視覺藝術家發現自己處於管理兩個矛盾任務的中心; 藝術生產和市場事務。這些對比現象，伴隨著全球藝術市場的不斷發展，強調了藝術家有效管理其才能，藝術品價值和個人聲譽的重要性。為了保持競爭力，今天的藝術家必須努力評估他們的價值主張管理 - 創造，溝通，傳遞和維護藝術價值的過程，客戶將其視為功能，個人和社會價值，並將利潤作為經濟（交換）價值商業（藝術家）。在視覺藝術中，價值主張管理被分解為人才管理，個人品牌管理和商業模式問題（Aljena，2016）。
本研究的目的是描述和比較來自台灣，台灣和菲律賓宿霧的主要藝術家的價值主張管理。對多重有界現象的描述和分析要求採用定性方法進行多案例設計，使用深入訪談，非參與者觀察和專家意見收集信息。該研究的結果表明，視覺藝術中蓬勃發展的事業可以系統化和製定戰略，因為藝術不依賴任何神聖因素，使市場條件對沒有先決條件和行動的個人有利。此外，兩個國家的比較證明了藝術家價值主張管理的特殊性，其中適合所有人的普遍化途徑是不可行的; 每個藝術家都必須在相應的藝術環境中發現對他或她有用的東西。
該研究的一個關鍵局限是對藝術家選擇的偏見。通過在選擇參與者之前建立的標準來解決該問題。另一個限制是解決作者本人作為藝術家的潛在偏見和主觀性。通過記錄和同事匯報預先承認作者的假設來管理偏見。此外，內容分析由兩位評估者完成，然後將精簡單元含義分類並組織成主題。
該研究適用於其他藝術家的意義是建立增值網絡和合作夥伴關係以維持藝術創作。另一個涉及開發視覺圖像的內容，使藝術家建立他獨特的價值主張。此外，擁有其他收入來源或類似的協調角色（如指導或策劃）也是一種好處。在更廣泛的背景下，關於藝術環境發展的政策影響也很明顯，需要在價值網絡中增加更多參與者的存在。
描述來自台南和宿務市的領先優秀藝術家如何通過價值主張管理來管理他們的社會，藝術，個人和交換價值，這是該研究對藝術管理領域作為“投石者”領域的獨特貢獻（Taylor，et al，2015），協助學者和從業者挖掘新興和既定領域。此外，該研究從研究中的藝術家角度重新繪製了價值主張管理概念的方法。

Visual artists find themselves at the center of managing two paradoxical tasks; artistic production and market affairs. These contrasting phenomena, alongside the continuous growth of the global arts market, underscores the importance of artists to effectively manage their talent, value of artworks, and personal reputation. To remain competitive, artists today must
strive to evaluate their value proposition management – a process of creating, communicating, delivering and maintaining artistic value which is perceived by the customer as functional, individual and social value and brings profit as economic (exchange) value to business (artist).
In the visual arts, value proposition management is dissected into talent management, personal brand management and business model concerns (Aljena, 2016). The purpose of this study is to describe and compare the value proposition management of leading artists from the cities of Tainan, Taiwan and Cebu, Philippines. The description and analysis of a multiple bounded phenomenon called for a multiple case design in qualitative methodology that gathered information using in-depth interviews, non-participant observations, and expert opinions. The findings of the study reveal that a thriving career in the
visual fine arts can be systematized and strategized because art is not reliant on any divine factor that makes market conditions work favorably for an individual without preconditions and actions. Moreover, comparisons across two countries demonstrate peculiarities in artists’ value proposition management where a generalizable pathway that fits all is unfeasible; each artist has to discover what will work for him or her in the respective art milieu.A key limitation of the study are biases on the selection of artists. The issue was addressed through a criterion stablished prior to the selection of participants. Another limitation
was addressing the potential bias and subjectivity of the author as an artist himself. Prejudice was managed through acknowledging the author’s assumptions up front by journalizing and colleague debriefing. Furthermore, content analysis was done by two raters before condensed unit meanings were categorized and organized into themes. The implications of the study that are applicable to other artists is the establishment of value-adding networks and partnerships to sustain art making. Another involves the content of the visual image that makes an artist establish his unique value proposition. Additionally, having alternative revenue streams or similarly aligned roles such as mentoring, or curating is
a benefit. On a broader context, policy implications concerning the development of the art milieu are also evident with calls for increased presence of more actors in the value network.Describing on how the leading fine artists from Tainan and Cebu City manage their social, artistic, and personal as well as exchange value through value proposition management is the study’s unique contribution to the field of art management as a “burrower’s” field (Taylor, et al, 2015), assisting scholars and practitioners to dig their way into emerging andestablished domains. Furthermore, the study redraws an approach to the concept of value proposition management from the perspective of artists in the study.

• Abbings H. (2002). Why Are Artists Poor? The Exceptional Economy of the Arts. Amsterdam University Press, Amsterdam.
