Why are artists poor? :: the exceptional economy of the arts /
An unconventional socio-economic analysis of the economic position of the arts and artists.
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Elektronisch E-Book |
| Sprache: | English |
| Veröffentlicht: |
Amsterdam :
Amsterdam University Press,
©2002.
|
| Schlagworte: | |
| Online-Zugang: | Volltext |
| Zusammenfassung: | An unconventional socio-economic analysis of the economic position of the arts and artists. |
| Beschreibung: | 1 online resource (367 pages) |
| Format: | 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. |
| Bibliographie: | Includes bibliographical references (pages 349-360) and indexes. |
| ISBN: | 0585498148 9780585498140 9053565655 9789053565650 1280958774 9781280958779 9786610958771 6610958777 9789048503650 9048503655 |
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| 100 | 1 | |a Abbing, Hans, |d 1946- |1 https://id.oclc.org/worldcat/entity/E39PBJppx7yBBBFxgVXFkthmBP |0 http://id.loc.gov/authorities/names/n90641040 | |
| 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) | ||
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| 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 | |
| 651 | 0 | |a Art |x Economic aspects. | |
| 650 | 0 | |a Artists |x Economic conditions. |0 http://id.loc.gov/authorities/subjects/sh87003948 | |
| 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 |0 http://d-nb.info/gnd/4248362-1 | |
| 650 | 7 | |a Kunstökonomie |2 gnd |0 http://d-nb.info/gnd/4315813-4 | |
| 650 | 7 | |a Künstler |2 gnd |0 http://d-nb.info/gnd/4033423-5 | |
| 650 | 7 | |a Kunstmarkt |2 gnd |0 http://d-nb.info/gnd/4120630-7 | |
| 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 | ||
| 655 | 0 | |a Electronic books. | |
| 655 | 4 | |a Electronic books. | |
| 758 | |i has work: |a Why are artists poor? (Text) |1 https://id.oclc.org/worldcat/entity/E39PCGPQR6p68WkcwtkhvRdtPP |4 https://id.oclc.org/worldcat/ontology/hasWork | ||
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Datensatz im Suchindex
| DE-BY-FWS_katkey | ZDB-4-EBA-ocm54479118 |
|---|---|
| _version_ | 1816881614200766465 |
| adam_text | |
| any_adam_object | |
| author | Abbing, Hans, 1946- |
| author_GND | http://id.loc.gov/authorities/names/n90641040 |
| author_facet | Abbing, Hans, 1946- |
| author_role | |
| author_sort | Abbing, Hans, 1946- |
| author_variant | h a ha |
| building | Verbundindex |
| bvnumber | localFWS |
| callnumber-first | N - Fine Arts |
| callnumber-label | N8600 |
| callnumber-raw | N8600 .A18 2002eb |
| callnumber-search | N8600 .A18 2002eb |
| callnumber-sort | N 48600 A18 42002EB |
| callnumber-subject | N - Visual Arts |
| collection | ZDB-4-EBA |
| contents | 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 -- 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. 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 -- 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 -- 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. 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. 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 -- 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 -- 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. 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 -- Differences between Government Involvement in the in the Arts in the US and in Europe -- 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 -- 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. |
| ctrlnum | (OCoLC)54479118 |
| dewey-full | 700.92 |
| dewey-hundreds | 700 - The arts |
| dewey-ones | 700 - The arts |
| dewey-raw | 700.92 |
| dewey-search | 700.92 |
| dewey-sort | 3700.92 |
| dewey-tens | 700 - The arts |
| discipline | Kunstgeschichte |
| format | Electronic eBook |
