Business and entrepreneurial curriculum in professional Dutch visual art schools

Theoretical framework

The government

Over the past decade, government policies have significantly shaped the professional landscape for visual artists, influencing both art education and the job market for graduates Frey (1999) highlights that government actions can steer market dynamics and artist creativity, particularly through subsidy systems that favor specific genres or artist groups During the late seventies and early eighties, as Abbing (2007) notes, the government prioritized avant-garde visual arts, providing substantial financial support to emerging artists while neglecting traditional forms, thereby directly impacting the art market This preferential treatment has long-term implications, as artists accustomed to consistent government funding may struggle when that support is withdrawn The BKR, a Dutch subsidy plan active from 1949 to 1987, allowed minimum-wage artists to sell their work to local governments, offering a relatively secure income but ultimately stifling creativity and financial independence While it temporarily alleviated poverty among artists, history shows that the BKR's short-term solutions adversely affected the long-term financial autonomy of visual artists The subsequent subsidy plan introduced in 1999 aimed to address these issues.

Inkomensvoorziening Kunstenaars (WIK), which was changed into the Wet Werk en

In 2005, the Inkomensvoorziening Kunstenaars (WWIK) was introduced to support artists' professional practice, but it imposed a time limit on financial aid and required artists to earn a minimum income from their art With the recent announcement of the termination of this subsidy and significant budget cuts in the arts and culture sector, the future of financial support for artists is uncertain Additionally, a disconnect exists between professional art education and artists' practical experiences, raising questions about the government's role in fostering either top talent or a broad base of professional artists Critics argue that government policy has inadequately focused on the necessary infrastructure for education, research, and innovation within the arts Over the past decade, efforts have been made to research and classify Dutch art education, but the application of these findings is crucial for innovating art school curricula The uncertainty of government support for institutions, students, and graduates further complicates the development of an improved art education system.

The field of visual artists

1.2.1 What are the effects of art education on visual artists?

This thesis focuses on HBO and higher education in the arts as forms of art education There are two perspectives on the impact of art education: one examines its relevance to the professional success of artists, while the other considers how it shapes the internalized values of artists This paragraph will explore these perspectives in detail.

The question of whether an arts degree is the key to success is often debated According to Ter Haar et al (2010), not all art students become professional artists, and many successful artists lack formal art education Literary agent Paul Sebes (2007) emphasizes that exceptional writing talent is essential, but success also requires practice and self-education This principle applies to all forms of art and talent While professional arts education does not guarantee a successful career (Towse, 1993), it offers valuable opportunities to enhance one's skills.

2007, Gubbels, 2007, Twaalfhoven, 2007) have raised questions regarding the topic of relevancy of art schools Elias (2007) states that one first needs to determine the goal of art

The focus of the discussion is whether to prioritize the development of elite talent or to cultivate a diverse foundation of skilled artisans who can be broadly utilized Additionally, it examines the influence of government policy within this tension between education and practical application.

Government policy has long neglected the intangible infrastructure of sectors like education, research, art, and culture, which are essential for innovation (De Ruijter, 2007) The effectiveness of art education is questioned, particularly whether it should focus on fostering artists or teaching practical skills related to art (Gubbels, 2007) Many graduates feel a sense of failure if they do not achieve success as artists, despite having careers based on their education This issue is prevalent across various sectors, indicating that art education mirrors general educational outcomes (Huiskens, 2007) The perspective on artists' careers should be broadened to embrace interdisciplinary approaches Twaalfhoven (2007) emphasizes the importance of nurturing talent and self-reflection for artists Practical challenges often arise post-graduation, suggesting that art schools need to equip students with problem-solving skills earlier in their education (Gubbels, 2007) While some argue that formal art education is unnecessary, especially in popular genres like pop music (Venema, 2007), each art genre has unique institutions and discourses that artists must navigate The evolving nature of these institutions, as evidenced by historical movements, underscores the importance of art education in preparing young artists to engage with the shifting definitions of good art and artistry Paragraph 1.3 will further explore the requirements for visual artists to succeed in their respective markets.

The values of visual artists are significantly shaped by their educational environments, where the influence of teachers plays a crucial role in transferring artistic values to students According to Abbing (2002), artists from similar backgrounds and educational experiences tend to develop a shared artistic conscience and reward orientation While commercial success is often encouraged in educational settings, particularly in fields outside of fine arts, young artists are typically not motivated to create commercially viable work within art schools Huiskens (2007) emphasizes the importance of professional art education as foundational for the cultural sector, as it prepares the next generation of artists Although art schools can both support and constrain the artistic growth of students, obtaining a degree does not guarantee success; however, professional art education remains invaluable in nurturing and refining young talent.

1.2.2 Facts about Dutch (visual) artists and art students

Researching the artists' labor market faces significant challenges due to increasing digitalization and data availability The outcomes of such research vary based on the definitions used for "artists" and the methodologies employed to identify the relevant population Throsby (2001) highlights various definitional and procedural issues, such as classifying cultural workers and estimating the size of artistic populations Similarly, Butler (2000) notes that the definition of an artist often depends more on the identification method than on intrinsic characteristics Accurate comparisons between the artists’ labor market and other art markets require careful consideration to avoid overlap, a challenge mitigated in this study by focusing specifically on art students in the visual arts In this context, a young visual artist is defined as someone who has completed a visual arts curriculum at a professional art school Additionally, Ter Haar et al (2010) provide insights into Dutch artists, revealing that they generally earn lower incomes compared to the overall working population, based on data from the Central Bureau for Statistics (CBS) from 2004 to 2006.

In 2010, it was found that over half of artists operate as independent entrepreneurs, a situation attributed to the low income stemming from investments in materials and artworks Research by Ter Haar et al (2010) indicates that, on average, 7% of Dutch artists from 2004 to 2006 identified as visual artists, a category defined by the CBS to include various forms of art creation such as drawing, illustrating, painting, photography, ironworking, and art restoration Notably, since 2010, the CBS has included flower arranging in the visual artist classification, complicating the interpretation of statistics Additionally, Huiskens & Bakker (2009) reported that in 2009, there were 96,000 artists within this population.

7000 were visual artists This percentage (7,3%) of visual artists is slightly more than in 2004-2006

3 (http://www.cbs.nl/NR/rdonlyres/4AC5FB62-0270-48C7-BEE5-

FB6E9722BCD7/0/2010sbcvolledigeomschrijvingwerksoorten.pdf retrieved on 20-05-2011)

Figure 1 illustrates the enrollment trends in visual arts education compared to overall professional art education, revealing a notable increase in art students over recent years While the number of visual art students has seen a modest rise over the past two decades, it lags behind the growth of total art student enrollments This indicates that different sectors of art education can develop at varying rates Research by Huiskens & Bakker (2009) highlights that only 32.3% of art school graduates feel their education adequately prepares them for the job market, in contrast to 58.6% of graduates from the broader HBO school population who share this sentiment This raises questions about how to categorize the emerging generation of art students.

According to Huiskens & Bakker (2009), the new generation of students exhibits significant flexibility and places increasing importance on their digital lives and online representations Their research indicates that these young individuals have mastered self-presentation through social media, reflecting a hedonistic attitude towards life The authors emphasize that this generation has control over their lifestyle choices, highlighting the necessity of understanding their characteristics to develop an appropriate curriculum that supports their growth and development.

4 'Jongeren hebben een zeer hedonistische levenshouding' (Huiskens & Bakker, 2009: 47)

Figure 1 : enrolled students in professional art education (source: CBS)

1.2.3 How have art academies developed over time?

The Dutch art education system has been criticized for being outdated and stagnant, affecting both curriculum content and teaching quality (De Ruiter, 2007) This stagnation has led to a decline in the critical understanding of the artist's profession, exacerbated by an influx of inexperienced teachers hired to meet the growing demand for art education since the 1960s baby boom (Vuyk, 2007) These teachers often lacked the expertise to guide students in developing a sustainable professional practice, resulting in a rigid educational framework Furthermore, changes in faculty influence students' reward orientations, which significantly impact their professional development (Abbing, 2007) While there are capable educators in art schools today, historical influences continue to shape current perceptions in art education (Vuyk, 2007) This has fostered a generation of idealistic artists who excel in a subsidized environment but struggle to navigate the commercial art world Experts like Huiskens and Heinsius emphasize the need for artists to engage with reality, highlighting deficiencies in business preparation, interdisciplinary collaboration, and the overall understanding of the artist's role (Gubbels, 2007) The insular mindset prevalent in the artistic community hinders innovation, underscoring the importance of outward reflection and adaptability.

An important change in the field of art education came after the creation of an accreditation system The Dutch Flemish Accreditation Organisation (NVAO) is responsible

The Dutch art landscape of the 1980s and 1990s was shaped by a generation of idealistic artists who thrived in a subsidized environment but struggled with the realities of selling their work (Vuyk, 2007) The introduction of independent quality assessments for art schools shifted the focus from nurturing top talent to ensuring basic educational standards However, De Ruiter (2007) argues that this emphasis on basic quality has overshadowed the pursuit of excellence, which is crucial in the arts The current accreditation system fails to encourage innovation and improvement, leading to a lack of critical reflection on curricula Consequently, the government's paradox lies in promoting basic quality while neglecting to reward the necessary levels of artistic excellence.

According to De Ruiter (2007), the current accreditation system poses a significant challenge for curricula, as it leads to a "freezing" effect where outdated content remains while new material continues to accumulate, resulting in an overwhelming overload To foster innovation and enhance the arts education system, it is essential to improve the balance between existing and emerging educational factors.

In May 2010, the NVAO released a report evaluating art education in the Netherlands, focusing specifically on visual art schools (Jacobs & Van San, 2010) This report summarizes the strengths and weaknesses of bachelor and master programs across accredited Dutch art institutions, presenting an overall positive view of these programs However, it primarily addresses basic education, as noted by De Ruiter, and lacks a detailed validation system to highlight which schools excel in specific areas, while also anonymizing the population studied A key recommendation from the NVAO for improving bachelor programs is the enhancement of professional practice preparation through a curriculum focused on entrepreneurship This finding underscores the relevance of my research, aligning with the consensus among various authors that Dutch art schools need to refine their professional practice curriculum Jacobs & Van San (2010) noted that in 2007, alumni reported challenges in securing employment within their field.

