Organizing the Artistic Process

  • Xavier Greffe
Part of the Creativity, Heritage and the City book series (CHC, volume 1)


Every artist-enterprise should assume an institutional form to ensure that its activities are suitably remunerated and its rights respected and this applies as much to the activities of artist-enterprises as to others. It may also be pointed out in this context that the problems now faced by artist-enterprises are similar to those faced by other enterprises: handling a multiplicity of contracts with the problem of deciding exactly which part of the work should be done in-house and which part should be outsourced as well as a large number of business deals as art is now largely dependent on contracts. This constant change in the situation of the artist-enterprise means that his creative processes need to be carefully organized because the adjustment of his strategies and management methods generally require a frequent redefinition of his boundaries. These dynamics are visible at three levels: the choice of activities that he expects to execute himself and those that he proposes to delegate to others, sub-contract or outsource, knowing that it will then be necessary to give an institutional form to the enterprise that he expects to manage directly; the mobilization of artistic talents that can be used for different tasks and easily moved from one activity to another at different periods of time; the selection of various types of networks, both formal and informal, to help the artist-enterprise to become more creative.


Public Institution Institutional Form External Network Work Contract Artistic Activity 
These keywords were added by machine and not by the authors. This process is experimental and the keywords may be updated as the learning algorithm improves.


  1. 1.
    Coase, Ronald H. 1937. The nature of the firm. Economica 4: 16 (New Series): 386–405.Google Scholar
  2. 2.
    Greffe, Xavier. 2002. Coase: The problem of social cost. In Dictionnaire des Grandes Œuvres Economiques. Paris: Dalloz.Google Scholar
  3. 3.
    Lisé, Wenceslas, Delphine Naudier, et Roueff Olivier. 2011. Intermédiaires du travail artistique: A la frontière de l’art et du commerce. Paris: La documentation française, Questions de culture.Google Scholar
  4. 4.
    Greffe, Xavier. 2004. Arts and artists from an economic perspective. London: Unesco Publishing.Google Scholar
  5. 5.
    Rosselli, John. 1984. The opera industry in Italy from Cimarosa to Verdi: The role of the Impresario. New York: Cambridge University Press.Google Scholar
  6. 6.
    Lisé, W., D. Naudier, and O. Roueff. 2011. Intermédiaires du travail artistique: A la frontière de l’art et du commerce. Paris: La documentation française, Questions de culture.Google Scholar
  7. 7.
    Greffe, Xavier. 2006. Économie de la propriété artistique. Paris: Economica, chap. 3 et 4.Google Scholar
  8. 8.
    Leclerc, Céline. 2010. L’externalisation des services: le cas des musées en France. Dissertation for EPGC Master’s degree, University of Paris I, Paris.Google Scholar
  9. 9.
    Fouché, Jessica. 2011. La mutualisation est-elle l’avenir du spectacle vivant ? Enjeux et modalités d’une nouvelle tendance. Dissertation for EGPC Master’s degree, University of Paris I, Sorbonne.Google Scholar
  10. 10.
    Greffe, Xavier, and Anne Krebs. 2011, January. Musées et municipalités en Europe, Livre Blanc pour la commission de l’Union européenne. Bruxelles/Paris: DG XXII/Centre d’Economie de la Sorbonne & Musée de Louvre.Google Scholar
  11. 11.
    Caves, Richard. 2000. Creative industries; Contracts between arts and commerce. Cambridge, MA: Harvard University Press.Google Scholar
  12. 12.
    Granovetter, Mark. 2007. Une autre vision du marché. In Dictionnaire des Grandes Œuvres Economiques, eds. X. Greffe, J. Lallement, and M. de Vroey. Paris: Dalloz.Google Scholar
  13. 13.
    Greffe, Xavier. 1996. La formation professionnelle des jeunes. Paris: Economica.Google Scholar
  14. 14.
    Nietzsche, Friedrich. édition 1959. Die Gerburt der Tragödie aum dem Geist der Musik. Munich: Wilhem Goldman Verlag, Section VII.Google Scholar
  15. 15.
    Maurice, Utrillo. 1883–1955. Accessed 28 Apr 2011.
  16. 16.
    Menger, Pierre-Michel. 2002. Le génie et sa sociologie: Controverses interprétatives sur le cas Beethoven. Annales de l’EHESS, Juillet Aout 2002, N°4 (quotation p. 970).Google Scholar
  17. 17.
    Adorno, Theodor. 2009. Introduction à la sociologie de la musique. Genève: Editions Contrechamps.Google Scholar
  18. 18.
    Tia DeNora, Tia. 1995. Beethoven et la construction du génie. Paris: Fayard.Google Scholar
  19. 19.
    Greffe, Xavier. 2003. Arts et artistes au miroir de l’économie. Paris: Unesco Publishing, Ch 4.Google Scholar
  20. 20.
    Frank, R., and Ph Cook. 1995. The winner-takes all society: Why the few at the top get so much more than the rest of us. New York: Penguins.Google Scholar
  21. 21.
    Rosen, Sherwin. 1981. The economics of superstars. American Economic Review 71(3): 845–56.Google Scholar
  22. 22.
    Adler, Moshe. 1985. Stardom and talent. American Economic Review 75(3): 208–212.Google Scholar
  23. 23.
    Eurostat. 2007. Cultural Statistics in Europe, 2013.Google Scholar
  24. 24.
    Claire, Roger W. 2000. Entertainment 101: An industry primer. Beverly Hills: Pomegranate Press Ltd.Google Scholar
  25. 25.
    Pommerehne, Werner, and Bruno Frey. 1997. La culture a-t-elle un prix ?. Le Seuil.Google Scholar
  26. 26.
    Stanley, Robert H. 1988. The celluloid empire: A history of the American movie industry. New York: Hasting House.Google Scholar
  27. 27.
    Conant, Michael. 1960. Antitrust in the motion picture industry: Economic and legal analysis. Berkeley: University of California Press.Google Scholar
  28. 28.
    United States Vs. Paramount Pictures, 334 U.S. 131, 1948.Google Scholar
  29. 29.
    Storper, Michael, and Sven Christoferson. 1987. Flexible specialization and regional industrial agglomeration: The case of the U.S. motion picture industry. Annals of the Association of American Geographers 77: 104–117.Google Scholar
  30. 30.
    Baxter, John. 2004. Citizen Spielberg. Paris: Le nouveau monde.Google Scholar
  31. 31.
    Kéravel, A. 1993. La gestion des ressources humaines. In Le management des entreprises artistiques et culturelles, ed. Y. Evrard, 105–143. Paris: Economica.Google Scholar
  32. 32.
    Chiappelo, Eve. 1998. Artistes versus managers: Le management culturel face à la critique artistique. Paris: Métaillé.Google Scholar

Copyright information

© Springer Japan 2016

Authors and Affiliations

  • Xavier Greffe
    • 1
  1. 1.University Paris I Panthéon-SorbonneParisFrance

Personalised recommendations