• Adorno, T. (1991) The Culture Industry: Selected essays on mass culture. Reprint, Routledge, New York and London, 2008.
• Aguilar, L. (2018). ‘Interview with Leopoldo Aguilar’, Interviewed by Dennis Montera. Value Proposition Management in the Visual Arts: Comparing the Leading Artists from Tainan and Cebu, 8 December.
• Alexander, V., Hägg, H., Häyrynen, S. and Sevänen, E. (eds.) (2018). Art and Challenge of
Markets Vol.1, Switzerland: Palgrave Macmillan and Springer International Publishing
AG.
• Aljena A. (2014). Business model designing tool – filling the gap between philosophy and
reality. Innovative Approaches to Business Education. VIA University College, Denmark. (pp.7-19)
• Aljena A. (2016). Value Proposition Management in Contemporary Fine Art: Case Studies of
Six Latvian Artists. Journal of Business Management, No.12, pp.46-61.
• Anderson, J., Kupp, M., and Reckhenrich, J. (2009a) ‘Understanding creativity: the manager
as artist’, Business Strategy Review. 20 (2) pp. 68-73.
• Anderson, J., Kupp, M., and Reckhenrich, J. (2009b) ‘Art lessons for the global manager’,
Business Strategy Review. 20 (1) pp. 50-57.
• Austin, R., & Devin, L. (2003). Artful creation. What managers need to know about how
artists’ work. Prentice Hall: New Jersey.
• Artprice (ed.), Le Marché; de l’art Contemporain. Le Rapport Annuel Artprice. The
Contemporary Art Market. Annual Report (Editions 2008–2011) Artprice, Lyon.
• ARTouch (2015). 張乃文, ARTouch, June 16, 2015. Accessed on 12 January 2019. URL=
<https://artouch.com/view/content-5115.html>
• Bain, A. L. (2017). Artists as property owners and small-scale developers. Urban Geography.
• Baker, W. E. (1994). Networking smart: how to build relationships for personal and
organizational success. New York: McGraw-Hill.
• Bamberger A. (1998-2012). How to Increase Your Art’s Market Value and Make the Most of
Your Career as an Artist, ArtBusiness.com, Accessed 4 April 2019, <http://www.artbusiness.com/maxprice.html>
• Bakhshi, H., Hargreaves, I. and Garcia, J.M. (2013). A Manifesto for the Creative Economy.
NESTA, London, UK.
• Barnard, M. (1998). Art, Design, and Visual Culture, An Introduction. New York, NY: St.
Martin’s Press.
• Barnes C., Blake H., Pinder D. (2009). Creating & delivering your value proposition.
Managing customer experience for profit. London, UK and Philadelphia, USA: Kogan
Page Limited.
• Barnwell, M. (2011). Design, Creativity, and Culture. London, UK: Black Dog Publishing
Ltd.
• Batey, M. (2012). The measurement of creativity: From definitional consensus to the
introduction of a new heuristic framework. Creativity Research Journal, 24, 55-65.
• Baxter, L. (2010) ‘From Luxury to Necessity: The Changing Role of Qualitative Research in
the Arts’ in O’Reilly, D., and Kerrigan, F. (eds.) Marketing the Arts – A fresh Approach. Routledge, London, pp. 121-140.
• Beals, J. (2008). Self-marketing power: Branding yourself as a business of one. Omaha, NE:
Keynote.
• Becker, H. S. (2008). Art worlds. Berkeley, CA: University of California Press.
• Berg, B. L. (2005). Qualitative research methods (5th ed.). Boston, MA: Pearson.
• Bellusi, F. and Staber, U. (2012). Managing Networks of Creativity. New York,
NY: Routledge.
• Belting, H (2009). Contemporary art as global art. In Global Art World: Audiences, Markets,
and Museums, eds. H Belting & A Buddensieg, Hatje Cantz Verlag, Ostfildern, pp. 38–73.
• Bengtsson, M. (2016). How to plan and perform a qualitative study using content analysis.
NursingPlusOpen 2: 8–14.
• Berg, B.L. (2001). Qualitative research methods for the social sciences. Boston: Allyn and
Bacon.
• Blamiresa, M., & Peterson, A. (2014). Can creativity be assessed? Towards an evidence
informed framework for assessing and planning progress in creativity. Cambridge Journal of Education, 44, 147-.
• Bloomberg, L.D. and Volpe, M. (2016). Completing Your Qualitative Dissertation, A Road
Map from Beginning to End, Thousand Oaks, CA: Sage.
• Bielewska, A. and Jaskułowski, K. (2017). Place Belonging in a Mobile World:
A Case Study of Migrant Professionals. Sociologický časopis/‭ ‬Czech Sociological Review, 53 (3): 343–367. ‬‬‬‬‬‬
• Bilton, C. and Cummings, S. (2014). Handbook of Management and Creativity. Cheltenham,
UK: Edward Elgar Publishing Ltd.