The current accreditation system faces a significant issue with curriculum stagnation, where outdated content remains while new material is added, leading to an overwhelming educational experience (De Ruiter, 2007) Concerns have been raised about graduates feeling inadequately prepared for independent professional practice, with 70% expressing this sentiment (Huiskens, 2007) Rikken (2010) emphasizes the need for art schools to foster an entrepreneurial mindset among students, a goal that is not being met adequately due to a lingering aversion to market engagement While Rikken acknowledges positive developments in business curricula within art schools, she criticizes the fact that these offerings are often optional rather than mandatory.

The NVAO report highlights the need for enhancing the theoretical education in bachelor programs, emphasizing the gap between the practical focus of HBO institutions and the academic requirements of the subject matter De Vries (2007) notes that art historians receive an academic education, while artists often come from practical HBO backgrounds, raising ongoing debates about the classification of art schools De Ruiter (2007) argues that professional art schools should align more closely with academic education, especially as they now offer master's programs and collaborate with universities, creating a hybrid model in higher education This hybridization leads to diverse curricula across art schools in the Netherlands, influenced by the tension between academic and practical content Additionally, the NVAO report stresses the importance of increasing alumni and professional field involvement in master programs, as this area receives the lowest scores in assessments Furthermore, while business aspects are addressed in the curriculum, the NVAO points out that there are critical gaps in the entrepreneurial education provided to students.

7 'In 2007 gaven alumni aan over het algemeen snel werk te kunnen vinden binnen hun sector, al hebben ze behoefte aan voorbereiding op het ondernemerschap.' (Jacobs & Van San, 2010: 17)

The market

To effectively evaluate the curricula of art schools, it is essential to understand the critical factors that influence new visual artists as they enter the art market According to Caves (2000), gatekeepers, such as gallery owners and peer artists, play a significant role in determining which artists gain access to this market A strong professional network is vital for artists to navigate these gatekeepers and integrate into the artistic discourse (Caves, 2000; Giuffre, 1999) The formation of these networks is crucial in studying artists' lifecycles, as the unique dynamics of reward orientation and income allocation within the artists' labor market must be considered when assessing the development of emerging artists This chapter will explore the roles of gatekeepers, network formation, and the artists' labor market, as these elements are pivotal in understanding young artists' entry into the art market.

Studying gatekeepers and their processes is crucial for understanding the dynamics between art and commerce, as they play a significant role in determining which art objects reach the market Through established conventions, gatekeepers influence the selection of artworks, reflecting the ongoing tension between artistic value and commercial viability Numerous researchers have explored the factors that affect gatekeepers' decisions in the art world, highlighting the complexities involved in the art selection process.

Bielby & Bielby (1994) discovered that aesthetic evaluations have minimal influence on television gatekeepers, who instead rely on genre, imitation, and reputation in their decision-making Mauws (2000) expanded on this by emphasizing the significance of the context in which gatekeepers operate, as different genres possess unique determinants for selecting artists For artists, understanding their market and genre is crucial for effectively appealing to the appropriate gatekeepers However, Mauws' research has limitations, as it focuses on group decision-making, which does not apply to individual decisions prevalent in markets like the visual arts, where gallery owners often hold significant power This highlights the inherent uncertainty in decision-making processes, suggesting that visual artists should conduct thorough research on prevailing conventions and network theories to enhance their market success.

In the contemporary art market, Santagata (1995) highlights the role of gatekeepers, such as explorer and commercial galleries, in addressing the credibility challenges faced by new artists To mitigate the risks associated with investing in emerging talent, explorer galleries implement three key conventions: pricing artworks low to attract investment, reducing costs through price adjustments or relinquishing future rights, and requiring artists to invest in their own reputations These strategies facilitate agreements that protect galleries while promoting new artists Once established in explorer galleries, artists can transition to commercial galleries, underscoring the importance of networking and understanding market conventions for career advancement This framework is valuable for art education, encouraging students to consider their future careers in the context of these dynamics.

Dealers prioritize what will sell, relying on the seriousness of artists and the judgment of established figures in the art world, highlighting the crucial role of networks, especially for emerging artists (Caves, 2000) Research by Karhunen (1996) on the employment status of theatre and dance artists in Finland reveals that job opportunities often arise through word-of-mouth recommendations, underscoring the significance of gatekeepers and strong networks Additionally, Giuffre (1999) examines the historical network of photographers, using block modeling and sequence analysis to illustrate the connections between artists and galleries She notes the challenges in tracing an artist's career due to the prevalence of short-term jobs and freelance work, resulting in a lack of clear hierarchy and career progression.

The evaluation of the networks, Giuffre

In 1999, it was proposed that a more effective method for mapping an artist's career involves analyzing the types of networks associated with successful artists This study aims to identify the specific ties that contribute to an artist's success Giuffre utilizes data from grant issuers and gallery memberships spanning 1986 to 1988, constructing block models based on the connections between photographers and galleries, as well as shared gallery memberships The analysis reveals two primary categories: loosely knit groups characterized by diffuse ties and small, dense cliques Within these categories, six distinct blocks were identified.

Figure 2: Art World Network Structure source: Giuffre (1999: 824)

Giuffre conducted a sequence analysis to explore how photographers interacted within different network blocks over time, revealing that successful artists predominantly engaged with A-blocks, characterized by loose ties and minimal density She concluded that these artists, referred to as "stars," continuously navigate the fluctuating gallery landscape, forging and dissolving connections while establishing a stable network structure Giuffre identified two key factors explaining the benefits of A-blocks: structural holes and the weak ties argument Structural holes allow artists to serve as intermediaries, enhancing their power within the network, while the weak ties argument suggests that the ability to sever connections without losing others fosters a robust artistic career Ultimately, she likened career progression in the art world to "sand piles," emphasizing its inherent flexibility and unpredictability, which contrasts with more stable labor markets A broad network offers valuable information and connections, yet the uncertainty remains a defining aspect of the artists' labor market.

The artists' labor market is characterized by flexible working patterns, which are more prevalent than in other sectors While there are numerous jobs in the cultural sector, they are often short-term and predominantly occupied by 'superstars,' leaving many artists struggling to make a sustainable income (Towse, 2003) Balancing artistic creation with financial stability poses a significant challenge for these individuals Throsby (2007) highlights that traditional labor market models do not apply to artists due to their tendency to hold multiple jobs and the unique nature of their intrinsic motivation, which often exceeds conventional utility theories His hypotheses suggest that artists with more secure financial situations are better able to achieve their preferred time allocations, and that those with greater arts-related human capital can align their actual and desired working times more effectively Interestingly, even lower-income artists can attain ideal working time allocations if they possess more training Financial support for artists can come from various sources, including art sales, government subsidies, commissions for public projects, and commercial collaborations Additionally, awards and grants can enhance an artist's credibility and financial viability (Rikken, 2010).

In 1995, three categories of income for artists were identified: arts income, arts-related income, and non-arts income Arts income includes selling one's own artwork, while arts-related income encompasses teaching art, organizing cultural events, and leveraging creativity for financial gain Non-arts income refers to jobs unrelated to the arts, such as waitressing or sales Rikken (2010) highlights that many artists base their financial strategies not on their work but on preconceived notions shaped by prior art education Visual artists primarily create their works for artistic expression rather than monetary gain Abbing (2002) argues that if artists compromised their dedication to art for commercial success, it would undermine the status of art He further asserts that assigning monetary value to artwork transforms it from a pure form of expression into a commodity, indicating that pricing and money are inherently biased.

Simmel argues that money disrupts art, viewing it not as an end but as a means for creation The devaluation of art stems not from money itself, but from the prices and exchange rates associated with it In this context, the art market resembles the gift economy Therefore, when examining the entry of young artists into the art market, it is essential to consider their intrinsic motivation and the minimal influence of commercial and monetary objectives compared to other labor markets.

Research question and methods

Population

The Netherlands offers eight accredited bachelor's programs and five master's programs in the field of (autonomous) visual arts, with seven art schools receiving accreditation.

Nederlands-Vlaamse Accreditatie Organisatie (NVAO) which reviewed all art schools in the

Netherlands I will perform research in three of these accredited art schools: the Hogeschool voor de Kunsten Utrecht (HKU), Gerrit Rietveld Academie (GRAC) in Amsterdam and

Hogeschool Zuyd in Maastricht was selected for my research due to its willingness to participate, while other institutions declined to provide detailed information Despite this, I will analyze the documents and brochures from additional professional art schools, including Willem de Kooning Academy, Artez, and Koninklijke, to gather insights on their curricula.

Chapter seven examines the Academie voor de Beeldende Kunsten and AKV St Joost to provide a comprehensive overview of the research population, essential for mapping professional visual arts education in the Netherlands Despite the absence of some key schools in the case studies, the selected sample remains valuable for information gathering Each institution is situated in a major city, featuring diverse curricula According to Ter Haar et al (2010), artists predominantly reside in the major Dutch urban centers—Amsterdam, Rotterdam, Utrecht, and Den Haag—as well as near Arnhem, Nijmegen, Eindhoven, and Maastricht, with Amsterdam housing the largest artist population The three schools in this research encompass all categories, with GRAC in Amsterdam, HKU centrally located in Utrecht, and Hogeschool contributing to the overall landscape of visual arts education.

Zuyd is situated on the other side of the country in Maastricht All in all it is an interesting population group.

Sub questions and methodology

This research employs an inductive approach, necessitating qualitative methods A comparative case study of various professional art schools in the Netherlands is essential to address the sub-questions effectively By examining multiple institutions, this study aims to provide a comprehensive understanding of the diverse curricula offered in Dutch art education, as analyzing a single school would not capture the broader landscape of these programs.

I have formulated the following sub questions in order to form a sound conclusion at the end of this thesis:

1 What are the most important factors young professional visual artists have to take into account when they start to participate in the visual arts market?

2 What does the current business and entrepreneurial curriculum in the case of this art school entail?

3 What is the judgment of visual art students that study at this art school on their business and entrepreneurial curriculum? Which subjects in the curriculum worked out in practice and what not?

4 What do the faculty members think of the business and entrepreneurial curriculum in this school?

The initial sub question will be addressed through a combination of literature research and interviews with educators, as outlined in the theoretical framework of chapter one Additionally, the case studies are designed to provide insights into sub questions two through four.

