DESCRIPTION: Artists are creative workers who drive growth in the creative and cultural industries. Managing artistic talent is a unique challenge and this concise book introduces and analyzes its key characteristics. Artist Management: Agility in the Creative and Cultural Industries makes a major contribution to our understanding of the creative and cultural industries, of artistic and managerial creativities, and of social and cultural change in this sector. The book undertakes an extensive exploration of the increasingly pivotal role of artist managers in the creative and cultural industries and argues that agile management strategies are useful in this context. This book provides a comprehensive and accessible account of the artist-artist manager relationship in the twenty-first century. Drawing from research interviews conducted with artist managers and self-managed artists in five cities: New York, London, Toronto, Sydney and Melbourne, this book makes an original contribution to knowledge. Nation-specific case studies are highlighted as a means of illuminating various thematic concerns. This unique book is a major piece of research and a valuable study aid for both undergraduate and postgraduate students of subjects including arts management, creative and cultural industries studies, arts entrepreneurship, business and management studies, and media and communications. REVIEWS: “The theoretical components of the book sing. Locating the research in the very personal relationship between artist and artist manager makes it a very rich area … it represents one of the all too few intellectual products from the arts which fully elaborates on the ways in which a sophisticated understanding of creative practices, can enhance broader theoretical thinking and practice in business and management.” Associate Professor Kate MacNeill, Director of the Graduate School of Humanities and Social Sciences and Associate Dean (Graduate Studies) in the Faculty of Arts, University of Melbourne. 'Guy Morrow goes well beyond truisms such as "an artist is a start-up business" because he knows that such truisms don't sustain the various phases of any artistic career. Instead, his focus is on the value of agility amidst increasing complexity. Managers in every industry can learn from this.' — Catherine Moore, PhD, Adjunct Professor, University of Toronto, Canada 'Guy Morrow has had a fascinating career as an artist management ‘pracademic’ (i.e. both a practitioner and academic). This makes his work of particular relevance and interest to those of us seeking to bridge theory and practice.' — Paul Saintilan, CEO, Collarts and Macleay Colleges, Australia, co-author of Managing Organizations in the Creative Economy: Organizational Behaviour for the Cultural Sector 'Artist Management offers a timely understanding of the manifold ways in which contemporary creative producers need to deal with uncertainty and career development. Incorporating the experiences of practitioners and the insights of contemporary scholarly work, Guy Morrow has crafted a highly engaging book.' — Dr. Erik Hitters, Associate Professor of Media and Creative Industries, Managing Director of the Erasmus Research Centre for Media, Communication and Culture, Erasmus University Rotterdam, Netherlands. 'This book opens up key concerns for theory and practice: how do contemporary practices such as agile management, lean start up and crowd-funding relate to the big questions of what are the arts and how should they be managed.' — Doris Ruth Eikhof, CAMEo Research Institute, University of Leicester, UK
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The application of management principles to the process of artistic creation is not a new phenomenon. It is now over 20 years ago that books and articles were produced in the field of arts management (see for example Andreasen & Belk, 1980; Hirschman, 1983; Mokwa, Dawson & Prieve, 1980). However, the development of this field has recently taken a dramatic shift as government initiatives in the creative industries emerge. The impact of government policy in the creative industries on artists themselves however is yet to be thoroughly explored. This study attempts to address this gap. The objectives of the study are twofold: to investigate New Zealand government policy regarding the creative industries, and to explore the impact of these policy initiatives on those working within the creative industries. This paper reports on the initial part of this study, specifically government policy on the creative industries.
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This article investigates the relationship between the concept of attention- and reputation-building mechanisms in the new music industries, with a specific focus on artist co-management. It addresses the following research question: How can artists and artist managers design artist-led organizations that operate effectively and efficiently in a world in which attention is increasingly scarce? The argument is made that agile artist comanagement practices are becoming ever more useful due to the plunging costs of experimentation in the increasingly globalized music industries. In order to explore these issues, interviews were held with 20 artist managers from a number of different territories of the international music industries, including Australia, Canada, the United Kingdom and the United States. The findings highlight both the challenges and the opportunities facing artists and artist managers in relation to the specific deal structures that can facilitate distributed agility.
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2019, The Routledge Companion to Arts Management
This paper paints a portrait of two types of artists—one self-directed and the other audience-led—and asks what is practically and ethically at stake for artist managers who work with one or the other. Spotlighting this pair of starkly contrasting artists, it is suggested, throws into sharper focus what might be missing in the prevailing view about artist managers, which emphasises their traits, qualifications, skills, capacities and functions. Artist managers advance the interests of purely market-driven artists by relying on instrumental reasoning and pursuing profit-maximising goals. They function like managers of for-profit enterprises and are the poster boys of neoliberalism, which valorises only the economic potential of the arts. Artist managers who work with self-driven artists, however, confront distinctive challenges because they must create the material conditions that enable the latter to live by their choices as well as grow audiences for their artistic output. Such artist managers, it is argued, have a mission and ethic that sets them apart from managers in other fields and from business and social entrepreneurs. This pdf has two lines not found in the published version of the paper, which can be accessed here: https://www.academia.edu/76981129/The_Routledge_Companion_to_Arts_Management
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It is problematic that artist managers in the international popular music industry are not currently subject to consistent regulatory frameworks, particularly given the increasing centralisation of responsibility with this role. This article examines the following research question: Can artist management practices be consistently regulated? In addition, it will address the following sub-research questions: What are the pitfalls that belie attempts to regulate for the betterment of musicians and the music industry? Is self-regulation a viable alternative?
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2009, Human Relations
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Societies worldwide are currently facing far-reaching and often challenging developments. And although every country’s arts sector has its peculiarities, these developments influence most countries and thereby their art sector as well. So, what can arts managers do to make the best of new circumstances and to help the societies we live in handle them? How can we use the arts' inherent creative potential to anticipate the changes that will come? What competencies and knowledge will we need in the future to fulfill our tasks? Often, the most successful organisations are not the ones with the biggest budget, but the ones that react early to changes, see them as opportunities instead of threats and try to find creative solutions that fit their individual situation, special needs and local characteristics. The approaches in this issue of Arts Management Quarterly thus deal with novel, problem-solving oriented perspectives, organizational performances, or trends like new forms of participation and cooperation. All together, they draw a picture of the palpable role that art and arts leaders can play for the world’s societies and in the future.
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Arts Management Quarterly No 124: An entirely new Arts Management" />
2021, International Journal of Arts Management
Artist management or mentoring is generally recognized as a fundamental challenge and contributing element to an artist's success. This article takes the position that artist management should go well beyond the narrow confines of standard business practice focused on traditional business management, marketing, accounting and finance extending into seven dimensions of the artist identity. The scope of artist management is broadened and deepened. Artist management is considered more challenging as there must be open sharing and evaluation of attributes and liabilities associated with professional and personal considerations. Further, it is unlikely that a manager has all of the expertise to directly manage on all identity dimensions, so outside expertise might be imperative. Prevalent examples of such cases are sub-optimal artist achievement owing to musical performance anxiety, its causes and consequences, and methods of alleviating severe problems and shortened life expectancy of popular musicians.
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