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ind2=" "><subfield code="a">700.92</subfield><subfield code="2">22</subfield></datafield><datafield tag="084" ind1=" " ind2=" "><subfield code="a">20.04</subfield><subfield code="2">bcl</subfield></datafield><datafield tag="049" ind1=" " ind2=" "><subfield code="a">MAIN</subfield></datafield><datafield tag="100" ind1="1" ind2=" "><subfield code="a">Abbing, Hans,</subfield><subfield code="d">1946-</subfield><subfield code="1">https://id.oclc.org/worldcat/entity/E39PBJppx7yBBBFxgVXFkthmBP</subfield><subfield code="0">http://id.loc.gov/authorities/names/n90641040</subfield></datafield><datafield tag="245" ind1="1" ind2="0"><subfield code="a">Why are artists poor? :</subfield><subfield code="b">the exceptional economy of the arts /</subfield><subfield code="c">Hans Abbing.</subfield></datafield><datafield tag="260" ind1=" " ind2=" "><subfield code="a">Amsterdam :</subfield><subfield code="b">Amsterdam University Press,</subfield><subfield code="c">©2002.</subfield></datafield><datafield tag="300" ind1=" " ind2=" "><subfield code="a">1 online resource (367 pages)</subfield></datafield><datafield tag="336" ind1=" " ind2=" "><subfield code="a">text</subfield><subfield code="b">txt</subfield><subfield code="2">rdacontent</subfield></datafield><datafield tag="337" ind1=" " ind2=" "><subfield code="a">computer</subfield><subfield code="b">c</subfield><subfield code="2">rdamedia</subfield></datafield><datafield tag="338" ind1=" " ind2=" "><subfield code="a">online resource</subfield><subfield code="b">cr</subfield><subfield code="2">rdacarrier</subfield></datafield><datafield tag="347" ind1=" " ind2=" "><subfield code="a">data file</subfield></datafield><datafield tag="504" ind1=" " ind2=" "><subfield code="a">Includes bibliographical references (pages 349-360) and indexes.</subfield></datafield><datafield tag="505" ind1="0" ind2="0"><subfield code="t">1.</subfield><subfield code="t">Sacred Art: Who Has the Power to Define Art?</subfield><subfield code="t">Art is What People Call Art --</subfield><subfield code="t">Cultural Inferiority and Superiority Color the Economy of the --</subfield><subfield code="t">'Art is Sacred' --</subfield><subfield code="t">'Art is Authentic' --</subfield><subfield code="t">'Art is Superfluous and Remote' --</subfield><subfield code="t">'Art Goes Against the Rules and so Adds to Cognition' --</subfield><subfield code="t">'Artists Resemble Magicians' (A personal view) --</subfield><subfield code="t">The Mythology of the Arts Influences the Economy of the Arts --</subfield><subfield code="g">2.</subfield><subfield code="t">The Denial of the Economy: Why Are Gifts to the Arts Praised, While Market Incomes Remain Suspect? --</subfield><subfield code="t">The Arts Depend on Gifts and Trade --</subfield><subfield code="t">The Amount of Donations and Subsidies is Exceptional --</subfield><subfield code="t">'Art that is Given Must not be Sold' --</subfield><subfield code="t">'The Market Devalues Art' --</subfield><subfield code="t">The Arts Need the High Status of the Gift Sphere --</subfield><subfield code="t">The Economy in the Arts Is Denied and Veiled --</subfield><subfield code="t">A Dual Economy Requires Special Skills.</subfield></datafield><datafield tag="505" ind1="8" ind2="0"><subfield code="g">3.</subfield><subfield code="t">Economic Value Versus Aesthetic Value: Is There Any Financial Reward for Quality?</subfield><subfield code="t">Aesthetic Value and Market Value Differ in Definition --</subfield><subfield code="t">'In the Market there is no Reward for Quality' --</subfield><subfield code="t">Values are Shared --</subfield><subfield code="t">There is No Such Thing as a Pure Work of Art --</subfield><subfield code="t">Buyers Influence Market Value and Experts Aesthetic Value --</subfield><subfield code="t">Power Differences Rest on Economic, Cultural and Social Capital --</subfield><subfield code="t">In Mass Markets Quality and Sales Easily Diverge --</subfield><subfield code="t">The Strife for Cultural Superiority in the Visual Arts (An --</subfield><subfield code="t">The Power of Words Challenges the Power of Money --</subfield><subfield code="t">The Government Transforms Cultural Power into Purchasing Power --</subfield><subfield code="t">Donors and Governments Know Best --</subfield><subfield code="t">Market Value and Aesthetic Value Tend to Converge in the Long Run --</subfield><subfield code="g">4.</subfield><subfield code="t">The Selflessly Devoted Artist: Are Artists Reward-Oriented?</subfield><subfield code="t">The Selfless Artist is Intrinsically Motivated --</subfield><subfield code="t">Rewards Serve as Inputs --</subfield><subfield code="t">Artists are Faced with a Survival Constraint.