Case studies

The case studies will involve a comprehensive content analysis of the curricula at various visual art schools, alongside interviews with both students and educators This research will explore the interplay of demand and supply in education within these institutions To facilitate comparisons between schools while allowing for flexibility in responses, semi-structured interviews will be employed Following an extensive literature review, the next phase will focus on conducting interviews and distributing questionnaires to gather sufficient data for each participating art academy's case study Each school will host three discussions, starting with a group conversation among five to seven graduating students from a class of up to 25, with specific topics outlined in the appendix.

11 The conversation with the students formed a basis for the content of the second conversation, which entailed an interview with the teacher that is responsible for the part of the curriculum involving professional practice and/or entrepreneurship These interviews with the teachers touched upon the same topics in general and were customized more specifically on some details provided by the students This diminishes the comparative capacity between cases but increases the depth of each case study itself The third conversation consisted of an interview with a person higher up in the organisational hierarchy At the HKU this was the head of Fine Arts, at HS Zuyd a person in a similar position was interviewed in the form of the head of Visual Arts At GRAC the dean was interviewed but the previously interviewed teacher was also the head of the department In the end the same dimensions are covered in each school: students, educators in the form of teachers and the people that are responsible of the total curriculum The results of the case studies will be compared and applied to the abovementioned theories in the conclusion in chapter eight.

Aim and goal

This thesis aims to analyze the current business education system for professional visual artists, identifying best practices that effectively support their development By examining case studies and conducting additional research, the study will culminate in recommendations for enhancing visual arts education A key guiding question for these recommendations is: How can business education for visual artists in the Netherlands be improved to better equip emerging artists to meet market demands?

Case 1: Hogeschool Zuyd (HS Zuyd)

Students

Data collection at HS Zuyd differed from other case studies, as there was no opportunity for group discussions with students I attended the final workshop of the fourth-year Artistic Research course, where students presented their portfolios in preparation for future presentations This extensive afternoon session involved feedback from a panel of teachers, researchers, and alumni, although recordings were unfortunately lost Observations and notes suggest a strong emphasis on reflection and the sources of inspiration behind the students' artwork Presentations were tailored to the specific field, using specialized language that may not be easily understood by non-experts Some students were more audience-aware than others, and the overall presentation quality was average Many students felt unprepared due to a lack of clarity about the assignment's goals and the pressures of their graduation schedules While some students excelled in public speaking, others struggled, which is surprising given their nearing graduation Notably, students expressed a strong appreciation for collaboration with their peers.

Maastricht University’s General Cultural Studies program collaborated with the Academy of Autonomous Visual Arts, linking university students with art students to create detailed descriptions of their work for presentations Additionally, a significant focus during the presentation round was the publication of a book showcasing the graduation year, entirely developed and financed by final-year students from the autonomous visual arts department Inspired by this initiative, students are now working to establish a foundation aimed at creating a dedicated space for the arts in Maastricht, where individuals can work, exhibit, and present their creations.

After the workshop's presentation round, attendees gathered for drinks to celebrate the course's conclusion, providing a valuable opportunity to interview several students The interviews highlighted the self-reflective nature of the Artistic Research course, with students like Jana emphasizing its importance: "To look at yourself, that's what you learn here tremendously." All interviewed students agreed that this reflection is a beneficial and necessary practice for their future, although some raised concerns about its applicability to every student and the potential for it to be excessive (Appendix 1, Joep p.p 9, Diana, p.p 15) Joep noted the curriculum's limited focus on pure business knowledge (Appendix 1, p.p 3) and mentioned a notable workshop where the teacher provided valuable business advice, a first for their class, facilitated by Krien's involvement in the program.

The graduation class is establishing a foundation, inspired by a previous workshop Joep believes that specific information for setting up the foundation can easily be found online, arguing that teaching it in class would be dull and ineffective Jana echoes this sentiment, stating that practical aspects can be independently researched An alumnus even offers contacts to assist the foundation, highlighting the organic nature of acquiring such information Marjolein agrees with Joep and Jana, linking their independent approach to their artistic work in studios Similarly, Diana emphasizes that entrepreneurial spirit must come from within.

10 'Jana: dat leer je hier enorm.' (Appendix 1, p.p 12)

11 'Ja hij kwam met die zakelijke adviezen en hij is uitgenodigd door Krien dus dat is wel via de opleiding gegaan.' (appendix 1, p.p 3)

"While we all figure things out on our own through the internet, having formal lessons on the topic would likely have been unengaging and ineffective The key takeaway is that whenever you encounter difficulties, there is always someone available to help you."

13 'Dat zijn praktische, duidelijke zaken die je makkelijk zelf kan uitvinden.' (Appendix 1, p.p 12) and it is not necessarily something you learn in school Next to the course Artistic

Research indicates that students feel the curriculum lacks comprehensive business and entrepreneurial knowledge, with no apparent internships offered within the department Practical work experience is self-arranged by students, who do have minimal interaction with business experts during workshops for Artistic Research Students appreciate the faculty's approach, emphasizing a collaborative communication style rather than a hierarchical one, which fosters confidence and diverse perspectives among them Comparatively, one student noted a more pleasant experience at HS Zuyd versus her previous institution, where the teaching style was more rigid Positive feedback primarily highlights the autonomous visual arts department, although some students express dissatisfaction with the higher-level organization of the art school For instance, one student pointed out that the school's publication efforts seemed to prioritize promotional content over meaningful representation of student achievements, undermining the intended purpose of showcasing graduates' work.

Joep acknowledges that the information provided is somewhat limited, but emphasizes that valuable insights can be gained through conversations with experienced teachers at the school Engaging in discussions allows students to learn effective approaches to handling business-related matters.

Students express that the diverse teaching approaches of five different instructors help them gain confidence, but by the fourth year, the experience shifts as they feel more like a source of revenue rather than valued learners This highlights a disconnect between the school's overall vision and that of the specific department, a gap that is concerning as it impacts student development Engaging in a discussion about this issue with the head of the department could provide valuable insights, but unfortunately, that opportunity did not materialize.

Students pursuing an art education program often view it as a safe space for personal development, where they can be challenged and encouraged to make mistakes, as highlighted by Diana's perspective They believe that education serves as a means to achieve their artistic goals rather than being an end in itself An art degree can facilitate entry into the professional field, although students like Jana note that many are focused on their graduation projects, which can significantly impact their future prospects Post-graduation, students express a preference for collaborative opportunities such as artist residencies and initiatives, rather than working independently This desire for collaboration stems from a need for security amid potential government budget cuts and a commitment to ongoing development, as they feel that isolation in their workspaces hinders their growth.

Each year, an exam publication is released featuring all art programs and their students' work, including productions, performances, and music However, our school only had a three-page article from the director praising the experience of studying here and welcoming visitors to the open day, with a brief mention of the exam exhibition This publication is meant to promote students graduating from artistic studies, but it gives the impression that the focus is solely on attracting new students for four years, after which they are largely forgotten, having merely contributed financially to the institution.

Collaboration and interaction are essential for artistic growth, as highlighted by Joep's insights on the importance of community in the creative process He emphasizes that being an artist involves engaging with others and sharing experiences, rather than isolating oneself in a studio Unlike the past, when artists often prioritized individual ego, this group of students showcases a strong sense of togetherness and entrepreneurial spirit, as evidenced by their establishment of a publication and foundation This collaborative environment encourages experimentation and allows for collective growth, reinforcing the idea that art flourishes in a supportive community.

The students exhibit a laid-back attitude towards money and economics, focusing more on creativity than financial concerns Joep emphasizes the necessity of innovation, while Diana highlights that her spending priorities lean towards experiences, such as printing art, rather than material possessions Although they acknowledge the likelihood of earning modest incomes, they remain optimistic about their future, with Joep expressing the need for side jobs and Hanna showing no qualms about it Diana points out that building connections through relevant jobs can be beneficial, noting that many successful figures in their field are still in their fifties, which reassures students that they have ample time to achieve success Overall, they maintain a positive outlook, believing they can thrive creatively without compromising their financial well-being, and are inclined to seek opportunities within the cultural sector.

Engaging in collaborative discussions and sharing experiences with fellow artists is essential, as it prevents isolation in the creative process Working in solitude in a studio does not define an artist; rather, it is the exchange of ideas and the appreciation of each other's work that fosters growth and development in the artistic journey.

19 'Het is noodzakelijk om nieuwe dingen te kunnen maken.' (Appendix 1, p.p 4)

20 '… ik heb tegenwoordig liever dat ik het geld uitgeef aan het afdrukken van een dure foto dan dat ik kleren zou kopen daarvoor.' (Appendix 1, p.p 10)

21 'Joep: Ja ik denk dat bijbaantjes voor komend jaar sowieso wel nodig zijn Hanna: Vind je dat niet erg om te doen? Joep: Dat weet je vantevoren eigenlijk.' (Appendix 1, p.p 4)

22 '… de grote namen zijn toch allemaal de vijftigers.' (Appendix 1, p.p 10)

The discussion highlights a desire among artists for independence from government subsidies, with Jana expressing a wish to avoid the stigma of being labeled as a "free rider." Joep and Diana support her view, arguing that the perception of artists is often skewed Joep believes that artists can sustain themselves through inventive cultural entrepreneurship, although he feels that the government's understanding of this concept is misaligned with reality He suggests that true entrepreneurship transcends financial gain, and if artists struggle, they may need to adopt a more commercial approach The students respond calmly to impending budget cuts, proposing solutions such as collaboration, international opportunities, and maintaining flexible, realistic career goals Overall, this group is characterized by a positive yet pragmatic outlook, emphasizing the importance of teamwork and mutual reflection among peers.

Teacher

Krien Clevis teaches the Artistic Research course for third and fourth-year students in the bachelor program She holds a degree in education and has guided preparatory training programs for art academies in Middle and North Limburg Additionally, Clevis earned her degree as a visual artist from the Jan van Eyck Academy Her professional experience includes roles as a curator and panel member at the visual arts fund Currently, she is concentrating on artistic research and is pursuing a promotion program at the university.

In appendix 2, you will find the minutes from the telephone interview with Krien Clevis Due to the format of the interview, there were limitations in data recording, leading to a limited source of information for this paragraph.

Clevis highlights that the Artistic Research course incorporates essential business and entrepreneurial elements into its curriculum Prior to a reorganization in 2008, each department offered a dedicated course titled Professional Preparation in a workshop format Currently, the content of this course is condensed into a one-week session each year.

The research course emphasizes the importance of reflection and investigation, with Clevis highlighting that the primary objective is to guide students in articulating and expressing their motivations effectively.

