Formal art education equips students with skills to produce artworks. A formal art education may increase the opportunity for employment, however, art-related employment is very limited. Art graduates would be better equipped to market and manage art establishments or their own careers if art education were to be supplemented with basic business skills. Artists who wish to earn unsupplemented incomes from their art should undertake to acquire business acumen. This includes being presentable to the market place in attitude and appearance. It also includes aptitude in art, marketing and management. Role models and non-models of success and failure in business should also be observed. Art graduates should adopt applicable tried and tested business methods. Good marketing is a mix of business activities which identifies and creates consumer needs and wants. Marketing activities involve research, planning, packaging, pricing, promoting and distributing products and services to the public to create exchanges that satisfy individual and organisational objectives. Art products include artworks, frames, art books and art materials. Art-related services include the undertaking of commissions, consulting, teaching, free parking, convenient shopping hours, acceptance of mail or telephone orders, exhibitions, ease of contact, approval facilities, wrapping, delivery, installations (picture hanging), quotations, discounts, credit facilities, guarantees, trade-ins, adjustments and restorations. Good management is a mix of business activities which enables a venture to meet the challenges of supply and demand. There is a blueprint for management competence. The three dimensions of organisational competence are collaboration, commitment and creativity. Self-marketing and management is an expression of an artist's most creative being. It is that which can ensure and sustain recognition and income. Artists, like other competent organisations and entrepreneurs from the private sector, should operate with efficient manufacturing, marketing, management and finance departments. They are also equally important and therefore demand equal attention. Artistic skill together with business acumen should equip the artist to successfully compete in the market place. There are no short-cuts to becoming an artist but there are short-cuts to becoming a known and financially stable artist. Understanding marketing and management could mean the difference between waiting in poverty and frustration for a "lucky break" (which may only happen after an artists's death) and taking control. Success should be perpetuated through continuous effort.

This research study focusses on how and why Carol Hofmeyr began the Keiskamma Art Project in Hamburg, Eastern Cape, as well as the development of the project’s infrastructure, history and detailed business practices and how it has evolved. A chronological detailed pictorial record has been drawn up of the major/monumental works it has produced, its achievements, awards and the accolades it has won. The recurrent narrative themes of HIV/AIDS, Nguni cattle, the Nongquawuse story, local birds, plants and fish which are also discussed. A comparable study, comparing the business practices of the Keiskamma Art Project with the research of Professor Ingrid Stevens on Morris & Co and five other successful, sustained South African Art Projects. Data has been tabulated in an effort to recognise the variances, similarities and differences in an effort to identify a “best practise” business model. Such a model may assist in the development of further art projects, so as to uplift other poverty stricken communities in South Africa. This research study focusses on how and why Carol Hofmeyr began the Keiskamma Art Project in Hamburg, Eastern Cape, as well as the development of the project’s infrastructure, history and detailed business practices and how it has evolved. A chronological detailed pictorial record has been drawn up of the major/monumental works it has produced, its achievements, awards and the accolades it has won. The recurrent narrative themes of HIV/AIDS, Nguni cattle, the Nongquawuse story, local birds, plants and fish which are also discussed. A comparable study, comparing the business practices of the Keiskamma Art Project with the research of Professor Ingrid Stevens on Morris & Co and five other successful, sustained South African Art Projects. Data has been tabulated in an effort to recognise the variances, similarities and differences in an effort to identify a “best practise” business model. Such a model may assist in the development of further art projects, so as to uplift other poverty-stricken communities in South Africa.This research study focusses on how and why Carol Hofmeyr began the Keiskamma Art Project in Hamburg, Eastern Cape, as well as the development of the project’s infrastructure, history and detailed business practices and how it has evolved. A chronological detailed pictorial record has been drawn up of the major/monumental works it has produced, its achievements, awards and the accolades it has won. The recurrent narrative themes of HIV/AIDS, Nguni cattle, the Nongquawuse story, local birds, plants and fish which are also discussed. A comparable study, comparing the business practices of the Keiskamma Art Project with the research of Professor Ingrid Stevens on Morris & Co and five other successful, sustained South African Art Projects. Data has been tabulated in an effort to recognise the variances, similarities and differences in an effort to identify a “best practise” business model. Such a model may assist in the development of further art projects, so as to uplift other poverty stricken communities in South Africa.This research study focusses on how and why Carol Hofmeyr began the Keiskamma Art Project in Hamburg, Eastern Cape, as well as the development of the project’s infrastructure, history and detailed business practices and how it has evolved. A chronological detailed pictorial record has been drawn up of the major/monumental works it has produced, its achievements, awards and the accolades it has won. The recurrent narrative themes of HIV/AIDS, Nguni cattle, the Nongquawuse story, local birds, plants and fish which are also discussed. A comparable study, comparing the business practices of the Keiskamma Art Project with the research of Professor Ingrid Stevens on Morris & Co and five other successful, sustained South African Art Projects. Data has been tabulated in an effort to recognise the variances, similarities and differences in an effort to identify a “best practise” business model. Such a model may assist in the development of further art projects, so as to uplift other poverty stricken communities in South Africa.

