Arts And Entertainment Essay

Straight to the Core: an exploration of management concepts
“With the growth in arts activity, there has come a need for specialized information on how to manage the arts industry.” (Rosewall, p. 1) The definition of “art” is changing. The introduction of technology has introduced various platforms that make the arts appeal to a broader audience. Naturally, one must find a way to maintain order in the field due to the the rapid increase in the possibilities. This is where arts management comes into play. Multiple factors go into running a successful business in the art industry. The paragraphs below explore key concepts via answering the following questions : What is art? How are arts and entertainment related? Is it possible to connect

Even the carefully designed digital-aesthetic of a billboard located of a highway’s intersection can be labeled as “art”. Rosewall’s definition implies that the term “art” can be used to describe any “activities involving human creativity.” (p. 2) This includes, but is not limited to, culinary design, crafts, architecture, digital design and a plethora of other undiscovered mediums. The strict classification of what can be art is quickly dissipating, just as the line between arts and entertainment. Arts and entertainment are intertwined. Afterall, visual and performing arts can be a form of entertainment. Many forms of entertainment , such a pop concert, heavily rely on creativity to assists in presentation. The steps to achieve the final outcome no doubt involve a creative process, thus making it qualify as an art form by Rosewall’s definition. A lighting setup for a concert, the design for the events promotional website as well a the performer’s costume all involve creative process therefore qualifying them as their own art

The wall between the association of art/artist and cash is not just distinct to outsiders to the art community. Artists themselves are often somewhat hesitant to approach their craft from a business perspective. They may feel as if doing some will somehow make their work lose authenticity, thus making them a creative “sell-out” in the eyes of the art community. Artists reluctance to welcome the idea of a financial aspect to their craft combined with the general public 's inability to comprehend the importance of art in their everyday lives reinforces the “starving artist” archetype. In reality, the art industry actually quite successful. “The art’s industry supports 2.2 million artists and generalizes 150 billion in consumer spending” (Rosewall, p 1) Although The National Endowment for the Arts numbers show there is potential for success in the art’s industry, many, including owners of art organizations, fail to acknowledge the fact. Owners of art organizations seem to lack belief in their business 's full potential. Rosewall mentions how common it is for art’s organizations strive to be 501(c)3 status in order to be on the receiving end of numerous government-issued grants and tax exemptions. It seems as though many organizations default to being a 501(c)3 because they do not have faith in themselves to stand alone as an independent