In a recent discussion, Clevis emphasized the importance of independence from subsidies in the arts, particularly for visual artists She described the Artistic Research course as a unique method that empowers students to contribute to the curriculum, contrasting it with traditional courses led by teachers This structured course requires students to complete assignments and presentations, fostering active participation While students appreciate this engagement, some struggle to connect the course content to their own artistic practices Clevis aims to challenge students and broaden their perspectives, supplemented by guest lectures on practical topics such as arts policy and income sources Although internships are not part of the curriculum, experienced teachers share valuable insights Clevis advocates for enhancing the business curriculum by introducing a dedicated week focused on professional practice, expanding reflective components, and maintaining the compulsory status of the Artistic Research course She values collaboration within her department to continually improve and align the course with the overall curriculum at HS Zuyd.

HS Zuyd she describes as rigid and explains that the reason for this can be found in the

The objective is to teach students how to articulate and document their motivation, which is deemed essential for visual artists The presence of too many leaders within the institution creates a disconnect, as different departments operate like isolated islands It is suggested that fostering greater integration among departments would be beneficial Students have shared concerns about the school's response to their initiatives, highlighting a gap in the institution's vision Clevis advocates for student-led projects, such as publications and foundations, recognizing their educational value She actively collaborates with academies in Amsterdam, The Hague, and Groningen, independently seeking these connections Regarding the classification of art academies, Clevis argues that the Artistic Research course does not fit neatly into practical or academic education She emphasizes the need for a shift in mindset within both the academic and art communities as the institution transitions into a faculty, with the current course structured as a pathway to the master's program.

According to Clevis, a graduating artist must have a clear understanding of their identity and the essence of their work They should be adept at positioning themselves within the art field, recognizing their influences, and knowing how to sustain themselves as artists Clevis characterizes visual artists as cultural entrepreneurs committed to continuous self-development However, she observes that her students often focus more on immediate concerns than on their future careers Post-graduation, many return seeking guidance on pursuing further studies or navigating funding opportunities Clevis also notes that the current political climate significantly impacts the art world, suggesting that it fosters a growing awareness among graduates that their professional practices will undergo substantial changes, with each generation responding differently to these shifts.

26 'Er zijn simpelweg te veel kapiteins op één schip.' (Appendix 2 p.p 15)

27 'Een afgestudeerde Bachelorstudent moet weten waar hij/zij voor staat en waar zijn/haar invloeden vandaan komen.' (Appendix 2, p.p 14)

After completing their studies, individuals often return with inquiries about further education applications and subsidy strategies, highlighting the need for adaptation to a changing cultural landscape The current generation must rely on their own resources and resilience within a simplified cultural framework As an academy, we must address this evolving mentality In the past, the fusion of money and art was frowned upon, but the post-World War II subsidy system significantly contributed to the growth of the Dutch art scene With current shifts in funding, it is essential to explore innovative market strategies to ensure the arts sector's sustainability Today's students exhibit remarkable flexibility and openness in seeking diverse income sources, demonstrating a lack of disdain for various funding avenues.

Conclusion

This case study highlights the limitations encountered due to the absence of a crucial interview with the head of department, as noted in chapter two It reveals that the diverse organizational structure of the school can impact the effectiveness of students and teachers within specific departments, as well as external stakeholders Students express a strong desire to collaborate, aiming to enhance their positions and personal development, while still practicing entrepreneurship despite organizational challenges Teachers actively encourage this entrepreneurial spirit, offering classes and lectures that impart valuable real-world experience The current business curriculum emphasizes research and reflection, evident in student presentations and teacher perspectives Interestingly, financial concerns are not a primary focus for these students, who maintain an optimistic outlook on their futures, with Clevis acknowledging the potential for various income sources.

The political climate significantly influences me personally, and its effects are already evident among the graduating student cohort There is a growing awareness that artistic practices will undergo substantial changes, with each generation responding differently When I graduated, the BKR was abolished, and I was unaware of its implications at the time The current generation must navigate an increasingly stripped-down cultural system, requiring them to organize and operate with greater independence As an academy, we must adapt to the evolving world and mindset.

To ensure the longevity of the arts, it is essential to embrace all available opportunities, as highlighted in recent discussions about the evolving landscape of the artistic field A shift in mindset is necessary to protect artists and their creations, with art academies playing a crucial role in this transformation.

Case 2: Hogeschool voor de Kunsten Utrecht (HKU)

Students

Fourth-year students engaged in a discussion about their course expressed that while they find the content interesting and potentially useful, the teaching format is not well-received They highlighted a mismatch between the mandatory Tuesday morning classes and the newfound freedom of private workspaces, with one student noting that the course's focus on collaboration contrasts with their individual artistic processes Many students criticized the hypothetical nature of assignments, preferring real-world experiences, which they found through internships at various institutions and with individual artists These internships not only provided practical skills but also opportunities to expand their professional networks While some students actively sought out experiences outside of school, others limited their practical engagement to school-related activities A consensus emerged that personal drive and enthusiasm are essential for artistic development, as education serves merely as a tool Additionally, the discussion touched on the debate regarding the academic level of art education, with one student advocating for art academies to be integrated into universities to enhance their status and relevance in the future.

The conflict arises not from the subject itself, but from the disconnect between what instructors teach in the studio and the focus on individual artistic processes While studio lessons emphasize personal development, they often overlook how to create meaningful artistic contributions for others.

32 'Ja een soort van nepwereld waar je dan in leeft, dan moet je je dat maar gaan voorstellen.' (appendix 4, p.p 25)

I strongly advocate for reintegrating art academies with universities, as the current classification as an HBO (higher professional education) program seems misguided This separation leads to a continuous degradation of the arts, raising concerns about the future of artistic education and its perceived value.

Students express concerns about the current selection process for art schools and the oversaturation of artists in the market, noting that anyone can label themselves as an artist When asked to define a visual artist, they describe them as an "obstinate support," someone who reflects society, presents alternatives, and perceives life beyond mere growth or positivity However, these definitions lack qualitative, professional, or measurable criteria.

Graduate art students view their education as a crucial period for self-discovery and artistic experimentation, yet they perceive their school work as merely a snapshot of their potential Unlike graduates in other fields who transition directly into job markets, these art students feel unprepared for immediate employment Their next steps involve embracing newfound freedom through artist residencies, master programs, and collaborations with established artists While they maintain an idealistic outlook on the possibilities within their field, they recognize the need for hard work and an entrepreneurial mindset, acknowledging that opportunities will not come easily They are also aware of the likelihood of pursuing second jobs to support their artistic endeavors, emphasizing their flexibility as long as they can continue creating art.

When I bring up the subject of the role of money and economics in the discussion the opinions vary from person to person One despises its existence, others like the concept and want to use it The students do all agree on the fact that earning money is not the goal of making an artwork They want to use the money for basic needs and investing in their own professional practice by buying tools, ways of transport or materials Economic theory is not part of the education programme, just the business and entrepreneurial part of their practice with a focus on what artists can mean for businesses and local

The course provides specialized knowledge for students interested in a specific field, though its relevance may not extend to all future professional practices Zoở expresses a critical view of the business sector, stating that entrepreneurship and profit should not be the ultimate goals, and prefers to seek alternative employment rather than conform to market pressures This perspective reflects how students perceive the influence of money and economics, as highlighted in the theoretical framework, with many looking to their teachers and artists as role models or figures they wish to distinguish themselves from, particularly in contrast to the older generation's views on financial priorities.

Many students believe that money itself is not the issue; rather, it is the perspective on how it is utilized that matters They acknowledge the significant role of the art academy in shaping their development as artists, yet they express concerns about potential budget cuts in the cultural sector and their impact on future employment opportunities While they do not fear the loss of individual subsidies, they view the WWIK as a beneficial resource for fostering financially stable artists Some students are well-informed about financial matters due to their research, but they also recognize various alternatives for sustaining themselves as artists Many students feel unanchored to the Netherlands and are considering relocating to other countries, citing a lack of attractiveness in the local artistic climate They express frustrations about the perceived insular nature of the Dutch art scene, suggesting that success often hinges on being in the right place at the right time and knowing the right people.

Many people believe that entrepreneurship and earning money should not be the primary focus of work Instead, they prefer pursuing side jobs that allow them to create freely, rather than conforming to market demands This perspective highlights a desire for authenticity and personal fulfillment over financial gain.

Jonas argues that the perception of money is often skewed by misplaced ideals, labeling those who oppose it as hippies and idealists He emphasizes that there is nothing inherently wrong with money; rather, it is the way individuals choose to use it that matters The distinction lies in whether one views money as a positive or negative force.

37 En ik ben eigenlijk ook wel op zoek naar een ander land om te wonen ook Want ik vind het eigenlijk hier niet zo aantrekkelijk meer voor kunstenaars (appendix 4, p.p 27)

38 Daan is a dynamic collective of internationally minded young artists, characterized by a positive and realistic approach This group fosters a spirit of entrepreneurship, with varying levels of engagement among its members, creating a vibrant environment for creative collaboration and innovation.

Teacher

In Appendix 5, you can find the complete interview with Elias Tieleman, the instructor for the Mixed Business course for third and fourth-year students This course was initiated to address the question of what students should pursue after graduating from the academy Upon Tieleman's arrival in 2008, the course primarily focused on resume writing and portfolio creation However, he was empowered to develop a new educational program centered on professional practice, inspired by his research into art education systems in countries like Germany, which highlighted the importance of internships for emerging artists Tieleman views himself more as a cultural entrepreneur than an artist, a perspective shaped by his experience with his company, Orgacom, which facilitates conversations that inform artistic proposals His expertise lies in fostering participation and assembling artist groups for specific projects, reflecting the market's demands for visual arts Tieleman completed his professional art education at the Gerrit Rietveld Academy in Amsterdam He emphasizes that the course aims to prepare students for their respective fields and familiarize them with industry jargon However, he acknowledges that the diverse backgrounds and abilities of the student body make this course challenging to integrate with the broader art education at HKU, which is driven by intrinsic motivation Tieleman notes that in the first two years, students primarily engage with finished artworks rather than understanding the artists behind them.

The concept involves engaging in conversations with individuals to develop a proposal for creating art Orgacom serves as a methodology that guides this process.

To prepare students for their field, it's essential to familiarize them with the relevant jargon and industry terminology As they enter their third year, I aim to provide them with a clear orientation, emphasizing the importance of understanding the target audience and the creators behind the work they aspire to do.

