Skip to main content
SpringerLink
Log in

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

  • Published:
Small Business Economics Aims and scope Submit manuscript

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.

This is a preview of subscription content, log in via an institution to check access.

Access this article

Log in via an institution

Price excludes VAT (USA)
Tax calculation will be finalised during checkout.

Instant access to the full article PDF.

Institutional subscriptions

Fig. 1
Fig. 2

Similar content being viewed by others

Data availability

n/a

Notes

  1. 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.

  2. 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.

  3. 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.

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

  5. 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.

  6. 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.

  7. 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.

  8. 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.

  9. 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).

  10. See online supplemental materials for a complete list.

  11. 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).

  12. 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).

  13. 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).

  14. 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).

  15. 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)

References

  • Abreu, M., Demirel, P., Grinevich, V., & Karatas-Özkan, M. (2016). Entrepreneurial practices in research-intensive and teaching-led universities. Small Business Economics. 47(3), 695–717.

    Article  Google Scholar 

  • Anderson, S., Coffey, B., & Dixon-Fowler, H. (2014). The empty bowls project: creating, leading, and sustaining a social enterprise. Entrepreneurship Theory and Practice. https://doi.org/10.1111/etap.12034.

  • Armstrong, S. J., Cools, E., & Sadler-Smith, E. (2012). Role of cognitive styles in business and management: reviewing 40 years of research. International Journal of Management Reviews. https://doi.org/10.1111/j.1468-2370.2011.00315.x.

  • Arrighi, G. (2017). The controversial “case of the opera children in the east”: political conflict between popular demand for child actors and modernizing cultural policy on the child. Theatre Journal. https://doi.org/10.1353/tj.2017.0022.

  • Arroyo, K. K. (2017). Creative policymaking: taking the lessons of creative placemaking to scale. Artivate: A Journal of Entrepreneurship in the Arts. 6(2), 58–72.

  • Balachandra, L. (2019). The improvisational entrepreneur: improvisation training in entrepreneurship education. Journal of Small Business Management. https://doi.org/10.1111/jsbm.12486.

  • Barry, D. (2011). Art and entrepreneurship, apart and together. Art entrepreneurship (pp. 154–168). Cheltenham: Edward Elgar.

    Google Scholar 

  • Beckman, G., & Essig, L. (2012). Arts entrepreneurship: a conversation. Artivate: A Journal of Entrepreneurship in the Arts. 1(1), 1–8.

    Google Scholar 

  • Bennett, S. (2005). Theatre/tourism. Theatre Journal. https://doi.org/10.1353/tj.2005.0087.

  • Bishop, J. (2005). Building international empires of sound: concentrations of power and property in the “global” music market. Popular Music and Society. https://doi.org/10.1080/03007760500158957.

  • Bissonnette, J., & Arcand, S. (2018). Music entrepreneurship in a linguistic minority context: effectuation as adaptation to the paradoxes of digital technology. Artivate: A Journal of Entrepreneurship in the Arts. 7(1), 3–22.

  • Black, G., Fox, M., & Kochanowski, P. (2007). Concert tour success in North America: an examination of the top 100 tours from 1997-2005. Popular Music and Society. https://doi.org/10.1080/03007760701267698.

  • Blades, H. (2019). Projects, precarity, and the onthology of dance works. Dance Research Journal. https://doi.org/10.1017/S0149767719000056.

  • Bobadilla, N., Goransson, M., & Pichault, F. (2019). Urban entrepreneurship through art-based interventions: unveiling a translation process. Entrepreneurship and Regional Development. https://doi.org/10.1080/08985626.2018.1539125.

  • Bonin-Rodriguez, P. (2014). The staged business of artists in public practice: writing. Theatre Topics. 24(1), 25–37. https://doi.org/10.1353/tt.2014.0000.

    Article  Google Scholar 

  • Borrup, T. (2017). Just planning: what has kept the arts and urban planning apart? Artivate: A Journal of Entrepreneurship in the Arts. 6(2), 46–57.

  • Bousquet, M. (2006). “We are teachers, hear us roar”: contingent faculty author an activist culture. Cinema Journal. https://doi.org/10.1353/cj.2006.0038.

