A taxonomy of artists’ postures to grasp the plurality of cultural production practices: Putting an end to the cicada and the ant

• The rooted art-economy dichotomy does not explain the complexity of artistic activity. • The notion of posture challenges the dichotomy between art and economy. • Artists adopt a multiplicity of postures in today's conditions of cultural production. • A taxonomy of artists’ postures conceptualizes the diversity of artists’ trajectories. • A taxonomy of artists’ postures conceptualizes the complexity of artistic activity. The rooted dichotomy between art and economy tends to simplify our understanding of the conditions under which makers of cultural products operate. The contingencies of the last decades, leading to a greater plurality of artists’ practices, urge us to create new conceptual tools to seize the effective cultural production structures. This paper aims to open this dichotomy - anchored in institutional sociology, creative economy, arts management and cultural entrepreneurship - and to reveal the relational complexity of cultural production. Building on a meta-study of a body of qualitative research published between 2012 and 2022 based on semi-directed interviews, focus groups and case studies about artists’ effective practices in music, performing arts, visual and mediatic arts from underground scenes or marginal communities, we identify 20 postures adopted by artists. We place these postures on two axes reflecting the intensity of economic and artistic logics. This taxonomy explains more accurately today's conditions of cultural production. It allows us to better understand: the multiplicity of artists’ and works’ trajectories, as well as creation networks; the coexistence and co-dependency of postures within the same practice; and the diversity of artists’ practices beyond a disciplinary logic and a linear conception of artistic career.