• Bilton, C. (2007). Management and creativity. London: Blackwell Publishing.
• Bilton, C., and Leary, R. (2002). What can managers do for creativity? Brokering creativity in
the creative industries. International Journal of Cultural Policy, 8, 49-64.
• Bilton, C. (2010). Manageable Creativity. Journal of Cultural Policy, 16 (3); 255-269.
• Blanco, R.A. (2010). Personal Brands: Manage Your Life with Talent and Turn it into a
Unique Experience, UK: Palgrave Macmillan.
• Bjiirkegren, D. (1993). Managing Art-Related Businesses. Scandinavian. Journal of
Management. Vol. 9: 3, pp. 175-187.
• Boden, M.A. (1994). Précis of the creative mind: Myths and mechanisms. Behavioral
and Brain Sciences, 17 (3): 519-531.
• Bolander, Thomas, 2002, “Self-reference and logic”, Phi News, 1: 9–44.
• Bowman, C. & Ambrosine, V. (2000). Value creation versus value capture: towards a
coherent definition of value in strategy. British Journal of Management, 11 (1), 1-15
• Bourdieu, P. (1993) The Field of Cultural Production. Reprint, Blackwell, Oxford, 2008.
• Bourdieu, P. (1993). The field of cultural production. Essays on Art and Literature. New
York: Columbia University Press.
• Bradley, F. (2012). Creativity: does place matter? London Review of Education Vol. 10, No.
2, July 2012, 145–157.
• Brinkmann, S. and Kvale, S. (2015). Interviews: Learning the craft of Qualitative Research
interviewing (4th Ed.). Thousand Oaks, CA: Sage.
• Brougher, S. J., & Rantanen, E. M. (2009). Creativity and design: Creativity’s new definition
and its relationship to design. Proceedings of the Human Factors and Ergonomics
Society, 1, 605-609.
• Bryman, A. and Bell, A. (2011). Business Research Methods 3rd Edition. Oxford and
New York: Oxford University Press.
• Burger-Helmchen, T. (Ed.) (2013). The Economics of Creativity, Ideas, Firms, and Markets.
New York, NY: Routledge.
• Burnard, P. (1991). A method of analyzing interview transcripts in qualitative research. Nurse
Education Today, 11, 461–466.
• Butler, P. (2000) ‘By popular demand: marketing the arts’, Journal of Marketing
Management. 16 (4): 343-364.
• Cattani, G., Ferriani, S., and Colucci, M. (2012). “Creativity, Legitimacy, and Social
Structure: A Core-Periphery Perspective”, in C. Jones, Lazersen, M. & Sapsed, J. (eds.),
The Oxford Handbook of the Creative Industries, Oxford: Oxford University Press.
• Cattani, G. and Ferriani, S. (2008). A Core/Periphery Perspective on Individual Creative
Performance: Social Networks and Cinematic Achievements in the Hollywood Film
Industry. Organization Science 19 (6); 824-844.
• Caves, R. E. (2000). Creative Industries: Contracts Between art and Commerce. Cambridge:
Harvard University Press.
• Chang, N.W. (2018). ‘Interview with Nai-Wen Chang’, Interviewed by Pinjie Wu and Dennis
Montera. Value Proposition Management in the Visual Arts: Comparing the Leading Artists from Tainan and Cebu, 28 September.
• Chang W. J., Wyszomirski M. (2014). What is arts entrepreneurship? Tracking the
development of its definition in scholarly journals. Artivate: A Journal of
Entrepreneurship in the Arts, 2015, 4 (2); 11-31.
• Chen, Y.J. (2014) Creative Dynamics of the Object: Lin Huangdi's solo exhibition
"Logistics”, IT Park Gallery and Photo Studio. Accessed on 12 February 2019. URL=
<http://www.itpark.com.tw/artist/critical_data/229/1807/315>
• Cheung, H. (2018). Drawing from the energies that drive humanity. Taipei Times, News
Feature, May 3, 2018. Accessed on 15 February 2019. URL=
<http://www.taipeitimes.com/News/feat/archives/2018/05/03/2003692416>
• Chong, D. (2010) Arts Management, 2nd ed., London: Routledge.
• Chung, H.L. (2014). Developing the Creative Economy: The Network Approach of the Five
Municipalities in Taiwan. In Lee H.K and Lim, L. (Eds.), Cultural Policies in East Asia,
11, 193-209.
• Clive, B.K. (2014). Rebrand: The Ultimate Guide to Personal Branding, Kindle Edition
• Coyle D. (2010). Fight club: Is talent taught rather than innate? The Times, May 2010, p. 49.
• Crane, D 2009, ‘Reflections on the global art market: Implications for the sociology of
culture’, Sociedade e Estado, vol. 24, pp. 331–62.
• Creswell, J. W. (2007). Research design: Qualitative, quantitative, and mixed methods
approaches (2nd ed.). Thousand Oaks, CA: Sage.
• Cropley, A. J. (2000). Defining and measuring creativity: Are creativity tests worth using?