  • Bryan-Wilson, J. (2012). Invisible products. Art Journal. https://doi.org/10.1080/00043249.2012.10791094.

  • Burns, A. (2008). Visual literacy through cultural preservation and cultural resistance: indigenous video in Micronesia. Journal of Film and Video. https://doi.org/10.1353/jfv.0.0006.

  • Burton, C. (2003). Scoping the challenge: entrepreneurial arts management in times of uncertainty. The Journal of Arts Management, Law, and Society. https://doi.org/10.1080/10632920309597345.

  • Busse, K. (2015). Fan labor and feminism: capitalizing on the fannish labor of love. Cinema Journal. https://doi.org/10.1353/cj.2015.0034.

  • Callander, A. (2019). Artmaking as entrepreneurship: effectuation and emancipation in artwork formation. Artivate: A Journal of Entrepreneurship in the Arts., 8(2), 61–78.

  • Clarke, J., & Holt, R. (2017). Imagery of ad-venture: understanding entrepreneurial identity through metaphor and drawing. Journal of Business Venturing. https://doi.org/10.1016/j.jbusvent.2017.06.001.

  • Cole, C. M. (2015). The theatre and the university: two “last” (and lasting) human venues. Theatre Topics. https://doi.org/10.1353/tt.2015.0005.

  • Conroy, T., & Weiler, S. (2016). Does gender matter for job creation? Business ownership and employment growth. Small Business Economics. 47(2), 397–419.

    Article  Google Scholar 

  • Cummings, M. E., Rawhouser, H., Vismara, S., & Hamilton, E. L. (2020). An equity crowdfunding research agenda: evidence from stakeholder participation in the rulemaking process. Small Business Economics. 54(4), 907–932.

    Article  Google Scholar 

  • Dass, M. (2009). The crowd outside the lettered city: imagining the mass audience in 1920s India. Cinema Journal. https://doi.org/10.1353/cj.0.0149.

  • David, R. J., & Han, S. K. (2004). A systematic assessment of the empirical support for transaction cost economics. Strategic Management Journal. https://doi.org/10.1002/smj.359.

  • De Kosnik, A. (2009). Should fan fiction be free? Cinema Journal. 48(4), 118–124.

    Article  Google Scholar 

  • Di Domenico, M., Haugh, H., & Tracey, P. (2010). Social Bricolage: theorizing social value creation in social enterprises. Entrepreneurship Theory and Practice. https://doi.org/10.1111/j.1540-6520.2010.00370.x.

  • Dodd, S. L. D. (2014). Roots radical - place, power and practice in punk entrepreneurship. Entrepreneurship and Regional Development. https://doi.org/10.1080/08985626.2013.877986.

  • Essig, L. (2009). Suffusing entrepreneurship education throughout the theater curriculum. Theatre Topics. https://doi.org/10.1353/tt.0.0075.

  • Essig, L. (2012). Frameworks for educating the artist of the future: teaching habits of mind for arts entrepreneurship. Artivate: A Journal of Entrepreneurship in the Arts. 1(2), 66–77.

  • Essig, L. (2015a). The ouroboros of arts entrepreneurship. Artivate: A Journal of Entrepreneurship in the Arts. 4(1), 3–7.

    Google Scholar 

  • Essig, L. (2015b). Means and ends: a theory framework for understanding entrepreneurship in the US arts and culture sector. The Journal of Arts Management, Law, and Society. https://doi.org/10.1080/10632921.2015.1103673.

  • Essig, L. (2017a). Special issue: arts entrepreneurship and creative placemaking. Artivate: A Journal of Entrepreneurship in the Arts. 6(1), 2.

    Google Scholar 

  • Essig, L. (2017b). Same or different? The “cultural entrepreneurship” and “arts entrepreneurship” constructs in European and US higher education. Cultural Trends. https://doi.org/10.1080/09548963.2017.1323842.

  • Faris, M. (2004). “That Chicago Sound”: playing with (local) identity in underground rock. Popular Music and Society. https://doi.org/10.1080/0300776042000264658.

