Revamping art education for the digital age: a social media-driven framework for artrepreneurial pedagogy

1 Introduction

In today's fast-paced business environment, art has experienced a dramatic and quick transition. These days, artists are not only artists; they are also artrepreneurs who combine their artistic and business acumen. Digital and social media are essential components of the significant development of artistic self-employment. Social media sites like YouTube and Instagram are now critical for establishing a strong online presence, interacting with a global audience, and bypassing intermediaries.

Art Education is the procedural approach of teaching and learning artistic skills, aiming to foster creativity, critical thinking, and a deeper understanding of the world. Creative methods, aesthetic questions, and individual artistic expressions are the main topics of contemporary art education. However, they hardly ever give art students the technological, entrepreneurial, and self-management abilities needed to create and maintain financial rewards from artistic endeavours. Since many artists work for themselves or as freelancers, entrepreneurship is a vital part of arts education and is critical for career success in the arts. The lines between digital technologies, art, and commerce are becoming increasingly hazy. Furthermore, there is a pressing need to reconsider the function of art education in light of the emergence of Web3. Without addressing these linkages, art pedagogy runs the risk of leaving students unprepared to deal with both creative agency and financial independence in the digital age. The skill gap is widened when such competencies are not included, making it more difficult for graduates to turn their artistic expertise into long-term professions. Recent research on arts entrepreneurship education reiterates this worry and shows how the abilities offered in art schools continue to diverge from those needed in the creative sectors. Despite being highly skilled and productive when they leave school, graduates lack the necessary skills in related fields like marketing, finance, and entrepreneurship. A hybrid curriculum that strikes a balance between art education and business training is necessary to connect creativity with entrepreneurial education. Project-based collaborations, internships, and real-world simulations are examples of experimental techniques that are seen to be particularly effective in equipping students with both business and creative skills (Ávila and Davel, 2023). There is an urgent need to reconsider the significance of art pedagogy and develop a groundbreaking educational framework that logically integrates various fields. To close this gap, the art curriculum must be completely changed to incorporate digital technologies and entrepreneurship. The goal of modern pedagogy is to provide art students with the necessary tools for a sustainable career, visibility, smart use of digital technology, market adaptation, and financial independence—not to dilute the content. The S.M.A.R.T Curriculum Loop, a revolutionary framework that tackles issues regarding the merging of art with business and digital skills, has been proposed in this study as a solution to this important necessity in art academia. Such a drastic change would equip art students to pursue jobs that are both financially feasible and creatively satisfying.

The S.M.A.R.T Curriculum Loop provides a clear framework for introducing students to international art by combining social media-driven art education into conventional art courses. This methodology helps students fulfil the needs of the digital economy by integrating multidisciplinary elements into art instruction. Universities can equip artists who lack the requisite technological abilities and help them develop resilience in the digital age in this way.

This Opinion Article posits that the modern education of art needs to immediately shift out of a studio-based, skills-oriented model to begin digitally empowered artrepreneurial education. Whereas conventional methods focus on mastering the arts, they do not equip graduates with a creative economy that is influenced by the dynamics of social media, the governance of platforms, and the creation of visibility through algorithms. This paper will argue that the S.M.A.R.T Curriculum Loop as a future-oriented solution to the challenge of digital literacy, entrepreneurial ability, and creative practice is viable because it integrates all three into a pedagogical framework.

1.1 Prior studies in the field

The limitations outlined above necessitate a re-examination of how existing scholarship conceptualises creativity, entrepreneurship, and digital fluency in art education. The following section synthesises prior studies that inform the development of the S.M.A.R.T Curriculum Loop.

Promoting creativity in art discipline higher education is often an unexplored area that needs attention at the institutional level, as creativity is no longer seen as a luxury but a necessity in the current economic world post-COVID-19 outbreak and quarantines. Systematic integration of creativity in universities is imperative rather than treating art as a separate domain. The four correlating factors for fostering creativity- conversation, scholarly relations, liminal spaces and leadership- must be included in the present-day art curriculum. This framework criticises traditional pedagogies and addresses creativity as a perpetual, relational and formal mechanism crucial for learning, leadership and innovation (Rae, 2023).

Due to the ever-evolving nature of the art economy, entrepreneurial skills have become an integral aspect of art education. Traditional art education is often expertise-centric, relying solely on artistic mastery. Today's Artists must be self-sufficient and capable of dealing with complex market dynamics, navigating digital platforms and building personal brand image. This can be attained only by integrating entrepreneurial training into the art curriculum, which can lead to fostering innovation and adaptability (Zhang and Wang, 2022).