Roeper Review, 23, 72-79.
• Cultural Center of the Philippines (2010), Philippine Creative Industries Mapping: Towards
the Development of a National Strategy, National Commission for the Culture and the
Arts in partnership with the ABS-CBN Bayan Foundation, Intramuros, Manila.
• Csikszentmihalyi, M. (1988). Society, culture, and person: a system view of creativity. In R. J. Sternberg (Ed.), The nature of creativity, 325-339. New York: Cambridge University
Press.
• Csikszentmihalyi, M. (1999). Implications of a systems perspective for the study of creativity.
In R. J. Sternberg (Ed.), Handbook of creativity (pp. 313-335). Cambridge: Cambridge
University Press.
• Csikszentmihalyi M. (2014). The Systems Model of Creativity. The collected works of
Mihaly Csikszentmihalyi. Springer, Dordrecht.
• Dadidow, M. (2018). Value creation and efficiency: Incompatible or inseparable? Journal
of Creating Value, 4 (1), 123-131.
• Darsø, L. (2004). Artful creation: Learning-tales of arts-in-business. Fredriksberg:
Samfundslitteratur.
• DCMS (1998). Creative Industries Mapping Documents. Government. United Kingdom.
• Deckers, E. and Lacy, K. (2013). Branding Yourself: How to Use Social Media to Invent or
Reinvent Yourself, 3rd Edition, USA: Que Publishing.
• Deguilmo, H.T. (2018). ‘Interview with Adeste Deguilmo, Interviewed by Dennis Montera.
• Value Proposition Management in the Visual Arts: Comparing the Leading Artists from Tainan and Cebu, 26 October.
• De la Barre, S. (2012). Creativity in Peripheral Places: Redefining the Creative Industries,
Tourism Planning & Development, 9:4, 441-443.
• Denvin, N.K. and Lincoln, Y. (Eds.) (2008). The Landscape of Qualitative Research. Los
Angeles, USA: Sage.
• Downe-Wambolt, B. (1992). Content analysis: method, applications and issues. Health Care for Women International, 13, 313–321.
• Eikhof, D.R. and Haunschild, A. (2007). For art’s sake! Artistic and economic logics in
creative production. Journal of Organizational Behavior 28, 523–538.
• Eikhof, D. R., and Haunschild, A. (2006). Lifestyle meets market. Bohemian
entrepreneurs in creative industries. Creativity and Innovation Management, 13: 234-241.
• Engel, J., Blackwell R., and Minard P. (1995). Consumer Behavior (8th ed). New York, NY:
Dryden.
• Enhuber, M. (2014). How is Damien Hirst a cultural entrepreneur? Artivate: A Journal of
Entrepreneurship in the Arts, 3 (2), 3-20.
• Ericsson, K. A., Krampe, R. T., Tesch-Romer, C. (1993) The Role of Deliberate Practice in
the Acquisition of Expert Performance. Psychological Review, 100 (1993), pp. 363-406.
• Essig, L. (2015). Value Creation and Evaluation in Arts Incubators. International Journal of
Arts Management, 20 (2), pp.32-45.
• Filho, J.D.A., and Farias, D.B.L., (2016). Celso Furtado: Culture and Creativity Matter,
Journal of Economic Issues, 50:2, 444-451.
• Fillis, I. (2004a) ‘The theory and practice of visual arts marketing’ in Kerrigan, F., Fraser, P.,
and Özbilgin, M. (Eds.) Arts Marketing. Elsevier Butterworth- Heinemann, Burlington,
MA, pp. 119-138.
• Fillis, I. (2004b) ‘The entrepreneurial artist as marketer – lessons from small firm literature’,
International Journal of Arts Management, 7 (1) pp. 9-21.
• Fillis, I. (2006) ‘Art for art’s sake or art for business sake: an exploration of artistic product
orientation’, The Marketing Review, 6 (1) pp. 29-40.
• Fillis, I. (2009) ‘An evaluation of artistic influences on marketing theory and practice’.
o Marketing Intelligence and Practice, 27 (6) pp. 753-774.
• Fillis, I. (2010) ‘The Tension between Artistic and Market Orientation in Visual Art’ in
O’Reilly, D., and Kerrigan, F. (Eds) Marketing the Arts – A fresh Approach. London:
Routledge. pp. 31-39.
• Findlay, M. (2012). The Value of Art. Munich: Prestel Verlag.
• Fleming, T. (2017). The Philippine Creative Economy, Towards a Baseline and Programme,
• Tom Fleming Creative Consultancy, British Council, UK and the NCCA, Philippines.
• Florida, R. (2012). The Rise of the Creative Class Revisited. New York: Basic Books.