  • Felin, T., Gambardella, A. and Zenger, T., 2020. Value lab: a tool for entrepreneurial strategy. Forthcoming at Management and Business Review, Available at SSRN. https://papers.ssrn.com/sol3/papers.cfm?abstract_id=3684428. Accessed Sept 25, 2020

  • Fini, R., Fu, K., Mathisen, M. T., Rasmussen, E., & Wright, M. (2017). Institutional determinants of university spin-off quantity and quality: a longitudinal, multilevel, cross-country study. Small Business Economics. 48(2), 361–391.

    Article  Google Scholar 

  • Fox, M. (2004). E-commerce business models for the music industry. Popular Music and Society. https://doi.org/10.1080/03007760410001685831.

  • French, T. (2018). Keying in: getting close to 186 Carpenter, creative placemaking, and the artist entrepreneur. Artivate: A Journal of Entrepreneurship in the Arts. 7(1), 49–62.

    Google Scholar 

  • Fritsch, M., & Aamoucke, R. (2013). Regional public research, higher education, and innovative start-ups: an empirical investigation. Small Business Economics. 41(4), 865–885.

    Article  Google Scholar 

  • Gafni, H., Marom, D., & Sade, O. (2019). Are the life and death of an early-stage venture indeed in the power of the tongue? Lessons from online crowdfunding pitches. Strategic Entrepreneurship Journal. https://doi.org/10.1002/sej.1293.

  • Gangi, J. (2015). The synergies of artistic and entrepreneurial action. The Journal of Arts Management, Law, and Society. https://doi.org/10.1080/10632921.2015.1088912.

  • Gangi, J. J. (2017). Towards consensus: suggested foundational building blocks for arts entrepreneurship research and pedagogy. Artivate: A Journal of Entrepreneurship in the Arts. 6(1), 46–62.

    Google Scholar 

  • Gartner, W. (2007). Entrepreneurial narrative and a science of the imagination. Journal of Business Venturing. https://doi.org/10.1016/j.jbusvent.2006.10.003.

  • Gartner, W. B. (2008). Entrepreneurship—Hop. Entrepreneurship Theory and Practice. https://doi.org/10.1111/j.1540-6520.2007.00230.x.

  • Gindt, D. (2013). Transatlantic translations and transactions: Lars Schmidt and the implementation of postwar American theatre in Europe. Theatre Journal. https://doi.org/10.1353/tj.2013.0015.

  • Goshert, J. C. (2000). “Punk” after the pistols: American music, economics, and politics in the 1980s and 1990s. Popular Music and Society. https://doi.org/10.1080/03007760008591760.

  • Greenman, A. (2013). Everyday entrepreneurial action and cultural embeddedness: an institutional logics perspective. Entrepreneurship and Regional Development. https://doi.org/10.1080/08985626.2013.829873.

  • Griffin, H. (2013). Lassoing the unicorn. Cinema Journal. https://doi.org/10.1353/cj.2013.0040.

  • Hanson, J. (2019). Entrepreneurship among public school arts educators: the case of music teachers in New York state. Artivate: A Journal of Entrepreneurship in the Arts. 8(1), 45–66.

    Google Scholar 

  • Hausmann, A., & Heinze, A. (2016). Entrepreneurship in the cultural and creative industries: insights from an emergent field. Artivate: A Journal of Entrepreneurship in the Arts. 5(2), 7–22.

    Google Scholar 

  • Heidelberg, B. (2019). Learning from negative space: categorizing success in arts policy entrepreneurship. Artivate: A Journal of Entrepreneurship in the Arts. 8(1), 23–44.

    Google Scholar 

  • Hess, M. (2005). Metal faces, rap masks: identity and resistance in hip hop’s persona artist. Popular Music and Society. https://doi.org/10.1080/03007760500105149.

  • Heuman, J. (2013). "Independence," industrial authorship, and professional entrepreneurship: representing and reorganizing television writing in the FCC media ownership reviews. Cinema Journal. https://doi.org/10.1353/cj.2013.0022.

  • Hughes, J. (2015). The theatre and its poor: neoliberal economies of waste and gold in Les Misérables (1985) and Road (1986). Theatre Journal. 67(1), 1–19.

