural industries 1.1 The agile movement 1.2 Collaboration has a lifespan 1.3 Managing artistic contributions 1.4 What is artist management? Is it creative? 1.5 The artist-artist manager relationship 1.6 References Chapter 2: Research design 2.1 Selection of industries, cases and participants 2.2 Methods 2.3 Outline of the book Chapter 3: The artist's career as startup: Lean startup and effectuation methods for the arts 3.1 Extreme uncertainty: What is art? 3.2 Extreme uncertainty: Shaping a future for yourself 3.3 Conclusion: What good are the arts? How can we sell art? Chapter 4: Agile management strategies 4.1 Artist management and the agile movement 4.2 Agility on individual and group levels 4.3 Case study: Agility in the dance sector 4.4 Case study: Agility in the film sector 4.5 Conclusion Chapter 5: Storytelling in the creative and cultural industries: Where is creativity? Creative cities and artist management 5.1 Storytelling in the creative and cultural industries 5.2 Sporting analogies 5.3 An artist manager's checklist 5.4 Moving people to action 5.5 B2C and B2B storytelling 5.6 Storytelling etiquette 5.7 Case study: SXSW favours the storytellers 5.8 Destroying through narrative 5.9 Conclusion Chapter 6: The artist-artist manager relationship: Agile by default 6.1 The specificity of artist management labour 6.2 An informal approach to management 6.3 They found me with a gun in my hand 6.4 Double dipping 6.5 The bank account 6.6 Conclusion Chapter 7: Conclusions: The future of artist management: Artist's voice, manager's voice 7.1 The rapid escalation of complexity 7.2 Creativity: The key leadership competency for the future 7.3 Music case study 1: The Featured Artists' Coalition 7.4 Music case study 2: The International Music Managers' Forum 7.5 Judas Goat 7.6 Dance case study: 'GoSeeDo' and 'Book a Flash Mob' 7.7 Creative and cultural industries case study: Culture Counts 7.8 Big data, automation and the future of work 7.9 References Appendix A: The interviews Appendix B: Association of Artist Managers Code of Conduct Appendix C: Code of Conduct of MMF Australia Index
Chapter 1: Introduction: Artist management in the creative and cultural industries 1.1 The agile movement 1.2 Collaboration has a lifespan 1.3 Managing artistic contributions 1.4 What is artist management? Is it creative? 1.5 The artist-artist manager relationship 1.6 References Chapter 2: Research design 2.1 Selection of industries, cases and participants 2.2 Methods 2.3 Outline of the book Chapter 3: The artist's career as startup: Lean startup and effectuation methods for the arts 3.1 Extreme uncertainty: What is art? 3.2 Extreme uncertainty: Shaping a future for yourself 3.3 Conclusion: What good are the arts? How can we sell art? Chapter 4: Agile management strategies 4.1 Artist management and the agile movement 4.2 Agility on individual and group levels 4.3 Case study: Agility in the dance sector 4.4 Case study: Agility in the film sector 4.5 Conclusion Chapter 5: Storytelling in the creative and cultural industries: Where is creativity? Creative cities and artist management 5.1 Storytelling in the creative and cultural industries 5.2 Sporting analogies 5.3 An artist manager's checklist 5.4 Moving people to action 5.5 B2C and B2B storytelling 5.6 Storytelling etiquette 5.7 Case study: SXSW favours the storytellers 5.8 Destroying through narrative 5.9 Conclusion Chapter 6: The artist-artist manager relationship: Agile by default 6.1 The specificity of artist management labour 6.2 An informal approach to management 6.3 They found me with a gun in my hand 6.4 Double dipping 6.5 The bank account 6.6 Conclusion Chapter 7: Conclusions: The future of artist management: Artist's voice, manager's voice 7.1 The rapid escalation of complexity 7.2 Creativity: The key leadership competency for the future 7.3 Music case study 1: The Featured Artists' Coalition 7.4 Music case study 2: The International Music Managers' Forum 7.5 Judas Goat 7.6 Dance case study: 'GoSeeDo' and 'Book a Flash Mob' 7.7 Creative and cultural industries case study: Culture Counts 7.8 Big data, automation and the future of work 7.9 References Appendix A: The interviews Appendix B: Association of Artist Managers Code of Conduct Appendix C: Code of Conduct of MMF Australia Index
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