• Fongshan District Second Household Registration Office, Kaohsiung City, (2018). Creating
through Chaos: Art of Hsu Tzu-Kuey. City News, updated 2018-07-30, Accessed on 13
April 13, 2019, URL=<https://fongshan2-house.kcg.gov.tw/en/News_Content.aspx?n=59691E739AAFFB67&sms=10841F66B10BD95B&s=8948232012FBAFB0>
• Ford, J.D. and Ford L.W., (1994). Logics of identity, contradiction, and attraction in change,
Academy of Management Review 19, 756–795.
• Fritsch, M. and Sorgner, A. (2013). Entrepreneurship and creative professions: A micro level
analysis, Jena Economic Research Papers, No. 2013-005.
• Guersen, G., and Rentscher, R. (2002). Unraveling cultural value. The New Wave:
Entrepreneurship and the Arts, 2 (4), 78-98
• Geursen G., and Rentschler R. (2003), Unraveling Cultural Value, The Journal of Arts
Management, Law, and Society, 33 (3); 196-210.
• Guersen, G. and Rentscher, R. (2002). Unraveling cultural value. The New Wave:
Entrepreneurship and the Arts, 2 (4), 78-98.
• Gibson, C. (Ed.). (2014). Creativity in Peripheral Places, Redefining the Creative Industries,
Routledge, NY.
• Gibson, C., Luckman, S., Willoughby-Smith, J., (2010). Creativity without Borders?
Rethinking Remoteness and Proximity, Australian Geographer, Vol. 41.
• Gladwell M. (2008). Outliers: The story of success. Little, Brown and Company, New York.
• Grant D. (2010). The Business of Being an Artist. Allworth Press, New York.
• Gutman, J. (1982). A means-end chain model based on consumer categorization process.
Journal of Marketing, 46 (2), 60-72.
• Gutzmer, A. (2016). Urban Innovation Networks: Understanding the City as Economic
Resource. Switzerland: Springer International Publishing.
• Hearn, G., Roodhouse, S. and Blakey, J. (2007). From value chain to value creating
ecology: Implications for creative industries development policy. International
Journal of Cultural Policy, 13 (4), 419-436
• Hesmondhalgh, D. (2013). The Cultural Industries 3rd Edition. London & Los Angeles: Sage
Publications Ltd.
• Hesmondhalgh, D., and Pratt, A. C. (2005). Cultural industries and cultural policy.
International Journal of Cultural Policy, 11, 1-13.
• Holttinen H. (2014). Contextualizing value propositions: Examining how consumers
experience value propositions in their practices. Australasian Marketing Journal, 22 (2014), 103-110.
• Howkins, G. (2007). The Creative Economy: How people make money from ideas. Updated
Ed., London: Penguin.
• Hsiao, C.R. (2018). Watch out for Akui! from Pheasant House to Akui Art Museum. Creating
Through Chaos: Art of Hsu-Tzu-Kuey, Exhibition Catalog, Kaohsiung Museum of
Fine Art: Taiwan.
• Hsu, T.K. (2018). ‘Interview with Tzu-Kuey Hsu’, Interviewed by Pinjie Wu and Dennis
Montera. Value Proposition Management in the Visual Arts: Comparing the Leading
Artists from Tainan and Cebu, 5 October.
• Hsu, Y.T. (2018). A Tender Critic Who Never Fears Getting Burned: On Hsu Tzu-Kuey’s
Various Faces and Tropical Colors. Creating Through Chaos: Art of Hsu-Tzu-Kuey,
Exhibition Catalog, Kaohsiung Museum of Fine Art: Taiwan.
• Hsu, Y.T. (2017) Tseng, Ying-Tung: Practitioner of Volatile Aesthetics, Exhibition Catalog,
Asir Art Museum: Tainan, Taiwan.
• Hughes J. (2013). What value creation will look like in the future. Harvard Business Review,
May 17, 2013. Accessed 13 April 2019, <https://hbr.org/2013/05/what-value-creation
will-look-like-in-the-future>
• Hughson, J., Nadler, K. and Viaud, G. (2009). The Friction of Distance & Creative Growth
In British Columbia’s Small Cities: 1996-2006. Western Division of the Canadian
• Impas, F.Jr. (2018). ‘Interview with Florentino Impas Jr.’, Interviewed by Dennis Montera.
Value Proposition Management in the Visual Arts: Comparing the Leading Artists
from Tainan and Cebu, 29 October.
• Jaakola, E. and Hakanen, I. (2013). Value co-creation in solution networks. Industrial
Marketing Management, 42 (1), 47-58
• Jauk, E., Benedek, M., & Neubauer, A. C. (2014). The road to creative achievement: A latent
variable model of ability and personality predictors. European Journal of Personality,
28, 95-105.
• Jian, T.C. The original idiot who can't know the truth of the phenomenon - Zhang Naiwen's
North American Pavilion solo exhibition "Not something", IT Park Gallery and Studio, Accessed on 19 November 2018, URL= <http://www.itpark.com.tw/artist/critical_data/236/413/-1>
• Jorgenson, E. (2014). “Why Value Creation is the Foundation of Business: How to define it,
measure it and manage it”. Evergreen, accessed 12 April 2019,
< https://medium.com/evergreen-business-weekly/why-value-creation-is-the-
foundation-of-business-how-to-define-it-measure-it-and-manage-it-147c92b87aca>
• Karlson L. C. (2015). Corporate Value Creation, Wiley & Sons, Hoboken, New Jersey, 2015.