    Article  Google Scholar 

  • Johannisson, B. (2011). Towards a practice theory of entrepreneuring. Small Business Economics. 36(2), 135–150.

    Article  Google Scholar 

  • Jordan, C. (2016). Appealing for an alternative: ecology and environmentalism in Joseph Beuys’ projects of social sculpture. Seismopolite Journal of Art and Politics. 15.

  • Kattelman, B. A. (2010). Magic, monsters, and movies: America’s midnight ghost shows. Theatre Journal. 62(1), 23–39.

    Article  Google Scholar 

  • Kelly, D. P. (2002). When the movies played downtown: the exhibition system of the San Francisco theater row, 1945-1970. Journal of Film and Video. 54(2/3), 71–89.

    Google Scholar 

  • King, R. (2002). “Made for the masses with an appeal to the classes”: the triangle film corporation and the failure of highbrow film culture. Cinema Journal. 44(2), 3–33.

    Article  Google Scholar 

  • Kloetzel, M. (2017). Site and re-site: early efforts to serialize site dance. Dance Research Journal. https://doi.org/10.1017/S0149767717000018.

  • Kraszewski, J. (2006). Adapting scripts in the 1950s: the economic and political incentives for television anthology writers. Journal of Film and Video. 58(3), 3–21.

    Google Scholar 

  • Kuhn, K., & Galloway, T. (2015). With a little help from my competitors: peer networking among artisan entrepreneurs. Entrepreneurship Theory and Practice. https://doi.org/10.1111/etap.12053.

  • Lange, B. (2011). Professionalization in space: social-spatial strategies of culturepreneurs in Berlin. Entrepreneurship and Regional Development. https://doi.org/10.1080/08985620903233978.

  • Le Breton-Miller, I., Miller, D. (2015). The arts and family business: linking family business resources and performance to industry characteristics. Entrepreneurship Theory and Practice. https://doi.org/10.1111/etap.12177.

  • Leger, M. J. (2011). Afterthoughts on engaged art practice: ATSA and the state of emergency. Art Journal. 70(2), 50–65. https://doi.org/10.1080/00043249.2011.10791001.

    Article  Google Scholar 

  • Leja, M. (2011). Fortified images for the masses. Art Journal. 70(4), 60–83. https://doi.org/10.1080/00043249.2011.10791072.

    Article  Google Scholar 

  • Lemmetyinen, A. (2019). Book review: entrepreneurship in culture and creative industries: Perspectives from companies and regions. International Small Business Journal. https://doi.org/10.1177/0266242618822928.

  • Lewis, J. (2000). “We do not ask you to condone this”: how the blacklist saved Hollywood. Cinema Journal. 39(2), 3–30.

    Article  Google Scholar 

  • Lüthy, C., & Steyaert, C. (2019). The onto-politics of entrepreneurial experimentation: re-reading Hans-Jörg Rheinberger’s understanding of “experimental systems”. Entrepreneurship & Regional Development. https://doi.org/10.1080/08985626.2019.1596360.

  • Manjon, S., & Guo, W. (2015). Think tank: a collaborative approach to student learning, organizational assessment, and community-based arts. Artivate: A Journal of Entrepreneurship in the Arts. 4(2), 77–95.

  • Markusen, A., & Gadwa, A. (2010). Creative placemaking. Markusen Economic Research Services and Metris Arts Consulting, 3.

  • Mathew, V., & Carl, P. (2013). Culture coin: A commons-based, complementary currency for the arts and its impact on scarcity, virtue, ethics, and the imagination. Artivate: A Journal of Entrepreneurship in the Arts. 2(3), 14–29.

  • McKelvie, A., Chandler, G. N., DeTienne, T. R., & Johansson, A. (2019). The measurement of effectuation: highlighting research tensions and opportunities for the future. Small Business Economics. 54(3), 689–720.

    Article  Google Scholar 

  • McLoed, K. (2005). MP3s are killing home taping: the rise of internet distribution and its challenge to the major label music monopoly. Popular Music and Society. https://doi.org/10.1080/03007760500159062.

