Private support for the arts is deeply ingrained in the United States. The horizon of arts and businesses relationships in the States has drastically changed since 1980s. From patronage to the most recent partnership, collaboration, and alliance, terms referring to arts and business relationships are proliferous. Yet, there is considerable confusion over the definition and use of different relationship models in both theories and practice. Moreover, a dearth of research documenting the scope and make-up of arts and business relationships represents a serious information gap in the present research-to-practice model in cultural policy. This dissertation examines arts-business relationship patterns that have been evolving along the relationship continuum in the field and develops a comprehensive a model presenting a systematic process for mapping, developing and implementing a variety of arts and business relationships.

This case study investigates the evolution of ABRs over time and proposes ABRs model through an analytical framework created by reviewing five interorganizational relationship theories. The proposed ABRs models have three common elements: Preconditions, relationship attributes, and conditions. The interpretive historical inquiry of external political, economic and sociocultural environments (pre-conditions) set the stage for the contemporary understanding of ABRs. Then, four ABRs models including traditional philanthropy, transactional collaborations, strategic alliance, and venture philanthropy were analyzed in terms of their relationship types, sectoral drivers, operational elements (relationship attributes) and interorganizational factors (conditions). Further, profile research of arts and business partners was conducted to examine the relationship-specific conditions that facilitate different ABRs to occur and situate them within generalizable conditions. By doing so, the study attempts to balance between building a generalizable common structure of ABRs formation and its applicability to the specific contexts. Hence, with this connection, it is believed that the model would be considerably enhanced.

The application of the analytical framework to the field revealed that the rationale of ABRs progressed along with the changing notions of arts and cultural sector from seen as decorations to social and political capital. It indicates the changing paradigm of ABRs, that traditional corporate arts philanthropy characterized as arts patronage is declining, and strategic relationships based on reciprocity are present, and apparently on the rise. Finally, the ABRs portfolios were presented as a step to institutionalize ABRs as an integral part of strategic planning to each organization's setting. Building a portfolio creates the options for managers on both sides as to the ideal mix of relationship types depending on the outcome they aspire from partnering with each other. Strategies and options for each portfolio segment were presented as recommendations for the application of portfolios. In conclusion, this study suggests that ABRs pertain to not only arts financing and business investment practice but also important cultural policy agenda as they serve as infrastructure development strategies for the creative community.