Guy Morrow is a Lecturer in Arts and Cultural Management at the University of Melbourne, Australia. He is co-author of  The New Music Industries. His research interests include the use of agile management strategies within the creative and cultural industries.

'Guy Morrow goes well beyond truisms such as "an artist is a start-up business" because he knows that such truisms don't sustain the various phases of any artistic career. Instead, his focus is on the value of agility amidst increasing complexity. Managers in every industry can learn from this.' — Catherine Moore, PhD, Adjunct Professor, University of Toronto, Canada'Guy Morrow has had a fascinating career as an artist management ‘pracademic’ (i.e. both a practitioner and academic). This makes his work of particular relevance and interest to those of us seeking to bridge theory and practice.' — Paul Saintilan, CEO, Collarts and Macleay Colleges, Australia. Co-author of Managing Organizations in the Creative Economy: Organizational Behaviour for the Cultural Sector'Artist Management offers a timely understanding of the manifold ways in which contemporary creative producers need to deal with uncertainty and career development. Incorporating the experiences of practitioners and the insights of contemporary scholarly work, Guy Morrow has crafted a highly engaging book.' — Dr. Erik Hitters, Associate Professor of Media and Creative Industries, Managing Director of the Erasmus Research Centre for Media, Communication and Culture, Erasmus University Rotterdam, Netherlands. 'This book opens up key concerns for theory and practice: how do contemporary practices such as agile management, lean start up and crowd-funding relate to the big questions of what are the arts and how should they be managed.' — Doris Ruth Eikhof, CAMEo Research Institute, University of Leicester, UK

• Chapter 1: Introduction: Artist management in the creative and cultural industries1.1 The agile movement 1.2 Collaboration has a lifespan 1.3 Managing artistic contributions 1.4 What is artist management? Is it creative? 1.5 The artist–artist manager relationship1.6 ReferencesChapter 2: Research design 2.1 Selection of industries, cases and participants2.2 Methods2.3 Outline of the bookChapter 3: The artist’s career as startup: Lean startup and effectuation methods for the arts3.1 Extreme uncertainty: What is art?3.2 Extreme uncertainty: Shaping a future for yourself3.3 Conclusion: What good are the arts? How can we sell art? Chapter 4: Agile management strategies4.1 Artist management and the agile movement4.2 Agility on individual and group levels4.3 Case study: Agility in the dance sector4.4 Case study: Agility in the film sector4.5 ConclusionChapter 5: Storytelling in the creative and cultural industries:Where is creativity? Creative cities and artist management 5.1 Storytelling in the creative and cultural industries5.2 Sporting analogies5.3 An artist manager’s checklist5.4 Moving people to action5.5 B2C and B2B storytelling5.6 Storytelling etiquette 5.7 Case study: SXSW favours the storytellers 5.8 Destroying through narrative5.9 ConclusionChapter 6: The artist-artist manager relationship:Agile by default6.1 The specificity of artist management labour 6.2 An informal approach to management 6.3 They found me with a gun in my hand6.4 Double dipping 6.5 The bank account6.6 ConclusionChapter 7: Conclusions: The future of artist management:Artist’s voice, manager’s voice7.1 The rapid escalation of complexity7.2 Creativity: The key leadership competency for the future7.3 Music case study 1: The Featured Artists’ Coalition 7.4 Music case study 2: The International Music Managers’ Forum7.5 Judas Goat7.6 Dance case study: ‘GoSeeDo’ and ‘Book a Flash Mob’7.7 Creative and cultural industries case study: Culture Counts7.8 Big data, automation and the future of work7.9 ReferencesAppendix A: The interviews Appendix B: Association of Artist Managers Code of ConductAppendix C: Code of Conduct of MMF AustraliaIndex

Guy Morrow is a Lecturer in Arts and Cultural Management at the University of Melbourne, Australia. He is co-author of  The New Music Industries. His research interests include the use of agile management strategies within the creative and cultural industries.

'Guy Morrow goes well beyond truisms such as "an artist is a start-up business" because he knows that such truisms don't sustain the various phases of any artistic career. Instead, his focus is on the value of agility amidst increasing complexity. Managers in every industry can learn from this.' — Catherine Moore, PhD, Adjunct Professor, University of Toronto, Canada'Guy Morrow has had a fascinating career as an artist management ‘pracademic’ (i.e. both a practitioner and academic). This makes his work of particular relevance and interest to those of us seeking to bridge theory and practice.' — Paul Saintilan, CEO, Collarts and Macleay Colleges, Australia. Co-author of Managing Organizations in the Creative Economy: Organizational Behaviour for the Cultural Sector'Artist Management offers a timely understanding of the manifold ways in which contemporary creative producers need to deal with uncertainty and career development. Incorporating the experiences of practitioners and the insights of contemporary scholarly work, Guy Morrow has crafted a highly engaging book.' — Dr. Erik Hitters, Associate Professor of Media and Creative Industries, Managing Director of the Erasmus Research Centre for Media, Communication and Culture, Erasmus University Rotterdam, Netherlands. 'This book opens up key concerns for theory and practice: how do contemporary practices such as agile management, lean start up and crowd-funding relate to the big questions of what are the arts and how should they be managed.' — Doris Ruth Eikhof, CAMEo Research Institute, University of Leicester, UK