  • Meoli, M., & Vismara, S. (2016). University support and the creation of technology and non-technology academic spin-offs. Small Business Economics. 47(2), 345–362.

    Article  Google Scholar 

  • Miller, R. (2016). The courage to teach and the courage to lead: considerations for theatre and dance in higher education. Theatre Topics. https://doi.org/10.1353/tt.2016.0001.

  • Nagler, C. (2015). Yoga for adjuncts: the somatics of human capital. Art Journal. 74(2), 81–86.

    Article  Google Scholar 

  • Nambisan, Satish. (2016). Digital entrepreneurship: toward a digital technology perspective of entrepreneurship. Entrepreneurship Theory & Practice. https://doi.org/10.1111/etap.12254.

  • Nehring, N. (2007). “Everyone’s given up and just wants to go dancing”: from punk to rave in the Thatcher era. Popular Music and Society. https://doi.org/10.1080/03007760500453176.

  • Newbert, S. L. (2007). Empirical research on the resource-based view of the firm: an assessment and suggestions for future research. Strategic Management Journal. https://doi.org/10.1002/smj.573.

  • Newman, M. (2009). Indie culture: in pursuit of the authentic autonomous alternative. Cinema Journal. https://doi.org/10.1353/cj.0.0112.

  • Newton, T. (2017). LSO Live: an entrepreneurial venture. Artivate: A Journal of Entrepreneurship in the Arts. 6(1), 33–45.

  • Nowell, R. (2011a). “The ambitions of most independent filmmakers”: indie production, the majors, and Friday the 13th (1980). Journal of Film and Video. 63(2), 28–44.

    Article  Google Scholar 

  • Olive-Tomas, A., & Harmeling, S. (2020). The rise of art movements: an effectual process model of Picasso’s and Braque’s give-and-take during the creation of Cubism (1908–1914). Small Business Economics. https://doi.org/10.1007/s11187-019-00154-9

  • Owczarski, K. (2012). From Austin’s basement to hollywood’s back door: the rise of ain’t it cool news and convergence culture. Journal of Film and Video. 64(3), 3–20.

    Article  Google Scholar 

  • Peacock, S. (2012). The impossibility of isolation in Wallander. Critical Studies in Television. https://doi.org/10.7227/CST.6.2.6.

  • Pelly, R.D.M. (2016). A bureaucrat’s journey from technocrat to entrepreneur through the creation of adhocracies. Entrepreneurship & Regional Development. 28(7-8), 487–513.

  • Peterson, W. (2011). “Amazing show” in Manila: “fantasy-production” and Filipino labor in a transnational, transcultural, transgendered theatre enterprise. Theatre Journal. 63(4), 587–605.

    Article  Google Scholar 

  • Poppe, N. P. (2014). Approaching the (trans) national in criticism of early Latin American sound film. Cinema Journal. https://doi.org/10.1353/cj.2014.0062.

  • Preece, S. B. (2011). Performing arts entrepreneurship: toward a research agenda. The Journal of Arts Management, Law, and Society. https://doi.org/10.1080/10632921.2011.573445.

  • Pret, T., Shaw, E., & Dodd, S. (2016). Painting the full picture: the conversions of economic, cultural, social and symbolic capital. International Small Business Journal. https://doi.org/10.1177/0266242615595450.

  • Qin, Q. (2019). A waning queerscape: the Hong Kong lesbian and gay film festival. Journal of Film and Video. 71(3), 35–49.

    Article  Google Scholar 

  • Quinlan, M. (2017). Gaga as metatechnique: negotiating choreography, improvisation, and technique in a neoliberal dance market. Dance Research Journal. https://doi.org/10.1017/S0149767717000183.

  • Quinn, E. (2010). “Tryin’ to get over”: “super fly,” black politics, and post—civil rights film enterprise. Cinema Journal. https://doi.org/10.1353/cj.0.0183.

  • Ramsay, B. (2018). Avoiding capture. Dance Research Journal. https://doi.org/10.1017/S0149767718000396.

  • Rawhouser, H., Cummings, M., & Newbert, S. L. (2019). Social impact measurement: current approaches and future directions for social entrepreneurship research. Entrepreneurship Theory and Practice. https://doi.org/10.1177/1042258717727718.