• Karttunen, S 2008, ‘Entering the global art world — galleries as mentors of peripheral artists’,
Nordisk Kulturpolitisk Tidskrift, vol. 11, no. 2, pp. 41–73.
• Keränen, J. (2017). Towards a broader value discourse: Understanding sustainable and public
value potential, Journal of Creating Value, 3(2), 1-7.
• Knight, F. (2014). The Wealth Report, Knight Frank LLP, London, 2014.
• Korsgaard C. (1986). Aristotle and Kant on the Source of Value, Ethics 96(3): 486-505.
• Kumar, V. and Rajan, B. (2017). What’s in It for Me? The Creation and Destruction of Value
for Firms from Stakeholders. Journal of Creating Value, 3 (2): 142-156.
• Kumar, V. (2013). Profitable customer engagement: Concept, metrics, and strategies. New
Delhi: SAGE Publications.
• Lee, Y. (2018). Hsu Tzu-Kuey: Splendid Art with Ups and Downs in Life. Preface of
Creating Through Chaos: Art of Hsu-Tzu-Kuey, Exhibition Catalog, Kaohsiung
Museum of Fine Art: Taiwan.
• Lee, Y. (2013). The Invisible Sound, Tsai Kuen-Lin’s Solo Exhibition. Liang Gallery
Exhibition Catalog. Accessed on 12 February 2019. URL=
<https://issuu.com/lianggallery/docs/tsai_kuen-lin___s_solo_exhibition__>.
• Leung, A.K-Y., Kwan, L., and Liou, S. (Eds.) (2018). Handbook of Culture and Creativity:
Basic Processes and Applied Innovations. New York, NY: Oxford University Press.
• Levinson, W., Rothman, A., Phillipson, E. (2006). Creative Professional Activity: An
Additional Platform for Promotion of Faculty, Academic Medicine: 81(6): 568-570.
• Lewis, M. J. (2015). How art became irrelevant, A Chronological Survey of the Demise of
Art, Commentary Magazine.Com, July 15, 2015. Accessed on August 19, 2018. URL=
<https://www.commentarymagazine.com/articles/how-art-became-irrelevant/>
• Lincoln, Y.S. and Guba, E.G. (1985). Naturalistic Inquiry. Beverly Hills, CA: Sage
Publications.
• Lincoln, Y.S. and Guba, E.G. (2000). The only generalization is: There is no generalization’
In Gomm, R., Hammersley, M., Foster, P., (Eds.) Case Study Method: Key Issues, Key
Texts, London, New Delhi, Thousand Oaks, CA: Sage.
• Lin, H.T. (n.d.), Artist Statement, Resident Artist, Ministry of Culture. Accessed on 15
April 15, 2019. URL=
<http://artres.moc.gov.tw/portal_f1_page.php?button_num=f1&cnt_id=44#>
• Lin, H.T. (2018). ‘Interview with Huang-Ti Lin’, Interviewed by Pinjie Wu and Dennis
Montera. Value Proposition Management in the Visual Arts: Comparing the Leading
Artists from Tainan and Cebu, 4 October.
• Liozu, S. (2017). Customer value is not just created, it is formally managed. Journal of
Creating Value, 3 (2), 200-209.
• Lo, N. (2018). Creation Statement of Hsu Tzu-Kuey. Creating Through Chaos: Art of Hsu-
Tzu-Kuey, Exhibition Catalog, Kaohsiung Museum of Fine Art: Taiwan.
• Lorentzen A. and Van Heur B. (Eds.) (2011). Cultural Political Economy of Small Cities.
Routledge, London.
• Luckman, S. (2012). Locating Cultural Work, The Politics and Poetics of Rural, and Remote
Creativity. Pallgrave Macmillan, New York, NY.
• Mahajan, G. (2017). Value Dominant Logic. Journal of Creating Value, 3 (2); 217-235.
• Marshall, C. and Rossman, G. (2014) Designing qualitative research. Maryland: Sage
Publications.
• Martin, R. (1995). A Crisis of Art and Commerce, The Columbia Journal of World Business.
• Mathieu, C. (ed.) (2012). Careers in Creative Industries. New York, NY: Routledge.
• Maxwell, J.A. (2013). Qualitative Research Design: An Interactive Approach (3rd ed.).
Thousand Oaks, CA: Sage.
• Maxwell J. C. (2010). Talent is never enough. Thomas Nelson Inc., Nashville, Tennessee.
