From Art as Financial Investment to Artists as Organizational Partners: A Broader Understanding of Collaborations Between Artists and Companies

(disponible en anglais seulement)

[VERSION EN PRÉPUBLICATION]

Thomas Blonski, Pierre Poinsignon

Thomas Blonski is an Assistant Professor at ICN Business School, Université de Lorraine, CEREFIGE. He works on cultural and creative industries, focusing on the careers of artists and creative profiles, especially through artistic interventions in organizations. Recently, his research has led him to study working conditions and the aesthetics of organizations.
Pierre Poinsignon is an Associate Professor in management and Director of the Mastère Spécialisé in Cultural and Creative Industries Management (MECIC) at Burgundy School of Business, France. His research focuses on sectoral reconfigurations in cultural and creative industries, with particular attention to collaborations between artists and organizations, cultural entrepreneurship, and organizational change, drawing on qualitative and interpretive research approaches.

ABSTRACT
The relationship between companies and artists has evolved beyond traditional patronage and art investment, diversifying into collaborations like residencies, awards, and arts-based learning for organizational benefits (creativity, team-building, innovation, etc.). Based on comprehensive research and 23 interviews with executives, artists, and intermediaries, this article highlights a shift from “art as investment” to “artists as organizational partners.” Companies initially attracted by tax breaks and brand enhancement soon realize the value of deeper collaborations with artists. This “might as well” logic optimizes their involvement, transforming art purchases into broader projects like residencies or training programs. As a result, companies do not only benefit from financial outcomes but also from organizational impacts: enhancing employee skills, fostering creativity and building legitimacy in art worlds, and increasing brand image. This trend reflects a broader “collaborative economy,” where art and companies intersect to mutual advantage, reshaping both corporate culture and artistic practice.

KEYWORDS
Art; art investment; corporate art collections; artistic interventions in organizations