Tieleman acknowledges students' concerns about the course being too hypothetical, recognizing that many come from practical backgrounds He observes a disparity in knowledge between HAVO and VWO students, with some unfamiliar with the course content while others find it repetitive Advocating for professional art education to align with academic standards, Tieleman warns that this could reduce program diversity due to the rigid nature of academia He envisions a blend of practical and academic education, especially as students progress into master's programs that emphasize freedom, self-study, and a theoretical focus Tieleman notes that theoretical courses are often disconnected from practice, suggesting that integrating theory and practice earlier in the program would enhance learning He appreciates the culture at HKU, which fosters innovation through bottom-up communication and allows for the development of personalized course programs.

Tieleman asserts that government policy significantly impacts the curriculum of Mixed Business, particularly in the fourth year when students engage in political debates related to the arts and culture sector He emphasizes the importance of understanding the role of political discourse in promoting and articulating one's position within this cultural domain Additionally, he refrains from discussing individual subsidies, focusing instead on the broader implications of political engagement in the arts.

In the third year, I encourage students to shift their focus from just the art itself to understanding the artists behind it It's important for them to consider not only what they want to create but also who the creators are and the audience for whom the art is made.

42 Er is wel theoretisch aanbod Dat is misschien ook wel een probleem op deze opleiding dat het theoretisch aanbod wel heel ver af ligt van de praktijk (appendix 5, p.p 36)

Engaging in the political debate surrounding the cultural sector is crucial, as it reflects a personal stance against dependency on individual budgets When applying for subsidies, it's essential to base requests on specific projects, ensuring that fees are accounted for within the budget Historical literary studies reveal that educators have often held negative perceptions of the relationship between money and the arts Tieleman experienced this firsthand during his graduation from the GRAC, where he was discouraged from pursuing project-based work due to the belief that it was associated with capitalism However, he recognized this as an opportunity to connect with a new audience, affirming that the arts and economics are inherently linked.

He mentions the faculty of Arts and Economics which he would like to work together with increasingly Interdisciplinairy study programmes are a new concept and is still a work in progress.

Head of Fine Arts

Eugene Jongerius, head of the faculty of fine arts at HKU, emphasizes the importance of professional education for visual artists, as it distinguishes them in a field where the title remains unprotected He notes the shift from the clear-cut market of the past to a more ambiguous present, where artists create diverse visions across various mediums Jongerius observes a growing blurring of disciplinary lines and the temporary nature of many art forms today He highlights the dynamic and open-minded nature of the younger generation, who leverage the Internet to access global markets With an increasing number of graduates seeking opportunities abroad, Jongerius asserts that a creative, innovative, inquisitive, and entrepreneurial attitude is essential for success in the evolving visual arts profession.

Want dat is ook een manier om jezelf te promoten en verhaal te houden door een stelling aan te nemen (appendix 5, p.p 38)

I prefer not to be overly reliant on personal budget allocations When I apply for a grant, it is specifically for a project, and I ensure that my fees are included in the application.

They immediately responded with a resounding no, advising against involvement, labeling them as capitalists with whom one should not engage At that moment, I realized this represents a new audience.

“Certain competences can not be taught but have to be trained through appealing to and using these competences These talents can be brought to a higher level in the academy.” 46

Jongerius likens professional art education to a greenhouse, emphasizing its role in rapidly enhancing students' talents and qualifications He highlights HKU as an innovative institution that fosters personal development beyond traditional education, a sentiment echoed by students like Tieleman The student-initiated Artillerie project exemplifies this supportive environment, while the development of the Mixed Business course showcases effective communication and collaboration between students and teachers.

Tieleman Jongerius highlights the challenges of differing educational backgrounds among students at HBO schools, which accommodate MBO4 and HAVO students but lack higher arts education for VWO students This diversity necessitates a curriculum that bridges these varying levels Jongerius emphasizes that the educational tier does not reflect the artistic capabilities of students, noting that the Netherlands is a leader in this field He argues that the classification of Dutch art education as HBO or WO is irrelevant, as students can still pursue master's programs regardless Raising selection standards could lead to a reduced number of art students, which may not be beneficial.

Jongerius emphasizes the impact of political developments on educational courses for artists, highlighting the need to prepare them for the realities they will face after leaving the academy He asserts that it's essential to consider recent trends in the visual arts and various avenues for income generation, which the course aims to address comprehensively.

Some traits cannot be developed through practice alone; however, by actively engaging with them, you can enhance certain skills and elevate specific talents at the academy.

I believe it functions like a greenhouse, where existing talents and qualifications are placed into a kind of steam chamber that provides a substantial boost for rapid development.

The Netherlands stands out as a European leader in artistic innovation, yet the new generation of artists is increasingly moving away from traditional academic frameworks like the WWIK Instead, they are embracing artistic entrepreneurship, which can yield variable financial success Many young artists are compelled to take on second jobs to sustain themselves, reflecting a shift in mindset where reliance on support systems is not the norm.

Jongerius emphasizes that artists typically do not focus on financial concerns during their studies, recognizing the complexity of future income sources He observes that while students have ambitions for distinction and positions, they do not harbor significant expectations regarding monetary income Jongerius asserts, “If you make work just to sell, you are no longer credible.”

Conclusion

The business curriculum at HKU is regarded as valuable by both students and educators, yet students have expressed concerns about the teaching methods, particularly in integrating theory with practice Internships are highlighted as a crucial component of the program, addressing students' desire for practical education However, some students feel that the course is overly influenced by the professional experiences of the instructor, which may not align with their own perspectives This viewpoint, as noted by Tieleman, affects the content of the Mixed Business course When related to Abbing's (2007) theory, Tieleman's reward orientation could shape students' attitudes While this focus can push students out of their comfort zones, it creates a disconnect between the demand-driven approach in Mixed Business and the supply-focused elements of their broader education Tieleman also observes that students come from diverse backgrounds, adding another layer of complexity to their learning experience.

You train artists to help them find their footing after graduating from the academy This involves considering the current realities faced by visual artists, as well as the peripheral aspects that influence their careers We emphasize various opportunities for earning income and explore different forms of artistic expression, which we aim to highlight in Elias's field of study.

50 Ik heb zelf niet het idee dat die generatie van jonge kunstenaars van het hand ophouden zijn (appendix

Creating art solely for the purpose of selling undermines an artist's credibility (appendix 6, p.p 43) The diversity of disciplines and talents among students complicates the development of a cohesive course structure This challenge is intensified by the inclusion of third-year students, making it difficult for some to keep pace The ongoing debate in the theoretical framework questions whether art education should lean more towards practical HBO (higher professional education) or academic WO (university education) While Tieleman and the students grapple with this dilemma, Jongerius believes it does not significantly impact the output and quality of education However, it is essential to consider how this distinction affects the program's didactic setup and the ability to provide students with the necessary level of education and time.

Case 3: Gerrit Rietveld Academie (GRAC)

Students

A group discussion with five graduate students, including four Dutch and one foreign, revealed insights about their curriculum, particularly regarding business and entrepreneurial training Led by Gijs Müller, the head of their department, students are coached in small groups but struggled to identify specific business-related components of their education They acknowledged that while their projects involve both artistic and organizational responsibilities, practical learning occurs informally rather than through structured classes Bernke emphasized the importance of self-discovery in learning, while Maurits highlighted the need for education on funding applications, noting that such knowledge is crucial for their future Although Annelein mentioned courses on writing applications, they lacked a focused approach The absence of an information market this year, where external parties typically provide practical insights, was also noted Ultimately, the only relevant instruction they received was about navigating the publishing industry.

Maurits emphasizes the importance of seeking help from your teacher whenever you have questions He notes that addressing your own needs is fundamental to the learning process, which applies to all aspects of school.

53 'Dat zoek je zelf allemaal een beetje uit.' (Appendix 7, p.p 45)

Students believe that understanding funding applications is essential, as they will encounter this in their future careers They express a desire for greater transparency regarding available funds and their processes While the school encourages students to take initiative in their learning, there is a sentiment that four years is insufficient to fully grasp the nuances of being an artist, and that focusing on entrepreneurship detracts from the core mission of the institution Students recognize that entrepreneurship is a skill that requires personal responsibility to explore the resources provided by the school Maurits emphasizes the importance of self-advocacy in the art world, while students note a distinction between the transparency of the literary field compared to visual arts Additionally, Maurits points out that pursuing a career in visual arts demands more patience due to its unique lifecycle dynamics.

The debate surrounding whether art academies should provide a safe space for development without external influences remains divided Alma and Annelein advocate for protection from the outside world, arguing that students' work is not yet ready for public exposure Conversely, Bernke and Maurits emphasize the importance of early stimulation through exhibitions, believing that external feedback can enhance artistic growth Bernke acknowledges a lack of proactivity in seeking opportunities, while students at GRAC highlight the academy's role in fostering their artistic capabilities They view the institution as a nurturing environment for creativity and exploration, with Bernke expressing a need for adjustment as she transitions to the professional art world.

The school's approach emphasizes individual needs, highlighting that everything is tailored to personal inquiries rather than traditional classroom settings.

The four-year duration of the program is insufficient for mastering the skills necessary to become an artist, especially when students also need to learn entrepreneurship This dual focus can detract from the primary purpose of the school, which is reflected in its vision.

57 'Bernke: Ik vind de literaire wereld een stuk transparanter dan de beeldende kunst.' (Appendix 7, p.p 52)

58 'Ik heb het idee dat je voor beeldende kunst een veel langere adem nodig hebt Absoluut.' (Appendix 7, p.p 52)

59 'Ik vind het echt een groot gemis, maar ik had er misschien meer zelf achteraan moeten zitten.'

After graduation, the students’ paths diverge due to their strong discipline in literature, with three out of five currently working on a book and having secured a publisher While this literary project remains their top priority, they also express a desire to engage in visual art The remaining two students are considering further studies or aiming to exhibit their work They acknowledge the uncertainty of their future, as external factors, such as the final exam, could influence their opportunities Importantly, they do not expect to rely solely on their artistic endeavors for income; side jobs are anticipated as necessary financial support For instance, Alma is already contributing articles to a newspaper for extra income The students are pragmatic about their financial situation, accepting the need for supplementary jobs in the early years of their careers As long as they can afford basic living expenses and maintain the freedom to create, they feel satisfied with their professional journey.

