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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.
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| Temas: | |
| Acceso en línea: | Texto completo |
Tabla de Contenidos:
- 1. Sacred Art: Who Has the Power to Define Art? Art is What People Call Art
- Cultural Inferiority and Superiority Color the Economy of the
- 'Art is Sacred'
- 'Art is Authentic'
- 'Art is Superfluous and Remote'
- 'Art Goes Against the Rules and so Adds to Cognition'
- 'Artists Resemble Magicians' (A personal view)
- The Mythology of the Arts Influences the Economy of the Arts
- 2. The Denial of the Economy: Why Are Gifts to the Arts Praised, While Market Incomes Remain Suspect?
- The Arts Depend on Gifts and Trade
- The Amount of Donations and Subsidies is Exceptional
- 'Art that is Given Must not be Sold'
- 'The Market Devalues Art'
- The Arts Need the High Status of the Gift Sphere
- The Economy in the Arts Is Denied and Veiled
- A Dual Economy Requires Special Skills.
- 3. Economic Value Versus Aesthetic Value: Is There Any Financial Reward for Quality? Aesthetic Value and Market Value Differ in Definition
- 'In the Market there is no Reward for Quality'
- Values are Shared
- There is No Such Thing as a Pure Work of Art
- Buyers Influence Market Value and Experts Aesthetic Value
- Power Differences Rest on Economic, Cultural and Social Capital
- In Mass Markets Quality and Sales Easily Diverge
- The Strife for Cultural Superiority in the Visual Arts (An
- The Power of Words Challenges the Power of Money
- The Government Transforms Cultural Power into Purchasing Power
- Donors and Governments Know Best
- Market Value and Aesthetic Value Tend to Converge in the Long Run
- 4. The Selflessly Devoted Artist: Are Artists Reward-Oriented? The Selfless Artist is Intrinsically Motivated
- Rewards Serve as Inputs
- Artists are Faced with a Survival Constraint.
- Autonomy is Always Relative
- Intrinsic Motivation Stems from Internalization
- Habitus and Field
- Selfless Devotion and the Pursuit of Gain Coincide
- Artists Differ in Their Reward-Orientation
- Types and Sources of Rewards Matter to Artists
- Three Examples of Orientation Towards Government Rewards in the Netherlands
- 5. Money for the Artist: Are Artists Just Ill-Informed Gamblers? Incomes in the Arts are Exceptionally High
- Art Markets are Winner-Takes-All Markets
- People Prefer Authenticity and are Willing to Pay for It
- Incomes in the Arts are Exceptionally Low
- Five Explanations for the Low Incomes Earned in the Arts
- Artists are Unfit for 'Normal' Jobs
- Artists are Willing to Forsake Monetary Rewards
- Artists are Over-Confident and Inclined to Take Risks
- Artists are Ill-Informed.
- 6. Structural Poverty: Do Subsidies and Donations Increase Poverty? Artists Have Not Always Been Poor
- The Desire to Relieve Poverty in the Arts Led to the Emergence of Large-Scale Subsidization
- Low Incomes are Inherent to the Arts
- The Number of Artists Adjusts to Subsidy Levels
- Subsidies in the Netherlands Have Increased the Number of Artists Without Reducing Poverty
- Subsidies Are a Signal that Governments Take Care of Artists
- Subsidies and Donations Intended to Alleviate Poverty Actually
- Low-priced Education Signals that it is Safe to Become an
- Social Benefits Signal that it is Safe to Become an Artist
- Artists Supplement Incomes with Family Wealth and Second Jobs
- Artists Reduce Risks by Multiple Jobholding
- Artists Could be Consumers rather than Producers
- Is there an Artist 'Oversupply' or are Low Incomes Compensated.
- 7. The Cost Disease: Do Rising Costs in the Arts Make Subsidization. 'Artistic Quality Should Remain the Aspiration, Regardless of the Costs'
- 'The Arts are Stricken by a Cost Disease'
- Technical Progress has Always been a Part of the Arts
- There is no True Performance
- The Taboo on Technical Innovation in Classical Music is a Product of the Times
- The Cost Disease Contributes to Low Incomes while Internal Subsidization Contains the Cost Disease
- There is no Limit to the Demand for Works of Art
- Changing Tastes Can Also Cause Financial Problems
- Pop Music has Attractive Qualities that Classical Music Lacks
- Subsidies and Donations Exacerbate the Cost Disease
- 8. The Power and the Duty to Give: Why Give to the Arts? Donors Receive Respect
- Donors Have Influence and are Necessarily Paternalistic
- Art Sublimates Power and Legitimizes the Donor's Activities.
- Gifts Turn into Duties
- Donations and Subsidies are Embedded in Rituals
- Artists Give and Pay Tribute
- Family and Friends Subsidize Artists
- Private Donors Give to Street Artists as well as to Prestigious Art Institutions
- Corporations and Private Foundations Support Art
- 9. The Government Serves Art: Do Art Subsidies Serve the Public Interest. Art Subsidies Need Reasons
- 'Art Subsidies are Necessary to Offset Market Failures'
- 'Art has Special Merits and must be Accessible to Everyone'
- The Merit Argument has been Used Successfully
- 'Government Must Help Poor Artists'
- 'Art is Public and the Government Must Intervene to Prevent Underproduction'
- 'Art Contributes to Economic Welfare and so Must be Supported'
- 'Society Needs a Reserve Army of Artists and must therefore Support Art'
- Government Distorts Competition in the Arts
- Self-Interest Hides Behind Arguments for Art Subsidies
- The Art world Benefits from Subsidies
- The Government is under Pressure to Subsidize the Arts.
- 10. Art Serves the Government: How Symbiotic Is the Relationship between Art. Governments Have Interests and Tastes
- Art Appears to be Less Serviceable than it was during Monarchical Times
- European Governments Carried on the Former Patronage
- Veiled Display Serves Social Coherence
- The Cultural Superiority of the Nation Needs Display
- Government Taste Serves Display
- Governments are Willing to Support the Arts
- An Arts Experts Regime Harmonizes Government and Art World
- Appendix: Differences between Government Involvement in the in the Arts in the US and in Europe
- 11. Informal Barriers Structure the Arts: How Free or Monopolized Are the Arts?
- In other Professions Barriers Inform Consumers, Restrain Producers and Limit Competition
- The Arts Resist a Formal Control of Numbers of Artists
- In the Past Numbers of Artists were Controlled
- Granting Certificates to Commercial Galleries in the Netherlands.
- Characteristics of Informal Barriers
- Informal Barriers Protect Collective Reputations
- Innovations in the Arts are Protected and Indirectly Rewarded
- The Arts are Structured and Developments are Controlled
- The Risks of Some are Reduced at the Expense of Others
- 12. Conclusion: a Cruel Economy: Why Is the Exceptional Economy of the Arts. The Economy of the Arts is an Exceptional Economy
- Despite the Many Donations and Subsidies Incomes are Low in the Arts
- A Grim Picture has been Drawn
- Winners Reproduce the Mystique of the Arts
- Society Needs a Sacred Domain
- Future Scenarios with More or Less Subsidization
- Epilogue: the Future Economy of the Arts
- Signs of a Less Exceptional Economy of the Arts
- Artists with New Attitudes Enter the Scene (1)
- Artists with new Attitudes Enter the Scene (2)
- 'Art Becomes Demystified as Society Becomes More Rational'
- 'Borders in and Around the Arts Disappear'
- 'New Techniques, Mass Consumption and Mass Media Help.