Despite the increasing acceptance of entrepreneurship education in higher education, it is often overlooked in the field of the arts. There is a scarcity of existing research to comprehend arts entrepreneurship, which hinders its integration into the arts curriculum. Artrepreneurship education is valuable in enhancing the entrepreneurial competencies of artists. However, there is a need to address the gap between skills acquired through art education and skills actually required for their viable careers (Wong and Chan, 2024).

A novel pedagogy must equip artists with skills not only for fostering artistic persona but also autonomy, resilience and digital fluency- enabling a generation of artrepreneurs capable of steering Web3 platforms, building and learning viable habits and practices and reclaiming rights over their original creations (Bridgstock, 2013).

Artificial Intelligence (AI) and Web3 technologies now serve as core components of art production, distribution and monetisation in the present-day world. These technologies include Blockchain, NFTs (Non-Fungible Tokens) and DAOs (Decentralised Autonomous Organisations). Generative AI models like Midjourney and DALL·E allow artists to create complex visual concepts from simple text prompts, fundamentally changing the creative process and the definition of a ‘tool' in art. AI functions not only as a catalyst for artistic innovation but also as a source of ethical challenges, particularly through the use of generative models such as GANs and diffusion models that reshape creative processes while raising concerns of authorship, originality, and artistic integrity (Amini, 2025).

Art education must strategically include these technologies in its art pedagogy, as these are no longer just peripheral tools but fundamental in the rapidly evolving creative economy. NFTs have transformed the conventional perception of ownership and creatorship, introducing students to the idea of digital origination, providing access to global art dissemination through a decentralised system of networks. Smart contracts, a novel term, allow the generation of digital royalties, thereby reimagining the importance of entrepreneurial agency and financial independence for a creator. Web3, NFTs and DAOs are revolutionising art education, transitioning traditional university models into a ‘metaversity' concept. NFTs help in keeping a secure record of students' data, DAOs provide decentralised learning centres, while Web3 facilitates customised open learning. The metaverse provides interactive virtual environments for engaging, synchronous, and asynchronous education (Sutikno and Aisyahrani, 2023).

1.2 The problem with traditional art education

Previous research supports critiques of traditional art education, indicating the scarcity of existing research in arts entrepreneurship and a gap between skills acquired through art education and skills actually required for their viable careers (Wong and Chan, 2024). Conventional arts education relies on studio setup and knowledge dissemination, which deals with developing creative, sophisticated, disciplinary, and technical skills. These theoretical or conceptual disseminations of knowledge, which are monotonous, neglect adequate skill development, fail to include critical thinking, and often lack real-world relevance. This is particularly alarming given that most creative, performing and literary artists are self-employed or work on a freelance basis, making entrepreneurial skills critical for career sustainability and success. Art educators are often facing a dilemma in identifying and defining the skill sets required for artrepreneurial pedagogy (Bridgstock, 2013). The older, outdated framework is hindered by faculty hesitance to accept art education as a new frontier due to their narrow perception of entrepreneurial education as merely a “vocation”, which conflicts with the age-old romanticisation of art as distinct from a source of revenue. Lack of consensus by art school managers on a curriculum that suits present needs by adopting successful business schools' models is another issue (Beckman, 2007). The available curriculum doesn't equip artists with the necessary Web3 skills, which are essential for navigating their careers. Students generate strong academic portfolios but are appraised with limited digital presence or tool proficiency, building a gap between their talents and tangible opportunities. Most programs also neglect the critical rise of technologies like AI, NFTs and Smart contracts. This overlooks recent technologies, leaving the students unprepared for navigating digital art markets. There is a pressing need for the formation of a formal instructional framework with strategic entrepreneurial and digital competencies.

As an example, a recent graduate surveys conducted of design and fine arts courses in Asia and Europe have shown that students graduate with good portfolios, but they lack a digital presence, a fact that has a direct impact on employability on algorithm-driven creative markets. Most of these institutions still focus on studio production as they provide very scarce training on online visibility, digital rights, and monetisation strategies. Conversely, those programs with experience of implementing hybrid creative-entrepreneurship courses (e.g., digital portfolio markets, social-media-based exhibition projects) claim to find substantially better graduate interaction with international audiences. These instances point to the fact that disconnect is not a hypothetical notion but it can be seen in actual educational outcomes.

1.3 Technology as a catalyst for modern art education

Recent technological innovations, including Artificial Intelligence (AI), Non-Fungible Tokens (NFTs), Decentralized Autonomous Organizations (DAOs), and Web3 platforms, are integral components in contemporary act ecosystem. They are fundamentally reshaping art education by providing new mechanisms for creation, collaboration, distribution, and monetization.