嚴瑞芳. / "2011年8月". / "2011 nian 8 yue". / Thesis (M.F.A.)--Chinese University of Hong Kong, 2011. / Includes bibliographical references (leaves 31-32). / Abstract in Chinese and English. / Yan Ruifang. / 前言 --- p.1 / 從自律到他律 --- p.4 / 必然的創作過程 --- p.9 / 從公共空間到公共性 --- p.10 / 對話性的平台 --- p.13 / 例子一 ：Francis Alys --- p.16 / 例子二 ： Sophie Calle --- p.18 / 例子三：Gillian Wearing --- p.19 / 說故事作爲理想溝通方法 --- p.21 / 一個收買故事的故事 --- p.24 / 總結 --- p.26 / 附錄一：作品簡述 --- p.28 / 參考書目 --- p.31

Abstract not available. / Thesis (M.A.F.A.)-University of Natal, Pietermaritzburg, 1997.

Thesis (MPhil)--Stellenbosch University, 2003. / ENGLISH ABSTRACT: The central theme of this thesis is to establish the use of visual art for community development. This is done within the context of South Africa in Kayamandi, a Black Township near Stellenbosch. This example has been chosen because one of South Africa's major developmental challenges lies in Black Townships, due to the previous government's negligence toward these areas. Since the thesis focuses on a Black Township, the history of Black visual art during the 20th century, under colonial and postcolonial regimes is analysed. Subsequently, the notion of community development and how visual art contributes to development is outlined. The important role that community arts and community arts centres play in the contribution of visual art to community development is also defined. To this end qualitative and quantitative research has been conducted in Kayamandi. Artists, visual art groups and possible community arts centres were identified. By way of the Kayamandi study, it is understood that visual art is an established practice in Kayamandi. Under specified circumstances, visual art practice in Kayamandi does lead to community development. The establishment of a community arts centre could further increase people's use of visual art for community development. / AFRIKAANSE OPSOMMING: Die sentrale doel van die tesis is om die gebruik van visuele kuns vir gemeenskapsontwikkeling vas te stel. Dit word vasgestel binne die Suid- Afrikaanse konteks met spesifieke verwysing na Kayamandi, 'n Swart woonbuurt naby Stellenbosch. Dié gemeenskap is gekies omdat Swart woonbuurte een van Suid-Afrika se grootste ontwikkelingsuitdagings vergestalt. Dié uitdaging is die gevolg van nalatigheid van die vorige apartheidsregering ten opsigte van die gebiede. Die geskiedenis van Swart visuele kuns gedurende die 20ste eeu tydens die koloniale en postkoloniale regimes word ondersoek. Gevolglik word gemeenskapsontwikkeling en hoe visuele kuns daartoe bydra uiteengesit en bespreek. Verder word die belangrikheid van gemeenskapskuns en - kunssentrums én hul bydrae tot visuele kuns vir gemeenskapsontwikkeling gedefiniëer. Vir dié doel is kwalitatiewe en kwantitatiewe navorsing in die verband in Kayamandi gedoen. Kunstenaars, visuele kuns groepe en moontlike gemeenskapskunssentrums is ge-identifiseer. Die Kayamandi studie bewys dat visuele kuns 'n gevestigde praktyk in Kayamandi is. In gespesifiseerde omstandighede dra visuele kuns wel tot gemeenskapsontwikkeling in Kayamandi by. Die ontwikkeling van 'n gemeenskapskunssentrum in Kayamandi sal die inwoners se gebruik van visuele kuns vir gemeenskapsontwikkeling vergroot.

