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Are contemporary artists organizations? Toward an organizational empowerment (1816 – present)

Author

Listed:
  • Nathan Potier

    (CEROS - Centre d'Etudes et de Recherches sur les Organisations et la Stratégie - UPN - Université Paris Nanterre, CEREFIGE - Centre Européen de Recherche en Economie Financière et Gestion des Entreprises - UL - Université de Lorraine)

  • Celine Barredy

    (CEROS - Centre d'Etudes et de Recherches sur les Organisations et la Stratégie - UPN - Université Paris Nanterre)

  • Vanessa Serret

    (CEREFIGE - Centre Européen de Recherche en Economie Financière et Gestion des Entreprises - UL - Université de Lorraine)

Abstract

This paper employs a historical methodology grounded in a neo-institutional framework to examine how significant changes in the French art ecosystem from 1816 to the present have altered the nature and intensity of institutional isomorphic pressures on artists. By analyzing these shifts, we assess their impact on the artist profession, comparing their evolving characteristics to those of entrepreneurs. Our findings reveal that institutional and organizational developments within the French art ecosystem have reduced institutional isomorphism, fostering artists' empowerment through the acquisition of innovative and managerial entrepreneurial characteristics. Consequently, we conceptualize contemporary artists as autonomous entrepreneurs and propose that they are better understood as organizations in Katz's sense (1984), rather than as individual actors like their predecessors. This paper emphasizes the academic relevance and managerial importance of studying contemporary artists and their ecosystems, drawing from management sciences, providing novel insights into their realities and challenges.

Suggested Citation

  • Nathan Potier & Celine Barredy & Vanessa Serret, 2025. "Are contemporary artists organizations? Toward an organizational empowerment (1816 – present)," Post-Print hal-04921106, HAL.
  • Handle: RePEc:hal:journl:hal-04921106
    as

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