From Template to Processual Convergence: Insights from the French Art Ecosystem

By adopting a historical methodology grounded in neo-institutional theory, this paper examines how the French art ecosystem's transformations from 1816 to present modified institutional isomorphic pressures on artists, reshaping their business models. Analyzing legislative documents, artists' writings, and focus group data, we trace three distinct periods characterized by different isomorphic configurations: the Neo-Classical era (1816-1881) with maximum institutional control, the Modern period (1881-1981) with market-driven normative pressures, and the Contemporary period (1981-present) with fragmented institutional landscapes. Our findings reveal a paradox: despite institutional fragmentation and weakened isomorphic mechanisms, contemporary artists exhibit convergence in adaptive capabilities while diverging in outputs and structures. We theorize this as processual isomorphism—a mutation where institutional pressures shift from template convergence (similarity in structure/outputs) to capability convergence (similarity in adaptive processes). Under conditions of institutional fragmentation, environmental volatility, and intensified competition, isomorphic forces redirect from prescribing content to shaping meta-competences. This reconciles isomorphism and institutional complexity literatures: fragmented institutions generate convergent pressures toward polyvalence implemented diversely. Empirically, we characterize contemporary artists as autonomous entrepreneurs operating as organizations, emphasizing the relevance of studying them through management sciences.