Maurits acknowledges that graduating does not guarantee financial security, highlighting the uncertainty artists face Bernke emphasizes that art should not be tied to monetary value, as the worth of an artist's work does not always equate to financial gain While Maurits believes artists should embrace entrepreneurial skills and self-marketing as essential aspects of their profession, Bernke points out the ambiguity of being an artist Rietveld intentionally omitted practical training, such as entrepreneurship classes, suggesting that artists must take the initiative to learn these skills independently.

In the debate over whether art academies should be classified as practical or academic education, students collectively assert that these institutions do not fit neatly into either category They believe that art education represents a distinct approach to learning that transcends traditional classifications.

60 'Maar ik heb ook al die vier jaar al geweten dat zodra ik afgestudeerd ben dat die financiởle zekerheid niet gegeven kan worden.' (Appendix 7, p.p 48)

61 'Ik vind eigenlijk dat kunst helemaal niet met geld te maken moet hebben.' (Appendix 7, p.p 48)

62 'Ik denk ook dat het in je moet zitten Ik denk dat als je het als kunstenaar wilt maken dat dat erbij moet horen.' (Appendix 7, p.p 49)

The profession of an artist is not straightforward, as Rietveld emphasizes a practical approach, encouraging students to pursue their true passions independently While students are aware of conventional HBO schools, they lack clarity on how university studies relate to their education Their primary concern lies with the current political climate, particularly the government’s budget cuts in arts and culture, which make Bernke anxious about the future, although she aims to remain independent from subsidies She is particularly worried about the market's evolution in the coming years Maurits suggests that increased market influence could ultimately benefit the sector, a sentiment echoed by Annelein, who believes this pressure may foster a necessary restructuring Historically, art has persisted even during economic downturns, yet the students do not perceive political factors as influencing their choices post-graduation.

This group of students embodies the spirit of young artists, contemplating their post-graduation plans while remaining open to unexpected opportunities They express a strong sense of responsibility for their choices, both in their academic journey and future endeavors.

Teacher and head of department

Gijs Müller is the head of the image and language department, where he coordinates activities, teaches first and second-year students, and meets individually with graduates He holds an autonomous art degree and has experience as a draftsman, gaining significant media attention for projects focused on marketing techniques rather than traditional artistry At the ceremony for the Charlotte Keuler Prize, Müller publicly announced his departure from his career as an artist Subsequently, he worked at GRAC as a coordinator for graduation exhibitions and contributed to external projects before being hired for his current role For more details, refer to the transcript of the interview in appendix 8.

In response to what the business and entrepreneurial curriculum includes, Müller humorously states, "Absolutely nothing," highlighting the absence of targeted classes in his department However, he clarifies that students can still explore business and entrepreneurial subjects through various external forums and opportunities.

64 'Het is ook niet zo dat als je de geschiedenis ernaast legt dat er in economische mindere tijden minder kunst was.' (Appendix 7, p.p 49)

The academy lacks targeted lessons, as noted in Appendix 8, page 52, and instead offers practical knowledge through external events, such as open days hosted by organizations like Kunstenaars&Co Each teacher brings their unique professional experience and expertise, which Müller emphasizes as a crucial element of effective education (Appendix 8, pages 52 & 56).

Internships are not included in the program, which adopts an organic approach to business education Müller emphasizes that this method is essential for applied arts, as it requires in-depth knowledge of the craft from industry professionals His students, who pursue autonomous disciplines, benefit from the expertise of experienced teachers However, due to a shortened study period, practical education is limited compared to the previous program that allowed for an additional year, enabling internships and external projects.

Müller emphasizes the importance of specialized knowledge over general information in education, stating that students benefit more from targeted insights rather than broad concepts like tax numbers, especially in a rapidly changing environment He advocates for individualized learning to enhance student comprehension and application of complex topics Müller also clarifies that the development of unique models in his curriculum stems from his entrepreneurial mindset rather than artistic rigidity, asserting the need for flexibility in today’s market While he acknowledges the current educational structure is adequate, he aims to increase instructional hours and incorporate practical elements into the curriculum, moving away from the existing model of one teacher hour per student per week.

There are several activities outside the department that are still relevant Typically, there is an open day for external organizations that introduce you to the professional field, such as Artists & Co and similar entities.

68 'Bij toegepast is het vaak veel meer nodig omdat je vakkennis uit het veld nodig hebt.' (Appendix 8, p.p 52)

As a student, I believe that a focused answer is far more beneficial than general information, such as the complexities of a VAT number, which can change almost every eight years.

Müller emphasizes the importance of flexibility and responsiveness to market changes rather than stubbornness in educational approaches He acknowledges his limited influence on school politics but utilizes a forum to propose improvements for his department His innovative 'pizza model' divides the academic year into four quarters, each featuring a rotating group of three teachers who collaborate on projects with students This structure allows for regular evaluation of student progress and encourages accountability in their artistic output Müller believes this model enhances students' awareness of the practical aspects of their education, pushing them to take responsibility for their work beyond traditional academic expectations Although he has yet to gather feedback from alumni regarding their post-graduation experiences, he is aware of success stories from previous classes, recognizing that they were educated prior to his tenure.

Students in Amsterdam benefit from their location in a vibrant cultural hub, which fosters a sense of security and a relaxed mindset According to Müller, this environment serves as an excellent foundation for learning, emphasizing the importance of making a strong argument The training provided is both conceptual and personalized, helping students develop their individual skills effectively.

In my discussion with Müller, he emphasizes the literary aspect of the program, highlighting the distinction between visual arts and literature He notes that this focus is essential for understanding the unique characteristics of each field.

71 '… de productie van het eindpunt is ook een zakelijke training.' (Appendix 8, p.p 55)

The responsibility for your production and product is crucial, as it encompasses both artistic accountability and academic expectations As an artist, you must articulate your interests and values clearly, while also demonstrating a broader skill set beyond merely writing a book.

"You are already in the opening, familiar with all those people, but it's essential to learn to assert your own point of view This makes it a valuable training experience, as it is highly conceptual and focused on individual development."

While everyone engages with literature, not everyone appreciates visual art, resulting in distinct market sizes and levels of transparency Additionally, literary success can often be achieved at a younger age, whereas visual artists typically experience a longer initial development phase before gaining recognition.

According to Müller, reaching the 10-year mark as a visual artist indicates a level of stability in the field, which he notes is often hermetically closed and shows little movement This lack of dynamism contrasts with the literary discipline, which requires a more urgent approach and allows for greater responsiveness Additionally, due to government budget cuts threatening departmental downsizing, Müller emphasizes the need to invest in literature to differentiate the curriculum from fine arts, thereby securing the future of the image and language department.

Müller expresses concern over the current political climate's negative impact on the arts, noting it fosters an elitist mindset and a complacent attitude that stifles innovation He critiques the self-centered motives of some artists, suggesting that the true value of art lies in its societal contributions rather than personal gain Despite these challenges, Müller remains optimistic about the future of the arts, viewing the current political environment as an opportunity for entrepreneurship and innovation, stating, "Everything is different, and it is my job to search the new boundaries."

Dean

In an insightful discussion with Mirjam Mazurel, the organic structure of education at GRAC is emphasized, highlighting the importance of addressing topics as they arise for deeper understanding The curriculum focuses on business and entrepreneurship through project-based learning and assignments that immerse students in real-world situations Mazurel asserts that entrepreneurship is an innate quality rather than a skill that can be taught, and she encourages students to adopt a proactive approach when faced with challenges She notes that many individuals encounter problems after graduation but rarely return to the academy for support, despite the availability of resources.

Cultuur&Ondernemen supports young artists, addressing criticisms that art academies inadequately prepare them for professional practice Mazurel argues that, like other fields such as medicine and law, art education focuses on developing artistic skills rather than entrepreneurial training She emphasizes the value of teachers, many of whom have significant professional experience, even if they lack formal art education While students acknowledge the expertise of their instructors, concerns persist regarding the didactic skills of some teachers, as not all possess educational qualifications.

In the ongoing debate among students about whether the academy should provide a sheltered environment, Mazurel emphasizes that the ability to engage with the outside world varies for each individual Some students greatly benefit from remaining within a protected setting to thrive academically and personally.

76 '… het komt op het moment dat het aan de orde is Dat is omdat je meer aan de stof hebt op het moment dat je het intensief verwerkt.' (Appendix 9, p.p 62)

The GRAC emphasizes the importance of individualized art education, as highlighted by Mazurel, who believes that each student requires a tailored approach for their development This perspective aligns with the views of both students and Müller, underscoring that art education should focus on fostering awareness, curiosity, and entrepreneurship Mazurel acknowledges the need to enhance educational methods while maintaining a successful framework of demand-driven information and personalized guidance Additionally, she notes that department heads have the freedom to create their own structures, with some already implementing similar setups, reflecting a commitment to continuous improvement in art education.

On the discussion whether art academies should be HBO or WO studies she explains that HBO is a logical form if you look at the profession's origin in craftsmanship

Contemporary art education emphasizes research and often aligns with higher academic standards, but the speaker believes that this approach, which separates theoretical and practical learning, is limiting She advocates for a more integrated model where both theory and practice can coexist, catering to the diverse interests of students—some of whom are drawn to theoretical frameworks while others prefer hands-on experiences.

According to Mazurel, a professional visual artist must possess an entrepreneurial spirit, as passive and shy individuals struggle to thrive in the art world Artists should continually develop their skills, embrace new experiences, and actively engage with their surroundings Networking and strong social skills are crucial for success, as artists aim to showcase their work to an audience with the intent to sell Mazurel observes a shift in attitude among students, noting that young artists are becoming more proactive in their approach to their careers.

78 'Maar goed, ik zelf hou niet zo van dat hbo/wo denken Ik denk dat je gewoon veel meer in elkaar moet laten overlopen.' (Appendix 9, p.p 63)

79 'Je moet heel ondernemend zijn, de kunstenaar die drie hoog achter zit is geen professionele kunstenaar.

To thrive in life, it's essential to step outside your comfort zone, continuously develop yourself, and remain open to new experiences You must actively engage with the world, showcase your abilities, and keep evolving your work instead of remaining stagnant.