• Chapter 1: Introduction: Artist management in the creative and cultural industries1.1 The agile movement 1.2 Collaboration has a lifespan 1.3 Managing artistic contributions 1.4 What is artist management? Is it creative? 1.5 The artist–artist manager relationship1.6 ReferencesChapter 2: Research design 2.1 Selection of industries, cases and participants2.2 Methods2.3 Outline of the bookChapter 3: The artist’s career as startup: Lean startup and effectuation methods for the arts3.1 Extreme uncertainty: What is art?3.2 Extreme uncertainty: Shaping a future for yourself3.3 Conclusion: What good are the arts? How can we sell art? Chapter 4: Agile management strategies4.1 Artist management and the agile movement4.2 Agility on individual and group levels4.3 Case study: Agility in the dance sector4.4 Case study: Agility in the film sector4.5 ConclusionChapter 5: Storytelling in the creative and cultural industries:Where is creativity? Creative cities and artist management 5.1 Storytelling in the creative and cultural industries5.2 Sporting analogies5.3 An artist manager’s checklist5.4 Moving people to action5.5 B2C and B2B storytelling5.6 Storytelling etiquette 5.7 Case study: SXSW favours the storytellers 5.8 Destroying through narrative5.9 ConclusionChapter 6: The artist-artist manager relationship:Agile by default6.1 The specificity of artist management labour 6.2 An informal approach to management 6.3 They found me with a gun in my hand6.4 Double dipping 6.5 The bank account6.6 ConclusionChapter 7: Conclusions: The future of artist management:Artist’s voice, manager’s voice7.1 The rapid escalation of complexity7.2 Creativity: The key leadership competency for the future7.3 Music case study 1: The Featured Artists’ Coalition 7.4 Music case study 2: The International Music Managers’ Forum7.5 Judas Goat7.6 Dance case study: ‘GoSeeDo’ and ‘Book a Flash Mob’7.7 Creative and cultural industries case study: Culture Counts7.8 Big data, automation and the future of work7.9 ReferencesAppendix A: The interviews Appendix B: Association of Artist Managers Code of ConductAppendix C: Code of Conduct of MMF AustraliaIndex

Guy Morrow is a Lecturer in Arts and Cultural Management at the University of Melbourne, Australia. He is co-author of  The New Music Industries. His research interests include the use of agile management strategies within the creative and cultural industries.

'Guy Morrow goes well beyond truisms such as "an artist is a start-up business" because he knows that such truisms don't sustain the various phases of any artistic career. Instead, his focus is on the value of agility amidst increasing complexity. Managers in every industry can learn from this.' — Catherine Moore, PhD, Adjunct Professor, University of Toronto, Canada'Guy Morrow has had a fascinating career as an artist management ‘pracademic’ (i.e. both a practitioner and academic). This makes his work of particular relevance and interest to those of us seeking to bridge theory and practice.' — Paul Saintilan, CEO, Collarts and Macleay Colleges, Australia. Co-author of Managing Organizations in the Creative Economy: Organizational Behaviour for the Cultural Sector'Artist Management offers a timely understanding of the manifold ways in which contemporary creative producers need to deal with uncertainty and career development. Incorporating the experiences of practitioners and the insights of contemporary scholarly work, Guy Morrow has crafted a highly engaging book.' — Dr. Erik Hitters, Associate Professor of Media and Creative Industries, Managing Director of the Erasmus Research Centre for Media, Communication and Culture, Erasmus University Rotterdam, Netherlands. 'This book opens up key concerns for theory and practice: how do contemporary practices such as agile management, lean start up and crowd-funding relate to the big questions of what are the arts and how should they be managed.' — Doris Ruth Eikhof, CAMEo Research Institute, University of Leicester, UK

• Chapter 1: Introduction: Artist management in the creative and cultural industries1.1 The agile movement 1.2 Collaboration has a lifespan 1.3 Managing artistic contributions 1.4 What is artist management? Is it creative? 1.5 The artist–artist manager relationship1.6 ReferencesChapter 2: Research design 2.1 Selection of industries, cases and participants2.2 Methods2.3 Outline of the bookChapter 3: The artist’s career as startup: Lean startup and effectuation methods for the arts3.1 Extreme uncertainty: What is art?3.2 Extreme uncertainty: Shaping a future for yourself3.3 Conclusion: What good are the arts? How can we sell art? Chapter 4: Agile management strategies4.1 Artist management and the agile movement4.2 Agility on individual and group levels4.3 Case study: Agility in the dance sector4.4 Case study: Agility in the film sector4.5 ConclusionChapter 5: Storytelling in the creative and cultural industries:Where is creativity? Creative cities and artist management 5.1 Storytelling in the creative and cultural industries5.2 Sporting analogies5.3 An artist manager’s checklist5.4 Moving people to action5.5 B2C and B2B storytelling5.6 Storytelling etiquette 5.7 Case study: SXSW favours the storytellers 5.8 Destroying through narrative5.9 ConclusionChapter 6: The artist-artist manager relationship:Agile by default6.1 The specificity of artist management labour 6.2 An informal approach to management 6.3 They found me with a gun in my hand6.4 Double dipping 6.5 The bank account6.6 ConclusionChapter 7: Conclusions: The future of artist management:Artist’s voice, manager’s voice7.1 The rapid escalation of complexity7.2 Creativity: The key leadership competency for the future7.3 Music case study 1: The Featured Artists’ Coalition 7.4 Music case study 2: The International Music Managers’ Forum7.5 Judas Goat7.6 Dance case study: ‘GoSeeDo’ and ‘Book a Flash Mob’7.7 Creative and cultural industries case study: Culture Counts7.8 Big data, automation and the future of work7.9 ReferencesAppendix A: The interviews Appendix B: Association of Artist Managers Code of ConductAppendix C: Code of Conduct of MMF AustraliaIndex