Artificial Intelligence (AI): AI tools transform education in the modern day by creating intelligent and personalised systems for students to generate creative ideas, engage in prototype designs and receive instant feedback on audience engagement.

AI tools act as powerful tools in expanding digital literacy and crossing creative boundaries in the classrooms, simultaneously helping students to raise practical and ethical concerns about authenticity and authorship, calling for a balanced use that preserves practical learning (Blair, 2025). Students can use AI to generate multiple visuals of an idea, predict the adaptability of these artworks on social media platforms, and re-create their work based on audience interactions. This fosters technical literacy along with educating creative processes and strategic decision-making in content creation. AI provides an adaptive and efficient learning environment by leveraging intelligent algorithms to deliver tailor-made content and enhance decision-making processes.

Non-Fungible Tokens (NFTs): an NFT is essentially a digital record that proves ownership and authenticity of a unique digital or physical asset. Artists have the opportunity to sell their works globally through NFTs. Students can utilise smart contracts with NFTs to set prices for their artwork, monitor royalties, and verify their work. This promotes the growth of entrepreneurial skills in addition to the technical know-how needed for blockchain and cryptocurrency.

Decentralized Autonomous Organizations (DAOs): DAOs platforms provide cooperative, decentralized earning simulations for art education. DOAs are art hubs that enable students to become a part of communities and earn from their contributions. In addition, Intellectual Property sharing is streamlined by smart contracts, which help in transparent decision-making.

Web3 in Art Education: Web3 technologies provide a flexible learning environment to their students by enabling them to participate in virtual classes. Art students may engage in real-time workshops to market their metaverse art galleries. They may organise interactive exhibitions in a virtual space, allowing a global audience to access, interact with, and buy their artwork in real-time. Digital fluency and the commercial skills needed in art markets are expanded and disseminated through such encounters.

These tools allow art students to move beyond traditional studio-based instruction because of their transformative ability to develop new models for creativity and collaboration. Students can gain practical experience that prepares them for jobs as artrepreneurs by interacting directly with these (Sutikno and Aisyahrani, 2023).

1.3.1 Pedagogical implications of emerging technologies

The implementation of this kind of technologies in art education goes beyond the technical exposure; it transforms the way learning, evaluation, and creative agency are organized. AI-assisted iteration helps reduce feedback loops and facilitates reflective practice (students have to model many artistic directions before critique). NFTs present students with intellectual property management, ownership and platform-based revenue models and provide students with genuine learning regarding digital authorship. DAOs offer practical experience in collective decision-making, governance, and production of art by communities. Web3 classroom spaces open the classroom to participatory, immersive learning environments that combine exhibitions, critiques and interactions at the marketplace. These tools taken together can make art education less of a closed studio model and more of a dynamic participatory digitally networked system of learning.

These technologies also reshape assessment practices in contemporary art education. AI-assisted iteration supports formative assessment by enabling students to revise and justify multiple versions of their work before critique. NFT-based assignments make evaluation more transparent through verifiable ownership records and metadata trails. DAO-led collaborative projects allow instructors to assess participation, governance decisions, and community contribution as part of the creative output.

1.4 The S.M.A.R.T curriculum loop

The S.M.A.R.T Curriculum Loop may immediately address all of the drawbacks of traditional art education, which leave students unprepared to succeed in professional marketplaces. This framework fills the gap in the demands of the digital world by incorporating multidisciplinary elements into art instruction. It works as a cycle that allows for skill improvement and iterative participation over a number of semesters (Table 1). The creative framework addresses the demands of today's art students by combining social media and entrepreneurial abilities.

Table 1

Table 1. FRAMEWORK: the S.M.A.R.T curriculum loop.

1.4.1 Pedagogical foundations of the S.M.A.R.T curriculum loop

All elements of S.M.A.R.T model are based on established theories in education. Self-image and Social Media Usage (S) is correlated with literature and media literacy paradigms, which enables students to radically construct how they are perceived as artists in the public. The Multidisciplinary Approach (M) is based on the theory of experiential learning and collaboration is presented as an option of knowledge construction. Entrepreneurial Mindset (A) indicates models of learning in entrepreneurship which focus on iteration, opportunity recognition, and creative risk-taking. Research and Development (R) represents inquiry learning in which the market and audience knowledge help to make artistic choices. Lastly, Transactions and Engagement (T) is grounded in feedback literacy and reflective practice, which allows learners to incorporate critique into the continuous creative development. These foundations are working together to enhance the pedagogical legitimacy of the proposed model.