Professional visual artists today are eager to showcase their work and aim for sales, demonstrating a practical approach and a strong sense of reality They recognize the importance of self-reliance, understanding that not everything will be provided by their academy, and while they appreciate starter stipends, they do not rely on them According to Mazurel, this generation of students is significantly more realistic than previous ones, as she notes the absence of graduates falling into despair post-education, a common occurrence in the past Instead, these students continue their creative pursuits after graduation and proactively seek out information, such as how to start a business, on their own.

Mazurel shares a perspective on money that resonates with students, emphasizing its undeniable role in making life easier As a visual artist, she finds fulfillment in creating her own work, describing it as the best job in the world, despite the additional responsibilities of managing an art business She notes that artists often overlook the importance of charging for their work, driven by their passion for the projects they undertake, a sentiment echoed by the students' experiences.

Mazurel discusses the distinctions between relevant departments in her study, highlighting that the department of image and language is categorized under visual arts, with graduates identified as visual artists She notes that the primary difference between fine arts and image and language lies in the medium used Mazurel emphasizes that her department represents a blend of both visual arts and literature, and while she perceives minimal differences between the two fields, she acknowledges that visual artists may require more time to establish themselves However, she also cites examples of graduates who achieved immediate success Furthermore, she agrees with Müller that Amsterdam's status as a Dutch hub for arts and culture benefits students compared to other cities in the Netherlands, but she asserts that politics does not directly influence the curriculum.

Understanding that they must take initiative themselves, rather than relying solely on academic support, is crucial While they certainly desire a starting grant, they do not assume it will be provided automatically.

Money undeniably makes life easier, especially for visual artists who are passionate about their craft Engaging in art allows them to focus on their personal creative pursuits, despite the necessary administrative and business tasks that accompany their profession Ultimately, the joy of creating art outweighs any financial concerns.

Budget cuts in education are evident through larger class sizes and reduced funding for projects; however, Mazurel argues that these cuts in the arts do not impact the overall curriculum.

Mazurel expresses a perspective on education that aligns with both students and teachers, yet she holds a more skeptical view regarding the operational dynamics of the field She perceives minimal distinction between various disciplines within the art academy and other non-art studies, suggesting that artists are not fundamentally different from professionals in other fields when it comes to their preparation for professional practice.

Conclusion

The GRAC case highlights a personalized approach to education, where business and entrepreneurship skills are acquired organically through projects rather than formal courses Despite students graduating with independence and market survival skills, there is a notable lack of awareness regarding the specific competencies they develop Understanding how these skills apply to their professional practice is essential Additionally, graduates benefit from their double discipline, particularly in literature, which offers a more transparent market with a quicker lifecycle, and the academy's location in one of the Netherlands' most artistically vibrant regions enhances their market entry opportunities.

Information other art schools

Willem de Kooning Academy (WDKA)

The WDKA comprises three schools: Fine Art, Media & Design, and Education in Art & Design According to René Verouden, the Head of School of Fine Art, the curriculum emphasizes business and entrepreneurship, ensuring students are well-equipped for the creative industry.

The propaedeutical year consists of Professional Orientation and Professional

The Professional Themes course spans the second to fourth years, focusing on essential aspects of visual artists' professional practice, including organization, practice building, and financial management Beginning in the first year, each student is paired with a study coach through the SLC classes, which include various business-oriented and research assignments In their fourth year, students receive guidance from a job coach and must complete an entrepreneurship module featuring guest speakers from organizations like the chamber of commerce and the tax office This module emphasizes the transformation of creative ideas into actionable plans, highlighting the importance of creativity, innovation, planning, and risk-taking in achieving goals Additionally, students engage in projects, presentations, and exhibitions independently outside the academy The faculty comprises experienced artists, ensuring that students learn from professionals actively engaged in their fields, with the teaching staff changing annually.

The business and entrepreneurial curriculum is becoming increasingly important within the Fine Arts bachelor's program, as highlighted by Verouden Students generally view this aspect of the curriculum positively The Willem de Kooning Academy (WDKA), part of Hogeschool Rotterdam, has developed specific competencies for its artistic disciplines, focusing on creative ability, self-reflection, innovation, and organizational skills.

83 'Dit noem je ondernemerschap; het omvat creativiteit, innovatie en het kunnen plannen en beheren, maar ook het dureven nemen van risico's Dit alles om je eigen doelstellingen te verwezenlijken.'

The Bachelor of Fine Arts program at WDKA emphasizes essential communicative skills, field awareness, and teamwork abilities Early in the curriculum, it incorporates a strong business and entrepreneurial focus, providing students with mandatory personal guidance from coaches This approach, combined with collaborative projects and group work, ensures that graduates develop the necessary skills for success in their careers.

A.K.V St Joost (AKV)

A.K.V St Joost has two art academies; one in Breda and one in 's Hertogenbosch At AKV there are two bachelor programmes: Fine Art and Design Design includes a large number of majors The whole education programme is focused on the specific talents of the students (Quispel 2010: 4) To accomplish this goal students can work together with teachers, fellow students and other partners from outside the academy The brochure claims that there is a lot of room for differentiation and because of that the programme gives opportunity to develop your personal study programme and career In the introduction of the brochure there is an immediate reference to the future professional practice The needed skills to become an artist listed in the brochure are '… creativity, curiosity, courage and imagination, but also a realistic outlook on your future professional practice … Our educational programme ensures optimal development of your creativity as well as sound preparation for the professional practice.' (Quispel 2010: 4)

The bachelor program begins with a foundational year where students develop essential skills and select their major, followed by three years divided into professional preparation, professionalisation, and graduation phases In the professional preparation phase, students gain basic knowledge of their field, while the professionalisation phase emphasizes specialized development, including internships The graduation phase involves writing a thesis and completing one or two graduation projects The curriculum is structured into quarterly periods, each featuring integrated projects that combine practical training with theoretical classes Students enhance their entrepreneurial skills through realistic projects in collaboration with external experts, alongside regular excursions, guest lectures, and workshops The program also includes practical training with real clients, focusing on essential skills like presentations, budgeting, and an internship in the third year In the fourth year, students receive guidance on applications, business startups, and teamwork, with all instructors bringing real-world experience to their courses, complementing the theoretical components of the curriculum.

Professional theory enhances your understanding and critical reflection within your field of practice (Quispel 2010: 22) The brochure outlines the diverse roles of a visual artist, including those who create commissioned work, engage in organizational tasks for art institutions, produce artwork in their studios, and operate their own businesses.

The visual work serves as the foundation for all activities, emphasizing the role of the visual artist as a primary creator (Quispel 2010: 26) This academy prioritizes not only the artistic growth of its students but also utilizes this growth to help shape their individual roles Through a combination of theoretical and practical courses, the academy aims to achieve optimal outcomes tailored to each student's unique needs.

ArtEZ hogeschool voor de kunsten

ArtEZ has five departments: Fine Art, Fashion & Product Design, Media & Graphic Design, Teachers Programme Visual Arts & Design and Design & Architecture (Academy of

The institution offers Fine Arts bachelor programs across three cities: Arnhem, Enschede, and Zwolle, catering to over 3000 students and supported by 850 faculty members Each city features a unique curriculum and educational goals The Enschede program emphasizes art, experimentation, and interdisciplinary education with a strong international perspective, aiming to cultivate independent artists ready for professional practice Conversely, the Arnhem program prioritizes entrepreneurship and dynamic professional practices, although details on the specific preparation for professional careers remain vague.

The Fine Arts program at ArtEZ prepares students to become independent artists with their own professional practices, emphasizing the importance of practical experience through internships and external assignments Students benefit from guidance during the day and evening, allowing for extracurricular activities three days a week The curriculum includes a focus on entrepreneurship and collaboration with the Fine Art Export Arnhem bureau, providing opportunities for students to participate in exhibitions The Zwolle campus emphasizes the connection between artistic practice and reflection, with theoretical courses encouraging students to critically engage with their work With a small department size, the program can quickly adapt to industry changes, ensuring comprehensive preparation for professional practice Each ArtEZ academy operates with its own unique structure and curriculum, fostering a diverse learning environment.

Koninklijke Academie van Beeldende Kunsten (KABK)

The KABK, the oldest arts academy in the Netherlands, offers two bachelor programs: Fine Arts and Design, emphasizing competence-based education that prepares students for professional careers The Fine Arts program includes Fine Arts and ArtScience, the latter focusing on interdisciplinary approaches and artistic research The curriculum is structured into a propaedeutic year, a main phase, and a final phase, where students gain foundational knowledge and skills The propaedeutics aim to orient students and facilitate their selection process Notably, first-year students visit artists' studios to gain insights into professional practices, while teachers' experiences provide indirect exposure to the industry.

85 http://www.kabk.nl/pageEN retrieved on 1 July 2011

The Koninklijke Academie van Beeldende Kunsten (KABK) focuses on the practical, theoretical, and professional development of students, helping them to create a unique artistic signature In the second year, the curriculum includes a business and entrepreneurial component featuring case studies, portfolio creation, and work descriptions While students may complete internships in their third or fourth years, there is uncertainty regarding the internship requirement for Fine Arts students, as the website primarily discusses the Design curriculum In their final year, students must also write a business plan KABK aims to educate professional artists and designers who take responsibility for their work, although detailed information about the curriculum is limited on their website.

Conclusion

The bachelor programs at art academies in the Netherlands exhibit significant differences in structure and focus, even within the same institution like ArtEZ, where each location offers distinct perspectives While some programs incorporate internships, others emphasize projects or structured courses, highlighting the lack of a uniform approach across these academies A review of their brochures and websites reveals a shared commitment to professional practice and theoretical courses, with WDKA taking a clear stance on entrepreneurship AKV notably clarifies the role of a visual artist, whereas the Fine Arts program in Arnhem prioritizes professional practice more than other ArtEZ offerings In contrast, the Enschede Fine Arts program offers limited attention to business and entrepreneurship The KABK presents a comprehensive view of professional practice, but its specific Fine Arts curriculum lacks sufficient detail for a thorough understanding The following chapter will compare these educational methods to those identified in the case studies.

Conclusion

Complete visual arts education system

The relevance of professional art education has been explored through theoretical frameworks and case studies, highlighting its significant impact on artists' careers While obtaining an arts degree does not guarantee success, attending an art academy nurtures artistic talent Students need to possess both artistic ability and entrepreneurial skills to thrive in their education and become professional visual artists This perspective is echoed by both educators and students The structure of the art school plays a crucial role in shaping the educational experience, with institutions like GRAC and HKU fostering a supportive environment, unlike larger organizations such as HS Zuyd, which may hinder student development Additionally, the school's location can influence student opportunities, as seen in Amsterdam, where students may find it easier to transition into the art market Over the past decade, the evaluation of art education has evolved, with the accreditation system serving to distinguish professional art academies from others However, there is limited feedback from students and alumni, and while schools are beginning to organize alumni networks, these could provide more meaningful evaluations than the NVAO reports.