• McAndrew, C. (2017). Art Market 2017, An Art Basel and UBS Report, ArtsEconomics.com,
Accessed on 13 April 2019, < http://artseconomics.com/#!/the-art-market-2017-an-art-
basel-ubs-report>
• McNally D., Speak K. (2011). Be Your Own Brand, Berrett-Koehler Publishers Inc., San
Francisco.
• Merriam, S. (2009). Qualitative research: A guide to design and implementation (Revised and
expanded from 'Qualitative research and case study applications in education'). Hoboken, NJ: Jossey-Bass (Wiley).
• Meusburger, P. et al. (eds.) (2009). Milieus of Creativity, Knowledge and Space 2, 97
Springer Science + Business Media B.V.
• Miano, N.B. (2018). ‘Interview with Huang-Ti Lin’, Interviewed by Dennis Montera. Value
Proposition Management in the Visual Arts: Comparing the Leading Artists from
Tainan and Cebu, 5 November.
• Miettinen, R. (2006). The sources of novelty: A cultural and systemic view of distributed
creativity. Creativity and Innovation Management, 15, 173–181.
• Michels C. (2001), How to survive & prosper as an artist. Selling yourself without selling
your soul. Henry Holt and Company, 2001, New York.
• Monroe, K.B. (2002). Pricing: Making profitable decisions (3rd ed). New York, NY:
McGraw Hill.
• Montera, D. and Lin, H.W. (2018). Peripheral Realities: Visual Artists in Cebu,
Philippines. Journal of Literature and Art Studies, 8 (9); 1357-1363.
• Montgomery, S. S. and Robinson, M. D. (1993): ‘Visual artists in New York: what’s special
about person and place?’, Journal of Cultural Economics 17 (2): 17–39.
• Montuori, A., and Purser, R. (1995). Deconstructing the lone genius myth: toward a
contextual view of creativity. Journal of Humanistic Psychology, 35(3), 69–112.
• Muelhausen, J. (2013). Business Models for Dummies. New Jersey: John Wiley and Sons Inc.
• Nijs S., Gallardo-Gallardo E., Dries N., Sels L. (2014). A multidisciplinary review into the
definition, operationalization, and measurement of talent. Journal of World Business,
49 (2014) 180-191.
• Patton, M.Q. (2001). Qualitative Research and Evaluation Methods. Thousand Oaks, CA.:
Sage Publications.
• Pinho, N., Beirão, G., Patricia, L., and Fisk, R.P. (2014). Understanding value co-creation in
complex services with many actors. Journal of Servcie Management, 2 (4), 470-493.
• Polit, D.F., and Beck, C.T. (2006). Essentials of nursing research methods, appraisal, and
utilization. Philadelphia, PA:Lippincott Williams & Wilkins.
• Porter M. and Millan, V. (1985). How information gives you competitive advantage. Howard
Business Review, 63 (4), 149-160.
• Quemin, A. and van Hest, F. (2015). The Impact of Nationality and Territory on Fame and
Success in the Visual Arts Sector: Artists, Experts, and Market. In Olav, V. and Curioni,
S.B. (Eds.), Cosmopolitan Canvases: The Globalization of Markets for Contemporary
Art. Oxford: Oxford University Press.
• Quemin, A. (2012). ‘The internationalization of the contemporary art world and market: The
role of nationality and territory in a supposedly ‘globalized’ sector. In Contemporary
art and its Commercial Markets: A Report on Current Conditions and Future Scenarios,
ed. M. Lind & O. Velthuis, Sternberg Press/Tensta Konsthall, Berlin/Spanga.
• Quemin, A. (2006). ‘Globalization and mixing in the visual arts: An empirical survey of
“high culture” and globalization’, International Sociology, vol. 21, pp. 522–550.
• Ragatz, J. (2015). Market Virtues and Vices. Ethically Speaking, Thinking about Ethics in
the Financial Services Industry, June 15, 2015. Accessed on 13 April 2019. URL=
<https://ethicsinfinancialservices.wordpress.com/2015/06/15/market-virtues-
and-vices/>
• Robertson, I. (2015). Understanding art markets, Inside the world of art and business. London: Routledge.
• Robertson, I. (ed.) (2005) Understanding International Art Markets and Management.
Abingdon and New York: Routledge
• Robertson, I. and Chong, D. (eds.) (2009). The art business. Abingdon: Routledge.
• Rodner, V. and Kerrigan, F. (2014). The Art of Branding - Lessons from Visual Artists,
ResearchGate.
• Santana-Acuña, A. (2016). Where does the value of art begin? (Part One), Books and Ideas,
May 2 , 2016. Accessed on 11 April 2019, < https://booksandideas.net/Where-Does-
the-Value-of-Art-Begin-Part-One.html>
• Schroeder, J.E. (1997) ‘Andy Warhol: consumer research’, Advances in Consumer Research,
24, pp. 476-482.
• Schroeder, J.E. (2002) Visual consumption. London: Routledge.
