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Why are artists poor? : the exceptional economy of the arts /
An unconventional socio-economic analysis of the economic position of the arts and artists.
| Clasificación: | Libro Electrónico |
|---|---|
| Autor principal: | |
| Formato: | Electrónico eBook |
| Idioma: | Inglés |
| Publicado: |
Amsterdam :
Amsterdam University Press,
©2002.
|
| Temas: | |
| Acceso en línea: | Texto completo |
MARC
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| 100 | 1 | |a Abbing, Hans, |d 1946- | |
| 245 | 1 | 0 | |a Why are artists poor? : |b the exceptional economy of the arts / |c Hans Abbing. |
| 260 | |a Amsterdam : |b Amsterdam University Press, |c ©2002. | ||
| 300 | |a 1 online resource (367 pages) | ||
| 336 | |a text |b txt |2 rdacontent | ||
| 337 | |a computer |b c |2 rdamedia | ||
| 338 | |a online resource |b cr |2 rdacarrier | ||
| 347 | |a data file | ||
| 504 | |a Includes bibliographical references (pages 349-360) and indexes. | ||
| 505 | 0 | 0 | |t 1. |t Sacred Art: Who Has the Power to Define Art? |t Art is What People Call Art -- |t Cultural Inferiority and Superiority Color the Economy of the -- |t 'Art is Sacred' -- |t 'Art is Authentic' -- |t 'Art is Superfluous and Remote' -- |t 'Art Goes Against the Rules and so Adds to Cognition' -- |t 'Artists Resemble Magicians' (A personal view) -- |t The Mythology of the Arts Influences the Economy of the Arts -- |g 2. |t The Denial of the Economy: Why Are Gifts to the Arts Praised, While Market Incomes Remain Suspect? -- |t The Arts Depend on Gifts and Trade -- |t The Amount of Donations and Subsidies is Exceptional -- |t 'Art that is Given Must not be Sold' -- |t 'The Market Devalues Art' -- |t The Arts Need the High Status of the Gift Sphere -- |t The Economy in the Arts Is Denied and Veiled -- |t A Dual Economy Requires Special Skills. |
| 505 | 8 | 0 | |g 3. |t Economic Value Versus Aesthetic Value: Is There Any Financial Reward for Quality? |t Aesthetic Value and Market Value Differ in Definition -- |t 'In the Market there is no Reward for Quality' -- |t Values are Shared -- |t There is No Such Thing as a Pure Work of Art -- |t Buyers Influence Market Value and Experts Aesthetic Value -- |t Power Differences Rest on Economic, Cultural and Social Capital -- |t In Mass Markets Quality and Sales Easily Diverge -- |t The Strife for Cultural Superiority in the Visual Arts (An -- |t The Power of Words Challenges the Power of Money -- |t The Government Transforms Cultural Power into Purchasing Power -- |t Donors and Governments Know Best -- |t Market Value and Aesthetic Value Tend to Converge in the Long Run -- |g 4. |t The Selflessly Devoted Artist: Are Artists Reward-Oriented? |t The Selfless Artist is Intrinsically Motivated -- |t Rewards Serve as Inputs -- |t Artists are Faced with a Survival Constraint. |
| 505 | 8 | 0 | |t Autonomy is Always Relative -- |t Intrinsic Motivation Stems from Internalization -- |t Habitus and Field -- |t Selfless Devotion and the Pursuit of Gain Coincide -- |t Artists Differ in Their Reward-Orientation -- |t Types and Sources of Rewards Matter to Artists -- |t Three Examples of Orientation Towards Government Rewards in the Netherlands -- |g 5. |t Money for the Artist: Are Artists Just Ill-Informed Gamblers? |t Incomes in the Arts are Exceptionally High -- |t Art Markets are Winner-Takes-All Markets -- |t People Prefer Authenticity and are Willing to Pay for It -- |t Incomes in the Arts are Exceptionally Low -- |t Five Explanations for the Low Incomes Earned in the Arts -- |t Artists are Unfit for 'Normal' Jobs -- |t Artists are Willing to Forsake Monetary Rewards -- |t Artists are Over-Confident and Inclined to Take Risks -- |t Artists are Ill-Informed. |
| 505 | 8 | 0 | |g 6. |t Structural Poverty: Do Subsidies and Donations Increase Poverty? |t Artists Have Not Always Been Poor -- |t The Desire to Relieve Poverty in the Arts Led to the Emergence of Large-Scale Subsidization -- |t Low Incomes are Inherent to the Arts -- |t The Number of Artists Adjusts to Subsidy Levels -- |t Subsidies in the Netherlands Have Increased the Number of Artists Without Reducing Poverty -- |t Subsidies Are a Signal that Governments Take Care of Artists -- |t Subsidies and Donations Intended to Alleviate Poverty Actually -- |t Low-priced Education Signals that it is Safe to Become an -- |t Social Benefits Signal that it is Safe to Become an Artist -- |t Artists Supplement Incomes with Family Wealth and Second Jobs -- |t Artists Reduce Risks by Multiple Jobholding -- |t Artists Could be Consumers rather than Producers -- |t Is there an Artist 'Oversupply' or are Low Incomes Compensated. |
| 505 | 8 | 0 | |g 7. |t The Cost Disease: Do Rising Costs in the Arts Make Subsidization. |t 'Artistic Quality Should Remain the Aspiration, Regardless of the Costs' -- |t 'The Arts are Stricken by a Cost Disease' -- |t Technical Progress has Always been a Part of the Arts -- |t There is no True Performance -- |t The Taboo on Technical Innovation in Classical Music is a Product of the Times -- |t The Cost Disease Contributes to Low Incomes while Internal Subsidization Contains the Cost Disease -- |t There is no Limit to the Demand for Works of Art -- |t Changing Tastes Can Also Cause Financial Problems -- |t Pop Music has Attractive Qualities that Classical Music Lacks -- |t Subsidies and Donations Exacerbate the Cost Disease -- |g 8. |t The Power and the Duty to Give: Why Give to the Arts? |t Donors Receive Respect -- |t Donors Have Influence and are Necessarily Paternalistic -- |t Art Sublimates Power and Legitimizes the Donor's Activities. |