The debate regarding the classification of art academies within HBO or WO level education is a significant topic highlighted in the literature review of chapter one Opinions among case study participants vary, with some advocating for the inclusion of art academies in the university system, while others argue that they do not fit neatly into either category Notably, no one contends that art education is appropriately categorized under practical studies A common comparison is drawn between art education and medical training, emphasizing the hybrid nature of both disciplines that combines hands-on practice with theoretical research However, a key distinction remains: the relevance of medicine is universally understood, whereas the significance of art is often debated This ongoing discussion is reflected in the current political landscape surrounding arts and culture in The Netherlands, which will be explored further in paragraph 7.3 Before that, we will examine the internal structure of art schools.

Curriculum

The approach to business and entrepreneurial education varies significantly among art schools in the Netherlands, as reflected in their study guides and websites While all institutions emphasize the importance of developing a professional practice, the content and structure of their programs differ The absence of a national forum on professional practice and related topics in art education highlights this lack of uniformity Nevertheless, a common thread emerges across various case studies that aligns with Abbing's theory.

Teachers significantly influence the curriculum and shape students' perspectives, as highlighted in a 2002 study Each school community—comprising students, teachers, and educational staff—recognizes that teachers serve as vital sources of information due to their diverse professional experiences This is further supported by insights from chapter six of various school study guides Analyzing the case studies reveals a consistent pattern of teacher impact on student outcomes, which is illustrated in the accompanying schedule using key terms derived from the research.

The background of the teacher significantly shapes the business and entrepreneurial curriculum, influencing both the content and the students' perceptions of the visual arts profession At HS Zuyd, a focus on self-reflection fosters a sense of solidarity among students, who view their development collectively and articulate their growth effectively In contrast, students at HKU adopt a more individualistic approach, demonstrating strong knowledge and opinions about the arts market, despite some dissatisfaction with their course structure Meanwhile, GRAC students exhibit a sense of independence and responsibility for their personal development, particularly in areas not covered in school, such as business and entrepreneurship Overall, the differing pedagogical approaches at HKU, HS Zuyd, and GRAC highlight the varied influences of teachers on student perspectives and learning outcomes in the arts.

HS Zuyd: research reflection reflection education presentation teamwork academic research

HKU: own company facts articulate project-based teamwork/debate opinionated demand conducted demand conducted individual GRAC: independent production of projects independent production individual entrepreneur

* Besides the experience as a professional visual artist.

** B&E stands for business and entrepreneurial.

*** These are keywords that stand out for this particular group of students

It does not mean that the other students do not have these proporties.

The independent approach of the GRAC significantly influences students' perspectives, guiding their arguments rather than dictating them It is encouraging that the teachers involved in this study appreciate the value of entrepreneurship and do not dismiss market dynamics While Vuyk (2007) acknowledges the presence of competent educators, he underestimates their progressive outlook, which contrasts with outdated views These teachers have intentionally embraced a more open mindset towards alternative reward systems, positively impacting their students and shaping how these future professionals will develop their practices Ultimately, the long-term effects of this influence remain to be seen.

The curriculum for business and entrepreneurship varies across schools, focusing on three key dimensions: practical, theoretical, and factual Students believe that factual information should be accessible for self-discovery rather than taught directly in class Those engaged in theoretical courses, particularly at institutions like HKU and HS Zuyd, find value in discussions that promote articulate expression, provided they are not forced A practical learning approach is highly esteemed among students, as it aligns closely with real-world scenarios, fostering organic learning Overall, both theoretical and practical methods are positively regarded by students.

Field and market

The thesis highlights that establishing a professional practice in the visual arts requires significant time and effort, especially when compared to literature While some sources affirm this notion, many seasoned professionals argue that this perception is outdated, as the current generation of students is more open and adaptable in their approach to the art market This aligns with Huiskens & Bakker's (2009) assertion that today's artists possess a hedonistic outlook on life, driven by a global perspective that encourages them to travel and create art worldwide Students express a willingness to work in various roles as long as they feel comfortable, reflecting a desire for independence in the face of political budget cuts affecting the arts They aim to demonstrate their capability without relying on government support, challenging the traditional view of artists as financially dependent The head of Fine Arts at HKU argues that a degree should be a prerequisite for identifying as a professional artist, suggesting that further research on graduates could shift this narrative.

The government does not directly dictate how educators develop their curriculum, but it significantly shapes teachers' perspectives, which in turn affects students Interviews reveal that the government's most substantial impact is on the arts market, leading to student concerns about diminishing demand for established institutions Many students contemplate relocating abroad if opportunities dwindle locally While they perceive the current political climate as misguided, they also view it as an opportunity to advance the arts market Educators recognize their responsibility in creating new frameworks for artistic development, aligning with Huiskens' (2007) assertion that art education is crucial for nurturing emerging artists.

In chapter one the literature study shed some light on the market and the predominant forces concerning starting young artists according to the literature

Academia examines the roles of gatekeepers, networks, and the artists' labor market, yet students often remain unaware of these influences during their studies At art academies, students unknowingly build their networks through interactions with peers and teachers, as well as through internships and projects However, due to the protective environment of these institutions, students typically encounter gatekeepers primarily during their graduation exhibitions, which they acknowledge as pivotal for their post-academic careers Limited external connections arise through a few projects or personal assignments Notably, there appears to be a lack of theoretical curriculum addressing the artists' labor market; while students recognize the importance of side jobs and envision their future reward systems, they lack the theoretical discussions common in cultural studies programs By placing greater emphasis on the interplay of gatekeepers, networks, and the labor market, students could gain valuable insights into their professional landscape, enabling them to make informed decisions about their careers.

Limitations

The timing within the academic year posed significant challenges for the case studies, as the graduate class was already engaged in their graduation projects when I reached out to the schools Securing permission for research and connecting with relevant personnel required approval from higher authorities Consequently, Willem de Kooning Academy withdrew from the study due to a negative decision from its board of directors, leading to an unexpectedly prolonged preparation phase that reduced the available research time At HS Zuyd, this delay resulted in an incomplete case study, as key individuals became unreachable Additionally, the focus on the alumni population diminished due to time constraints, and the current alumni often had educational experiences that differed significantly from those of current students This discrepancy highlights the need for future research that tracks a specific art academy and its students over several years to evaluate how well the academy equips them for the future.

Concluding remarks

The current business and entrepreneurial curriculum in Dutch professional art schools varies significantly, influencing young artists' ability to establish a robust professional practice in the arts market As noted by De Vries (2007), collaboration with professional practice has improved, reflecting changes in government financing and the retirement of educators While many academies equip students with essential knowledge for success, there is room for enhancement in their methods and approaches Some institutions are more effective than others, and the next chapter will outline recommendations on successful practices, gaps in the curriculum, and potential improvements.

Recommendation

Dutch art education system

To enhance the quality of art education, it is proposed that accredited art academies transition from practical (HBO) to academic (WO) levels, while abolishing MBO and private schools to protect the title of professional visual artist An academic approach is better suited for arts studies, elevating student education and enabling academies to serve effectively as gatekeepers Although this change may limit access for students with MBO/HAVO degrees or autodidacts, implementing a selection procedure akin to the preparatory course at GRAC can allow these individuals to demonstrate their capabilities for a bachelor's program This approach fosters a more uniform and advanced curriculum, maximizing student potential Furthermore, the academic designation facilitates connections to master's programs, which many aspiring artists seek post-bachelor's The academic system also provides the necessary time and freedom for young artists to continue learning and developing, emphasizing the importance of self-study, research, and theory alongside practical skills.

The recent budget cuts in the fine arts sector have significantly reduced funding for post-academic programs, negatively impacting emerging artists with the potential for future success This decision undermines its intended purpose, as talented individuals may seek opportunities abroad where their skills are valued and nurtured Statements from students across various institutions reflect this concerning trend, highlighting the risk of the Netherlands losing its creative talent to countries that offer better support for the arts.

Best practices, advice and application

In my opinion, an effective entrepreneurial curriculum should integrate both practical and theoretical elements, as these approaches have proven valuable across various demographics Feedback from students and educators highlights the importance of practical experience, with many students asserting that internships or projects provide lessons far superior to traditional lectures Therefore, I advocate for the inclusion of internships in the curriculum for visual art students, ideally during their third year This structure allows students to gain real-world experience while still benefiting from the supportive environment of the academy Internships should ideally align with each student's future career aspirations within the cultural sector, emphasizing the significance of individuality in art education As students refine their focus on professional practices, this tailored approach mirrors the growing specialization within the artistic discipline.

I propose the establishment of an employment bureau within each art academy to facilitate internships and connect students with relevant side job opportunities This bureau would serve as a valuable resource for students seeking to gain experience while earning money, offering positions such as craftwork at ceramics centers, exhibition invigilator roles, project organization, and more By utilizing students to operate this bureau, the academy can provide affordable labor while enhancing student support Additionally, the bureau could serve as a knowledge center, providing crucial information on topics like establishing a foundation and understanding the tax system, greatly benefiting the student community.

Working on a project basis in schools can effectively reinforce students' theoretical and factual knowledge It is crucial to implement a clear evaluation system for these projects, akin to Müller’s model Currently, there seems to be a lack of awareness regarding essential project patterns and processes, such as teamwork dynamics, project initiation, and the factors influencing goal achievement While students learn organically, it is important for them to recognize how their experiences contribute to their professional development.

Incorporating diverse theoretical perspectives into art education can significantly enhance the learning experience for students As a bachelor’s student in General Culture Studies and a master’s student in Cultural Economics, I believe that courses beyond traditional Art History, such as those covering sociology, philosophy, politics, and economics, can effectively bridge the gap between the academic environment and the real world For instance, exploring concepts like gatekeepers, networks, and the artists' labor market can stimulate meaningful discussions, allowing students to articulate their views on market dynamics Case studies from institutions like HS Zuyd and HKU demonstrate that such coursework fosters articulate and expressive students, a vital quality for professional visual artists who must effectively communicate their vision and work, particularly in today’s challenging arts landscape.

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