• Schroeder, J.E. (2005) ‘Artist and the Brand’ European Journal of Marketing. 39 (11/12):
1201-1305
• Schroeder, J.E. (2006) ‘Aesthetics awry: the painter of light™ and the commodification of
artistic values’, Consumption, Markets and Culture, 9 (2) pp. 87-99.
• Schroeder, J.E. (2010) ‘The Artist in Brand Culture’ in O’Reilly, D., and Kerrigan, F. (2010)
(Eds) Marketing the Arts – A fresh Approach. London: Routledge, pp.18-30.
• Symon, G. and Cassell, C. (Eds.) (2013). Qualitative Methods and Analysis in
Organizational Research, London: Sage Publications.
• Taishin Bank Foundation for Arts and Culture (2015). As We Hear/Say ── TSAI Kuen-Lin
Solo Exhibition. News and Events. Accessed on 13 February 2019. URL=
<http://www.taishinart.org.tw/english/3_event/detail.php?ID=146>
• Taylor, E. A., Bonin-Rodriguez, P., & Essig, L. (2015). Perspectives on Arts
Entrepreneurship: Part 1. Artivate: A Journal of Entrepreneurship in the Arts, 4 (1), 3-7.
• TEFAF (2015). The Global Art Market, with a focus on the US and China, The European
Fine Art Federation, ArtsEconomics.com, accessed on 13 April 2019, URL =
<http://artseconomics.com/project/tefaf-art-market-report-2015/>
• Thom, M. (2015). The Entrepreneurial Value of Arts Incubators: Why Fine Artists Should
Make Use of Professional Arts Incubators, Artivate: A Journal of Entrepreneurship in
the Arts, 4 (2), 33-56
• Thompson D. (2008). The $12 million stuffed shark. The curious economics of contemporary
art. New York: Palgrave Macmillan, p. 268.
• Throsby, D. (1995). Cultural Capital. Journal of Cultural Economics, 23, 3-12.
• Throsby, D. (1995). Culture, economics and sustainability. Journal of Cultural
Economics, 19, 199-206.
• Towse, R. (2013). Handbook of Cultural Economics. Cheltenham: Edgar Elgar.
• Tseng, S. (2001). The art market, collectors and art museums in Taiwan since 1949, Doctoral
Dissertation, University of Leicester, Michigan, USA: ProQuest LLC.
• Tseng, Y.T. (2018). ‘Interview with Ying-Tung Tseng’, Interviewed by Pinjie Wu, Value
Proposition Management in the Visual Arts: Comparing the Leading Artists from
Tainan and Cebu, 8 October.
• Ulaga, W. (2003). Capturing Value Creation in Business Relationships: A Customer
Perspective, Industrial Marketing Management 32(8):677-693.
• Van Hest, F. (2012). Territorial factors in a globalized art world? The visibility of
countries in international contemporary art events, Doctoral Dissertation
(EUR/EHESS), Erasmus Research Centre for Media, Communication and Culture,
Rotterdam.
• Velthuis, O. (2014). ‘The impact of globalization on the contemporary art market: The
traditional gallery model at risk’, in Risk and Uncertainty in the Art World, ed. A.
Dempster, London/New Delhi/New York/Sydney: Bloomsbury.
• Velthuis, O. (2005) Imaginary Economics: contemporary artists and the world of big
money. NAI Publishers, Rotterdam, Holland.
• Wilkie, W.L. (1990). Consumer Behavior (2nd Ed). New York, NY: John Wiley.
• Winner, E. (2010). Fight club: Is talent taught rather than innate? The Times, May 2010, 49.
• Yogev, T. and Ertug, G. (2015). Global and Local Flows in the Contemporary Art Market. In
• Olav, V. and Curioni, S.B. (Eds.), Cosmopolitan Canvases: The Globalization of
Markets for Contemporary Art. Oxford: Oxford University Press, 193-212.
• Ypon, E. (2012). The man behind the painter, The Painter’s Wife, Blogspot, October 30,
2012. Accessed on 15 April 2019.
URL=<https://thepainterswife.wordpress.com/2012/10/30/the-man-behind-the-painter-
orley-ypon/>
• Ypon, O.Y. (2018). ‘Interview with Orley Yu Ypon’, Interviewed by Dennis Montera. Value
Proposition Management in the Visual Arts: Comparing the Leading Artists from
Tainan and Cebu, 22 October.
• Yu, W. (2000). Identifying Lin Huang-Ti. IT Park Gallery and Photo Studio. Accessed on 12
February 2019. URL= <http://www.itpark.com.tw/artist/critical_data/229/1733/315>
• Zimmerman, M. J. and Bradley, B. (2019). "Intrinsic vs. Extrinsic Value", The Stanford
Encyclopedia of Philosophy (Spring 2019 Edition), Edward N. Zalta (ed.), Accessed on
13 April 2019, URL = <https://plato.stanford.edu/archives/spr2019/entries/value-
intrinsic-extrinsic/>
• Zorloni, A 2013, The Economics of Contemporary Art. Markets, Strategies and Stardom,
Springer, Berlin.