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Organizing the Artistic Process

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

Abstract

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.

Keywords

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.

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Copyright information

© Springer Japan 2016

Authors and Affiliations

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

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