Art is often used as a catalyst to stimulate redevelopment and neighborhood change. This often occurs inadvertently as the presence of artists in certain communities can attract both public and private investment to revalorize economically depressed areas. Marginal neighborhoods in inner-urban areas offer inspiration and diversity to artists seeking lower-cost housing. Their presence effectively makes these marginal communities "safe" for middle-class residents looking to live in a funky, urban neighborhood. Ultimately, however, artists are eventually priced out of the communities they helped to create. The Alberta district in northeast Portland, Oregon has used art to create an identity that distinguished it from other redeveloped neighborhoods throughout the city, having become known as the Alberta Arts District. The research presented in this thesis traces the history of the Alberta district from its roots as a thriving streetcar community through its years as a dilapidated, crime-ridden neighborhood, and into its current state as a vibrant arts district. I show how the commercial corridor along Alberta Street has evolved to reflect the changing demographic composition of the surrounding neighborhood. Additionally, housing in the surrounding residential neighborhood has experienced a dramatic increase in average sale price and an upfiltering of aesthetic appearance. Many are attracted to the Alberta district for its vibrancy and diversity, the people and businesses that contribute to the diverse atmosphere may disappear as real estate becomes increasingly more expensive.

Thesis (MTech (Design)--Cape Peninsula University of Technology, 2016. / The research was motivated by my lived experience in the Olifants River community of Namaqualand. In this community there are many diverse ethnic and social groupings with considerable potential to contribute to indigenous knowledge and creative practices. These groupings are, however, fragmented, with no platform for their varied and rich cultural assets to be displayed and acknowledged. In addition, the research was motivated by the call for a platform for the arts in the region. It is argued that visual art practice is an instrumental tool in the advancement of both creativity and social cohesion in this community. The research commenced with a pilot study, comprising workshops, which were run by art practitioners from various sectors in the region. Primary literature that influenced the emerging research design was that of Solomon (2007) as well as the holistic cultural viewpoints of Schafer (2014). The organic process of qualitative research methods as described by Ellingson (2009) was a natural personal directive. Body mapping was used during a preparatory phase that led to the creative exploration of community members’ own identity. Storytelling and dance were included in the design methodology since they enabled a psychosocial process of validating art practice as an economic asset within the community as well as enhancing social cohesion in the community. Crystallisation methods implemented in the process-driven body map workshops were held for grassroots -, town – and township sectors in the Olifants River valley. Each of the workshops comprised ten participants who were invited to participate in a subsequent do-designed collaborative event.