  • Reynoso, J. L. (2019). Democracy’s body, neoliberalism’s body: the ambivalent search for egalitarianism within the contemporary post/modern dance tradition. Dance Research Journal. https://doi.org/10.1017/S0149767719000044.

  • Riot, E. (2019). Patterns of intention: Oberkampf and Knoll as Schumpeterian entrepreneurs. Entrepreneurship and Regional Development. https://doi.org/10.1080/08985626.2019.1596359.

  • Roberts, J. (2012). Infusing entrepreneurship within non-business disciplines: preparing artists and others for self-employment and entrepreneurship. Artivate: A Journal of Entrepreneurship in the Arts. 1(2), 53–63.

    Google Scholar 

  • Rubião, R. M. (2018). A short but deep dive into the economics of arts: arts entrepreneurship in a peripheral market. Artivate: A Journal of Entrepreneurship in the Arts. 7(2), 3–26.

    Google Scholar 

  • Schaefer, E. (2002). Gauging a revolution: 16mm film and the rise of the pornographic feature. Cinema Journal. https://doi.org/10.1353/cj.2002.0010.

  • Schleier, M. (2012). Fatal attractions: “place,” the Korean war, and gender in “Niagara”. Cinema Journal. 51(4), 26–43. https://doi.org/10.1353/cj.2012.0082.

    Article  Google Scholar 

  • Schuh, A. (2019). Having a personal (performance) practice: dance artists’ everyday work, support, and form. Dance Research Journal. 51(1), 79–94.

    Article  Google Scholar 

  • Schultz, M. (2015). A “harmony of frenzy”: Māori in Manhattan, 1909–10. Theatre Journal. https://doi.org/10.1353/tj.2015.0074.

  • Seman, M. (2015). What if Hewlett Packard had started a band instead? An examination of a music scene as economic cluster. Artivate: A Journal of Entrepreneurship in the Arts. 4(2), 33–49.

    Google Scholar 

  • Shane, S. & Venkataraman, S. (2000) The promise of entrepreneurship as a field of research. Academy of Management Review. 25(1), 217–226.

  • Siegelbaum, S. (2013). Business casual: flexibility in contemporary performance art. Art Journal. https://doi.org/10.1080/00043249.2013.10792853.

  • Smalec, T. (2011). In the wake, and: The little foxes (review). Theatre Journal. https://doi.org/10.1353/tj.2011.0075.

  • Smith, R. (2015). Entrepreneurship and poetry: analyzing an aesthetic dimension. Journal of Small Business and Enterprise Development. 22(3), 450–472.

  • Steyaert, C. (2011). Entrepreneurship as in(ter)vention: Reconsidering the conceptual politics of method in entrepreneurship studies. Entrepreneurship and Regional Development. https://doi.org/10.1080/08985626.2011.540416.

  • Stinchfield, B., Nelson, R., & Wood, M. (2013). Learning from Levi-Strauss’ legacy: art, craft, engineering, bricolage, and brokerage in entrepreneurship. Entrepreneurship Theory and Practice. https://doi.org/10.1111/j.1540-6520.2012.00523.x.

  • Thomé, A. M. T., Scavarda, L. F., & Scavarda, A. J. (2016). Conducting systematic literature review in operations management. Production Planning & Control. https://doi.org/10.1080/09537287.2015.1129464.

  • Toscher, B. (2019). Entrepreneurial learning in arts entrepreneurship education: a conceptual framework. Artivate: A Journal of Entrepreneurship in the Arts. 8(1), 3–22.

    Google Scholar 

  • Vakharia, N. (2016). Knowledge centricity and the artist entrepreneur. Artivate: A Journal of Entrepreneurship in the Arts. 5(2), 3–6.

    Google Scholar 

  • Vasudevan, R. (2010). In the centrifuge of history. Cinema Journal. 50(1), 135–140.

    Google Scholar 

  • Vazquez, P. (2018). Family business ethics: at the crossroads of business ethics and family business. Journal of Business Ethics. 150(3), 691–709.

