Why Are Artists Poor?

Renew：Part 17
Author：Hans Abbing
Update：08-15-2023
Tags：Business Investing
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Chapter List

Chapter 1
Chapter 4, artists are not that sel.ess; they are focused on the rewards that come with "serving art" to better them-selves.
Chapter 1. The argument was that as long as there is social strati.cation and as long as art products are used for designating one"s position in social s.p.a.ce, judgments about art will remain asymmet-rical. People from the upper echelons of society "naturally" look down on the art of those below them, while the latter "naturally" look up to the art of the former. Although the lower cla.s.ses of consumers are not wealthy, c.u.mulatively they have a lot of money to spend. And even though they may admire their social superiors, they do not spend their money accord-ingly. And so here is where market value deviates from aesthetic value.
Chapter 3 we called traditional (modern) art. Their main source of income was the private market. However, in the seventies, a new avant-garde (contemporary) market began to open up, and this is where the younger generation of teachers were most successful. This market was heavily dependent on govern-ment subsidy. Between 1950 and 1996, the government considerably increased its purchases of visual art as well as the subsidization of visual artists. In the Netherlands, the part of the visual artist"s professional income that comes from public sources increased from almost nothing to 45% or even more.47 The national government, in alliance with the younger artists and the new cultural elite, was almost exclusively interested in avant-garde visual art and hardly any money went for traditional visual art. (Only local governments spend relatively small amounts of money on the latter.) Due to the new and substantial government demand for avant-garde visual art, the cultural capital of the older teachers, who were prima-rily engaged in traditional visual art, declined rapidly. The younger teachers" experience, who sold their work mostly to the government and received government subsidies, had suddenly become more valu-able than the older teachers" experiences in the private market. The "palace-revolution" led to a purge of the older teachers from the princi-pal schools.48 Students consequently developed a more government-oriented habitus as well. Of course, these kinds of con.icts are fought in almost exclusively artistic terms, but viewed from the tenth .oor, the changes in income sources and the corresponding changes in career paths clearly show the importance of rewards. The example also reveals that, although the average habitus is not immune to market forces, a fundamental change in reward orientation is usually accompanied by a change in personnel.
Chapter 6
Chapter 6.) Producers, .nancial directors, and consumers are all blamed for the lack of suf.cient funds, but none more so than donors and governments. In the Netherlands, most of the indignation is naturally aimed at the pri-mary donor, the government. Despite, or rather because of, the fact that the Dutch government spends comparatively large sums on the arts, it is continuously attacked for not giving more. It"s "stinginess" is said to be impinging on the autonomy of the arts.
Chapter 8
Chapter 8
Chapter 10, the explanation of government involvement in the us does not have to be all that different.) Three interdependent developments commingle in the transition from old to new patronage. First, the old donors became less relevant in soci-ety. Secondly, the arts became more independent or autonomous; the arts were less prepared to serve as conveyors of concrete messages plus they became less .t to convey these concrete messages. Thirdly, the new donors, most of all governments, increasingly needed art to convey their general messages.
Chapter 11
Chapter 2, and 3) because it offers an escape.
Chapter 12
Chapter 10 I shall, however, depart from methodological individualism.
Chapter 9, I will return to this point.
Chapter 10.
Chapter 2. Not all govern-ment conduct with consequences for the arts is included, however. This applies for instance to legislation that guarantees artistic freedom or enforces copyright laws. Although countries vary, the general aims of the legislation are based on notions of justice. Therefore, such legislation is usually not an instrument of art policy. The same applies to numerous general tax measures, which have an im-pact on the arts. Only when such measures apply speci.cally to the arts and are an exception to existing regulation, like a special tax deduction or a lowered vat tariff, does this need any explanation in the context of this chapter. Because the vat measures cost public money, they will be treated as subsidies to the arts. O"Hagan (1998) 73-129 addresses all these subjects; he presents a general trea-tise on the impact of all sorts of regulations and taxes on the arts.
Chapter one, also emphasizes renew-al, the renewal of symbol systems. Cf. Goodman (1954).