The S.M.A.R.T framework functions as a loop by allowing students to return to each module over the term of semesters. It enables the replicability of the iterative process of actual art practice. It prepares art students not only for solo practice of the art process, but also equips them for teamwork in business, which is beneficial for all stakeholders. The S.M.A.R.T Loop fixes the failures of the old-fashioned art curricula by placing each separate module in the context of definite pedagogical traditions. It offers institutionalized means through which students can gain digital fluency, entrepreneurial consciousness, and audience-focused creative practice skills, which modern art markets require but are not taught in institutions to a significant degree. While the S.M.A.R.T Curriculum Loop offers a forward-looking approach, its adoption depends on institutional readiness, faculty digital preparedness, and equitable access to technology—limitations that must be acknowledged in applying the model.

1.5 Traditional art education vs. contemporary needs in art education: a comparative insight

The theoretical and practical foundations of the S.M.A.R.T framework become more evident when contrasted with conventional art education approaches.

Traditional art pedagogy focuses on imparting historical knowledge in a studio set-up, ignoring the requirements of the present world. Present-day art calls for the inclusion of digital literacy and entrepreneurial skills into art education, unlike previous static curricula. S.M.A.R.T Curriculum Loop offers a paradigm shift- integrating entrepreneurial and social media literacy into art education (Table 2). The table provides a comparison of conventional art pedagogy and S.M.A.R.T framework loop, illustrating a shift from mere skill-based instructions towards a more inclusive, business- oriented and socially connected art education model.

Table 2

Table 2. Traditional art education vs. S.M.A.R.T curriculum loop.

1.6 Conclusion and scope for future research

The comparative insights above illustrate the growing mismatch between traditional pedagogical structures and contemporary creative industry demands, reinforcing the need for a reimagined curricular approach.

The conventional models of art education have been regarded as inadequate due to their failure to incorporate evolving dynamics of the creative world. Artists are often self-employed in the contemporary world. In order to survive in the creative sector, an artist must combine entrepreneurial and digital competencies in their creative ventures. However, many higher education art programs only emphasize technical and artistic instruction while neglecting crucial aspects such as business, literary and digital fluency. This outdated curriculum hinders the students' ability to achieve financial independence and sustain successful careers in competitive art markets. Hence, a comprehensive curriculum is necessary to address the concerns of inclusivity of entrepreneurship and digital literacy in arts education. The S.M.A.R.T. Curriculum Loop acts as a transformative realm to navigate the needs of the modern creative industry. Importantly, recent policy and sector analyses highlight that Web3 infrastructures (NFT marketplaces, smart-contract royalties, and community-governed platforms) are already reshaping artist livelihoods and marketplaces; curricula should therefore include practical modules on decentralized asset stewardship, smart-contract literacy, and how platform governance affects creative labour (Rennie et al., 2022). The framework equips artists with the necessary tools to engage strategically in artrepreneurial ventures across real and virtual art markets.

1.6.1 Strengths and limitations of this opinion

The main advantage of this Opinion is its combination of digital technologies, entrepreneurship, and inventive pedagogy in one consistent curricular model, which can be adjusted to the context of various institutions. Nonetheless, the suggested framework is also limited: it relies on the institutional willingness to adopt it, the technological infrastructure, and the faculty knowledge of new digital technologies. Moreover, the model has a solid conceptual base, however, at the same time, it has to be empirically confirmed by using pilot research, classroom experiments, and long-term observation of student results. These shortcomings offer research possibilities in the future.

Although S.M.A.R.T framework acts as a promising design or model for reshaping creative education, further research is essential to establish its practical implications and impact. The modules suggested by S.M.A.R.T Framework require practical testing on how it prepares students for Web3 marketplaces. Future research must also inquire into the socio-economic impact of decentralized markets on potential artists and must recommend syllabi for fairness and digital inclusion (Rennie et al., 2022). Also, inquiries on the alignment of the suggested model with particular arts and institutions are necessary. Empirical studies are vital for their long-term adoption. Additionally, longitudinal studies on the professional development of students based on an integrated curriculum need to be conducted to understand the long-term impacts of this novel approach to education.

Author contributions

AG: Writing – review & editing. MM: Conceptualization, Writing – original draft.

Funding

The author(s) declared that financial support was not received for this work and/or its publication.

Conflict of interest

The author(s) declared that that this work was conducted in the absence of any commercial or financial relationships that could be construed as a potential conflict of interest.

Generative AI statement

The author(s) declared that generative AI was not used in the creation of this manuscript.

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