South Africa has witnessed series of social unrest, many of which ended in violence by very poor communities who allege poor delivery of basic goods and services. The majority of South African citizens are poor and pervasive inequality exists between men and women and between black and white peoples of the country. The poverty alleviation strategies inequalities and the consequences of poverty amongst women in rural areas (Ozoemena, 2010). Cacadu District municipality has done a study analysis on poverty alleviation in 2009-2010 together with the Baviaans municipality to verify which areas was the most poorest in Baviaans municipality. The findings came as Vondeling and Riertbron which was the poorest area. The focus was on tourism side because Baviaans is the tourist area.Rietbron and Vondeling is part of Baviaans Arts and craft program that was previously funded by DEDEAT R500, 00 but only benefited after incorporated to Baviaans municipality as they were previously managed by Cacadu District Municipality before and the municipality decided to invest in this areas. The funding for DEDEAT was utilized for trainings, starting material and equipment’s and building of the Baviaanskoof Craft Shop for two projects which is Vondeling and Steytlerville and Rietbron did not benefit at that time. This study focuses on the income generating projects in Baviaans municipality with the view to describe the experiences of individuals who participate in these income generating projects. The objective of this study was to evaluate the contribution of income generating projects in addressing poverty alleviation. Steytlerville projects is using waste materials like old newspaper, raw material, broken cups to do jewellery .Vondeling and Rietbron project is an angel factory producing beaded wire angels by using materials locally produced merino wool, wire wool, beads and local products such as ostrich feathers .This study is based on a case study which gives a description of poverty and reflects an involvement process of beneficiaries or communities in an income generating project and how it is impacting on their livelihoods. Qualitative and quantitative methodology were used. According to Neuman (2000: 30), the quantitative data methods refer to the collection of data using numbers, counts and measures of things and qualitative research basically involves the use of words, pictures description and narratives”. Data was collected for interviews. In order to collect accurate information, an interview was conducted based on the author’s research questions. Research was conducted in different areas like Steytlerville, Vondeling and Rietbron. A questionnaire was used as a form of data collection for the three projects. These interviews were conducted formally in a focus group composed of the projects members. In Steytlerville they were 5 members, Vondeling 7 members and Rietbron10 members which make a sample of 22 members. These projects have two craft shop where they sell their product which is Willomore craft shop and Baviaanskloof craft shop. The craft shop has been established to create an outlet by which locally sustainably made craft can be displayed and sold. The craft shop has been developed in such a way that is a real life example of a green building and business .The craft shop is an example of how to be environmentally friendly and utilise nature in such a way that it is sustainable and does not destroy it. The research findings suggested that in certain instances, Baviaans Craft project has been successful in generating income for members. The market for these crafters is mainly tourists. From this research it came out clear that some of the project members were able to acquire skills which help them to find employment in well-established craft business. Despite the successful of Baviaans Craft project, the project members were somewhat constrained in managing and running the business. For example with response for special markets, they had to make use of external skills i.e. someone who made contacts with the export market and there after divide the profits amongst members. The project members were not adequately empowered in management skills.

This treatise explores the role of craft and craft training as a tool within poverty it looks to question the sustainability of this approach. The research was conducted amongst three community school sites. These were structured to better the relationships between schools and community members, in particular school parents. As the data had been collected through open questionnaires, after the first phase of implementation, it found that each site was trained in entrepreneurship and a craft skill. These were exercised through a selling opportunity within the Sundays River Valley. Assessments of the project looked to question and consider not only the implementation and framework of the project, but the expectations of both the participants and the facilitators. The data collected was reviewed in regards to the SRV Project’s goals and successes, as well as the universal measurements of success viewed within craft based projects and programmes with a poverty reduction focus. Findings showed that the project, though successful in meeting the basic goals, faced challenges in regards to funding, time constraints, participation consistency and challenges in market and product understanding. Recommendations were made in accordance with indicators highlighted in successful and sustainable models of craft based poverty alleviation projects.

This paper explores the practices of natural resources management, community development, and public arts by comparing the integration of social engagement as part of project management. All three of these practices originate from goals of social change and continue to advance in their disciplinary fields. Community-Based Natural Resources Management (CBNRM) is framed in the natural resources management discipline. Community Development (CD) practice is framed in public participation and city planning disciplines. Creative Placemaking (CP) practice is framed in the public art discipline. These disciplines point to the intent to transform existing culture with the goal of becoming more democratic, socially just, transparent, and inclusive. Through the analysis of project management traits, key components are identified for successful project implementation with the goal of resulting in healthy and vibrant communities.