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Small Business Economics

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11-11-2020

Liminal spaces: A review of the art in entrepreneurship and the entrepreneurship in art

Authors: Adrienne Callander, Michael E. Cummings

Published in: Small Business Economics | Issue 2/2021

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Abstract

Arts entrepreneurship is still in its early stages as an emerging field of academic and scholarly inquiry at the intersection of art(s) and entrepreneurship. As such its boundaries and scope are still being negotiated. In this article, we examine entrepreneurship’s recent treatment of art (and vice versa) to explore and describe the hidden assumptions evident in each parent discipline’s characterization of the “other.” To do so, we identify and review 98 articles in entrepreneurship journals that address the field of art(s), and 165 articles in art journals that address the field of entrepreneurship. We then narratively analyze the breadth of approaches toward art(s) in entrepreneurship scholarship (and vice versa) and their relative frequency. This narrative analysis permits an examination of key peripheries in the overlap between art and entrepreneurship’s implicit conceptualizations of one another, specifically the importance of dissent and liminality. We close by identifying opportunities for further enriching arts entrepreneurship research and practice.

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For example, an entrepreneurship scholar using, describing, or interacting with the arts may not intend to contribute or even be aware of arts entrepreneurship as an independent scholarly domain, but would still fall within the target boundaries for our search.

Note that our search excludes arts management journals to keep the focus on implicit conceptualizations in the “home” disciplines of art and entrepreneurship, and away from more explicit treatments of arts entrepreneurship. For similar reasons, we exclude nonprofit management and nonprofit marketing journals because although relevant, they triangulate/overlap with arts entrepreneurship scholarship from a different direction, rather than reflecting the attitude of one “home” scholarly discipline about the other.

We focused on those rated 2 or higher on the Association of Business Schools’ Academic Journal Guide (ABS, 2018). Not every journal returned search results, for example, the topical focus of Venture Capital: An International Journal of Entrepreneurial Finance decreased its potential for overlap with our target areas. For a list of those we drew from, see Table 1.

To limit scope, we confine our focus to the visual and performing arts.

We considered and explored conducting a more comprehensive search of each article, encompassing articles’ full text, but such a search resulted in an unmanageable number of articles, which would have required a narrower set of search terms and would have been at odds with the purpose of our study.

Specifically, the Beckman and Essig (2012) point to Eastman School of Music’s Arts Leadership program (1997), UC Boulder’s Entrepreneurship Center for Music (2001), and Maryland Institute College of Art’s Community Arts Project (1999) as examples of legitimation for arts entrepreneurship.

See online appendices for a complete list. We also used the references section of these articles to perform a backwards citation search, scanning the titles and abstracts of more than 1500 cited articles to identify potentially relevant pieces, then examining each in-depth to see if it added contextual or conceptual novelty to our sample. Although this exhaustive backward citation exercise identified several potentially relevant articles, all of them fit within the existing categories in our typology, suggesting that we had reached theoretical saturation.

To generate our list of art journals, we started with Google Scholar Metrics and examined four subcategories: (1) drama and theater arts; (2) film; (3) visual arts, (4) music and musicology. In these four categories, we selected journals in the top 5 within their category OR with an H-5 index 10 or above, de-emphasizing journals that are education or pedagogy-focused. We supplemented this initial list by examining backward and forward citations of relevant arts entrepreneurship literature and consulting experts in arts entrepreneurship. For a list of journals in our sample, see Table 3.

We adopt the following definition of entrepreneurship: “The field of entrepreneurship is the scholarly examination of how, by whom, and with what effects opportunities to create future goods and services are discovered, evaluated and exploited” (Shane and Venkataraman, 2000).

See online supplemental materials for a complete list.

As with any narrative synthesis or qualitative analysis, the categories we identify are not representations of “objective” reality but are subjective interpretations of the reviewed literature. Nevertheless, in our analyses we were careful to iterate between our qualitative datapoints and our categories, adjusting as necessary to incorporate new information or to better accommodate the breadth of related concepts (Cummings et al. 2020).

Our approach is differentiated from some other uses of “meaning-making” within the entrepreneurship literature, which “depicts “meaning-making” associated with entrepreneurial opportunities as an ongoing process that unfolds through continuous interactions between actors and artifacts” (Nambisan 2016).

The National Endowment for the Arts defines creative placemaking as an activity in which “partners from public, private, non-profit, and community sectors strategically shape the physical and social character of a neighborhood, town, city, or region around arts and cultural activities” (Markusen and Gadwa 2010, p. 3).

This impulse toward collective, collaborative, and contra-capitalist action is found elsewhere in the arts literature at the respective intersections of entrepreneurship and punk (Goshert 2000; Faris 2004; Nehring 2007), indie cinema (Newman 2009), and digital piracy (Fox 2004; Bishop 2005; McLoed 2005; Black et al. 2007).

In 1978 Beuys published a manifesto based on “the ideals set forth by his previous projects dedicated to direct democracy and education reform, and [insisting] that all Europeans demand a radical alternative to Western capitalism and Eastern communism. He further outlines the ways in which money and the state had caused a state of crisis in the postwar era: the threat of nuclear war, the destruction of the environment, consumer culture, overproduction of goods, and an inequality produced by state-control of the economy.” (Jordan 2016)

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Title: Liminal spaces: A review of the art in entrepreneurship and the entrepreneurship in art
Authors: Adrienne Callander
Michael E. Cummings
Publication date: 11-11-2020
Publisher: Springer US
Published in: Small Business Economics / Issue 2/2021
Print ISSN: 0921-898X
Electronic ISSN: 1573-0913
DOI: https://doi.org/10.1007/s11187-020-00421-0

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