Liminal spaces: A review of the art in entrepreneurship and the entrepreneurship in art
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Liminal spaces: A review of the art in entrepreneurship and the entrepreneurship in art Adrienne Callander & Michael E. Cummings
Accepted: 1 October 2020 # Springer Science+Business Media, LLC, part of Springer Nature 2020
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.
Electronic supplementary material The online version of this article (https://doi.org/10.1007/s11187-020-00421-0) contains supplementary material, which is available to authorized users. A. Callander (*) School of Art & Walton College of Business, University of Arkansas, Fayetteville, AR, USA e-mail: [email protected] M. E. Cummings Walton College of Business, University of Arkansas, Fayetteville, AR, USA e-mail: [email protected]
Keywords Arts entrepreneurship . Review . Art . Narrative . Boundaries . Liminality . Dissent JEL classifications L26 . L31 . Z11
1 Introduction 1.1 Overview Academic and practitioner interest in the intersection of art and entrepreneurship is increasing, as shown by the growth in relevant research published in scholarly outlets (Barry 2011; Gangi 2015; Burton 2003; Preece 2011; Stinchfield et al. 2013; Woronkowicz and Noonan 2019). But—as is the case with many nascent academic fields—boundaries, definitions, scope, and goals of arts entrepreneurship are in flux. Recent attempts at describing and delineating the relevant domain of arts entrepreneurship have included an examination of “a range of perspectives on the boundaries of ‘the arts and culture sector’” (Essig 2015b, p. 2); a systematic literature review for the purpose of differentiating “arts,” “creative,” and “cultural” entrepreneurship (Hausmann and Heinze 2016); and a comparison to other related academic fields (Essig 2017b). These efforts provide tremendous value and structure for defining the core of the arts entrepreneurship field, but their predominant focus on explicit integration of art and entrepreneurship neglects the equally important implicit integration, the taken-for-granted connections between art and entrepreneur
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