</subfield></datafield><datafield tag="505" ind1="8" ind2="0"><subfield code="t">Autonomy is Always Relative --</subfield><subfield code="t">Intrinsic Motivation Stems from Internalization --</subfield><subfield code="t">Habitus and Field --</subfield><subfield code="t">Selfless Devotion and the Pursuit of Gain Coincide --</subfield><subfield code="t">Artists Differ in Their Reward-Orientation --</subfield><subfield code="t">Types and Sources of Rewards Matter to Artists --</subfield><subfield code="t">Three Examples of Orientation Towards Government Rewards in the Netherlands --</subfield><subfield code="g">5.</subfield><subfield code="t">Money for the Artist: Are Artists Just Ill-Informed Gamblers?</subfield><subfield code="t">Incomes in the Arts are Exceptionally High --</subfield><subfield code="t">Art Markets are Winner-Takes-All Markets --</subfield><subfield code="t">People Prefer Authenticity and are Willing to Pay for It --</subfield><subfield code="t">Incomes in the Arts are Exceptionally Low --</subfield><subfield code="t">Five Explanations for the Low Incomes Earned in the Arts --</subfield><subfield code="t">Artists are Unfit for 'Normal' Jobs --</subfield><subfield code="t">Artists are Willing to Forsake Monetary Rewards --</subfield><subfield code="t">Artists are Over-Confident and Inclined to Take Risks --</subfield><subfield code="t">Artists are Ill-Informed.</subfield></datafield><datafield tag="505" ind1="8" ind2="0"><subfield code="g">6.</subfield><subfield code="t">Structural Poverty: Do Subsidies and Donations Increase Poverty?</subfield><subfield code="t">Artists Have Not Always Been Poor --</subfield><subfield code="t">The Desire to Relieve Poverty in the Arts Led to the Emergence of Large-Scale Subsidization --</subfield><subfield code="t">Low Incomes are Inherent to the Arts --</subfield><subfield code="t">The Number of Artists Adjusts to Subsidy Levels --</subfield><subfield code="t">Subsidies in the Netherlands Have Increased the Number of Artists Without Reducing Poverty --</subfield><subfield code="t">Subsidies Are a Signal that Governments Take Care of Artists --</subfield><subfield code="t">Subsidies and Donations Intended to Alleviate Poverty Actually --</subfield><subfield code="t">Low-priced Education Signals that it is Safe to Become an --</subfield><subfield code="t">Social Benefits Signal that it is Safe to Become an Artist --</subfield><subfield code="t">Artists Supplement Incomes with Family Wealth and Second Jobs --</subfield><subfield code="t">Artists Reduce Risks by Multiple Jobholding --</subfield><subfield code="t">Artists Could be Consumers rather than Producers --</subfield><subfield code="t">Is there an Artist 'Oversupply' or are Low Incomes Compensated.</subfield></datafield><datafield tag="505" ind1="8" ind2="0"><subfield code="g">7.</subfield><subfield code="t">The Cost Disease: Do Rising Costs in the Arts Make Subsidization.</subfield><subfield code="t">'Artistic Quality Should Remain the Aspiration, Regardless of the Costs' --</subfield><subfield code="t">'The Arts are Stricken by a Cost Disease' --</subfield><subfield code="t">Technical Progress has Always been a Part of the Arts --</subfield><subfield code="t">There is no True Performance --</subfield><subfield code="t">The Taboo on Technical Innovation in Classical Music is a Product of the Times --</subfield><subfield code="t">The Cost Disease Contributes to Low Incomes while Internal Subsidization Contains the Cost Disease --</subfield><subfield code="t">There is no Limit to the Demand for Works of Art --</subfield><subfield code="t">Changing Tastes Can Also Cause Financial Problems --</subfield><subfield code="t">Pop Music has Attractive Qualities that Classical Music Lacks --</subfield><subfield code="t">Subsidies and Donations Exacerbate the Cost Disease --</subfield><subfield code="g">8.</subfield><subfield code="t">The Power and the Duty to Give: Why Give to the Arts?</subfield><subfield code="t">Donors Receive Respect --</subfield><subfield code="t">Donors Have Influence and are Necessarily Paternalistic --</subfield><subfield code="t">Art Sublimates Power and Legitimizes the Donor's Activities.