| 505 | 8 | 0 | |t Gifts Turn into Duties -- |t Donations and Subsidies are Embedded in Rituals -- |t Artists Give and Pay Tribute -- |t Family and Friends Subsidize Artists -- |t Private Donors Give to Street Artists as well as to Prestigious Art Institutions -- |t Corporations and Private Foundations Support Art -- |g 9. |t The Government Serves Art: Do Art Subsidies Serve the Public Interest. |t Art Subsidies Need Reasons -- |t 'Art Subsidies are Necessary to Offset Market Failures' -- |t 'Art has Special Merits and must be Accessible to Everyone' -- |t The Merit Argument has been Used Successfully -- |t 'Government Must Help Poor Artists' -- |t 'Art is Public and the Government Must Intervene to Prevent Underproduction' -- |t 'Art Contributes to Economic Welfare and so Must be Supported' -- |t 'Society Needs a Reserve Army of Artists and must therefore Support Art' -- |t Government Distorts Competition in the Arts -- |t Self-Interest Hides Behind Arguments for Art Subsidies -- |t The Art world Benefits from Subsidies -- |t The Government is under Pressure to Subsidize the Arts. |
| 505 | 8 | 0 | |g 10. |t Art Serves the Government: How Symbiotic Is the Relationship between Art. |t Governments Have Interests and Tastes -- |t Art Appears to be Less Serviceable than it was during Monarchical Times -- |t European Governments Carried on the Former Patronage -- |t Veiled Display Serves Social Coherence -- |t The Cultural Superiority of the Nation Needs Display -- |t Government Taste Serves Display -- |t Governments are Willing to Support the Arts -- |t An Arts Experts Regime Harmonizes Government and Art World -- |g Appendix: |t Differences between Government Involvement in the in the Arts in the US and in Europe -- |g 11. |t Informal Barriers Structure the Arts: How Free or Monopolized Are the Arts? -- |t In other Professions Barriers Inform Consumers, Restrain Producers and Limit Competition -- |t The Arts Resist a Formal Control of Numbers of Artists -- |t In the Past Numbers of Artists were Controlled -- |t Granting Certificates to Commercial Galleries in the Netherlands. |
| 505 | 8 | 0 | |t Characteristics of Informal Barriers -- |t Informal Barriers Protect Collective Reputations -- |t Innovations in the Arts are Protected and Indirectly Rewarded -- |t The Arts are Structured and Developments are Controlled -- |t The Risks of Some are Reduced at the Expense of Others -- |g 12. |t Conclusion: a Cruel Economy: Why Is the Exceptional Economy of the Arts. |t The Economy of the Arts is an Exceptional Economy -- |t Despite the Many Donations and Subsidies Incomes are Low in the Arts -- |t A Grim Picture has been Drawn -- |t Winners Reproduce the Mystique of the Arts -- |t Society Needs a Sacred Domain -- |t Future Scenarios with More or Less Subsidization -- |t Epilogue: the Future Economy of the Arts -- |t Signs of a Less Exceptional Economy of the Arts -- |t Artists with New Attitudes Enter the Scene (1) -- |t Artists with new Attitudes Enter the Scene (2) -- |t 'Art Becomes Demystified as Society Becomes More Rational' -- |t 'Borders in and Around the Arts Disappear' -- |t 'New Techniques, Mass Consumption and Mass Media Help. |
| 588 | 0 | |a Print version record. | |
| 520 | |a An unconventional socio-economic analysis of the economic position of the arts and artists. | ||
| 506 | |3 Use copy |f Restrictions unspecified |2 star |5 MiAaHDL | ||
| 533 | |a Electronic reproduction. |b [Place of publication not identified] : |c HathiTrust Digital Library, |d 2010. |5 MiAaHDL | ||
| 538 | |a Master and use copy. Digital master created according to Benchmark for Faithful Digital Reproductions of Monographs and Serials, Version 1. Digital Library Federation, December 2002. |u http://purl.oclc.org/DLF/benchrepro0212 |5 MiAaHDL | ||
| 583 | 1 | |a digitized |c 2010 |h HathiTrust Digital Library |l committed to preserve |2 pda |5 MiAaHDL | |
| 590 | |a eBooks on EBSCOhost |b EBSCO eBook Subscription Academic Collection - Worldwide | ||
| 651 | 0 | |a Art |x Economic aspects. | |
| 650 | 0 | |a Artists |x Economic conditions. | |
| 650 | 7 | |a BIOGRAPHY & AUTOBIOGRAPHY |x Artists, Architects, Photographers. |2 bisacsh | |
| 650 | 7 | |a Economics |2 fast | |
| 650 | 7 | |a Artists |x Economic conditions |2 fast | |
| 650 | 7 | |a Wirtschaftliche Lage |2 gnd | |
| 650 | 7 | |a Kunstökonomie |2 gnd | |
| 650 | 7 | |a Künstler |2 gnd | |
| 650 | 7 | |a Kunstmarkt |2 gnd | |
| 650 | 1 | 7 | |a Kunstenaars. |2 gtt |
| 650 | 1 | 7 | |a Kunst. |2 gtt |
| 650 | 1 | 7 | |a Economische situatie. |2 gtt |
| 653 | |a Artists | ||
| 653 | |a Arts | ||
| 653 | |a Economics | ||
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