    Article  Google Scholar 

  • Vestrum, I. (2014). The embedding process of community ventures: creating a music festival in a rural community. Entrepreneurship and Regional Development. https://doi.org/10.1080/08985626.2014.971076.

  • Wang, P. (2013). Art critics as middlemen: navigating state and market in contemporary Chinese art. Art Journal. https://doi.org/10.1080/00043249.2013.10791018.

  • Watson, D. (2010). Theatre production and the creative campus. Theatre Topics. 20(2), 181–188.

    Article  Google Scholar 

  • Werry, M. (2005). “The greatest show on earth”: political spectacle, spectacular politics, and the American Pacific. Theatre Journal. 57(3), 355–382.

    Article  Google Scholar 

  • Whedbee, K. E. (2019). Reverend Billy goes to main street: free speech, trespassing, and activist documentary film. Journal of Film and Video. 71(2), 30–46.

    Article  Google Scholar 

  • Whitaker, A. (2019). Art and blockchain: a primer, history, and taxonomy of blockchain use cases in the arts. Artivate: A Journal of Entrepreneurship in the Arts. 8(2), 21–46.

    Article  Google Scholar 

  • White, J. (2013). Barriers to recognizing arts entrepreneurship education as essential to professional arts training. Artivate: A Journal of Entrepreneurship in the Arts. 1(2), 28–39.

  • White, J. (2019). A theory of arts entrepreneurship as organizational attack. Artivate: A Journal of Entrepreneurship in the Arts. 8(2), 47–60.

  • Woronkowicz, J., & Noonan, D. (2019). Who goes freelance? The determinants of self-employment for artists. Entrepreneurship Theory and Practice. https://doi.org/10.1177/1042258717728067.

  • Young, P. (2015). Yours sincerely, Lois Weber: “hypocrites” and the allegorical mode of the transitional feature film. Cinema Journal. 55(1), 95–119.

    Article  Google Scholar 

  • Zhang, Z., & Arvey, R. D. (2009). Rule breaking in adolescence and entrepreneurial status: an empirical investigation. Journal of Business Venturing. https://doi.org/10.1016/j.jvb.2013.06.007.

  • Zimmerman, G. (2017). The captain in LA: Reza Abdoh’s bricolage and the rise of neoliberalism. Theatre Journal. https://doi.org/10.1353/tj.2017.0003.

Download references

Acknowledgments

We thank special issue editors Doug Noonan and Joanna Woronkowicz, as well as three anonymous reviewers, for their helpful comments and suggestions during the review process. This research benefitted from a presentation at the 2019 AEI Lab “Leveraging Creativity” Symposium as well as the 2019 Academy of Management Annual Meeting. Finally, we also thank Linda Essig, Molly Rector, and David Calås for their constructive feedback.

Funding

This research benefitted from a Walton College of Business summer research grant.

Author information

Authors and Affiliations

  1. School of Art & Walton College of Business, University of Arkansas, Fayetteville, AR, USA

    Adrienne Callander

  2. Walton College of Business, University of Arkansas, Fayetteville, AR, USA

    Michael E. Cummings

Authors
  1. Adrienne Callander
    View author publications

    You can also search for this author in PubMed Google Scholar

  2. Michael E. Cummings
    View author publications

    You can also search for this author in PubMed Google Scholar

Corresponding author

Correspondence to Adrienne Callander.

Ethics declarations

Conflict of interest

The authors declare that they have no conflict of interest.

Code availability

n/a

Additional information

Publisher’s note

Springer Nature remains neutral with regard to jurisdictional claims in published maps and institutional affiliations.

Electronic supplementary material

ESM 1

(DOCX 84 kb)

Rights and permissions

Reprints and permissions

About this article

Check for updates. Verify currency and authenticity via CrossMark

Cite this article

Callander, A., Cummings, M.E. Liminal spaces: A review of the art in entrepreneurship and the entrepreneurship in art. Small Bus Econ 57, 739–754 (2021). https://doi.org/10.1007/s11187-020-00421-0

Download citation

  • Accepted:

  • Published:

  • Issue Date:

  • DOI: https://doi.org/10.1007/s11187-020-00421-0

Keywords

JEL classifications

Search

Navigation