</subfield></datafield><datafield tag="505" ind1="8" ind2="0"><subfield code="t">Gifts Turn into Duties --</subfield><subfield code="t">Donations and Subsidies are Embedded in Rituals --</subfield><subfield code="t">Artists Give and Pay Tribute --</subfield><subfield code="t">Family and Friends Subsidize Artists --</subfield><subfield code="t">Private Donors Give to Street Artists as well as to Prestigious Art Institutions --</subfield><subfield code="t">Corporations and Private Foundations Support Art --</subfield><subfield code="g">9.</subfield><subfield code="t">The Government Serves Art: Do Art Subsidies Serve the Public Interest.</subfield><subfield code="t">Art Subsidies Need Reasons --</subfield><subfield code="t">'Art Subsidies are Necessary to Offset Market Failures' --</subfield><subfield code="t">'Art has Special Merits and must be Accessible to Everyone' --</subfield><subfield code="t">The Merit Argument has been Used Successfully --</subfield><subfield code="t">'Government Must Help Poor Artists' --</subfield><subfield code="t">'Art is Public and the Government Must Intervene to Prevent Underproduction' --</subfield><subfield code="t">'Art Contributes to Economic Welfare and so Must be Supported' --</subfield><subfield code="t">'Society Needs a Reserve Army of Artists and must therefore Support Art' --</subfield><subfield code="t">Government Distorts Competition in the Arts --</subfield><subfield code="t">Self-Interest Hides Behind Arguments for Art Subsidies --</subfield><subfield code="t">The Art world Benefits from Subsidies --</subfield><subfield code="t">The Government is under Pressure to Subsidize the Arts.</subfield></datafield><datafield tag="505" ind1="8" ind2="0"><subfield code="g">10.</subfield><subfield code="t">Art Serves the Government: How Symbiotic Is the Relationship between Art.</subfield><subfield code="t">Governments Have Interests and Tastes --</subfield><subfield code="t">Art Appears to be Less Serviceable than it was during Monarchical Times --</subfield><subfield code="t">European Governments Carried on the Former Patronage --</subfield><subfield code="t">Veiled Display Serves Social Coherence --</subfield><subfield code="t">The Cultural Superiority of the Nation Needs Display --</subfield><subfield code="t">Government Taste Serves Display --</subfield><subfield code="t">Governments are Willing to Support the Arts --</subfield><subfield code="t">An Arts Experts Regime Harmonizes Government and Art World --</subfield><subfield code="g">Appendix:</subfield><subfield code="t">Differences between Government Involvement in the in the Arts in the US and in Europe --</subfield><subfield code="g">11.</subfield><subfield code="t">Informal Barriers Structure the Arts: How Free or Monopolized Are the Arts? --</subfield><subfield code="t">In other Professions Barriers Inform Consumers, Restrain Producers and Limit Competition --</subfield><subfield code="t">The Arts Resist a Formal Control of Numbers of Artists --</subfield><subfield code="t">In the Past Numbers of Artists were Controlled --</subfield><subfield code="t">Granting Certificates to Commercial Galleries in the Netherlands.</subfield></datafield><datafield tag="505" ind1="8" ind2="0"><subfield code="t">Characteristics of Informal Barriers --</subfield><subfield code="t">Informal Barriers Protect Collective Reputations --</subfield><subfield code="t">Innovations in the Arts are Protected and Indirectly Rewarded --</subfield><subfield code="t">The Arts are Structured and Developments are Controlled --</subfield><subfield code="t">The Risks of Some are Reduced at the Expense of Others --</subfield><subfield code="g">12.</subfield><subfield code="t">Conclusion: a Cruel Economy: Why Is the Exceptional Economy of the Arts.</subfield><subfield code="t">The Economy of the Arts is an Exceptional Economy --</subfield><subfield code="t">Despite the Many Donations and Subsidies Incomes are Low in the Arts --</subfield><subfield code="t">A Grim Picture has been Drawn --</subfield><subfield code="t">Winners Reproduce the Mystique of the Arts --</subfield><subfield code="t">Society Needs a Sacred Domain --</subfield><subfield code="t">Future Scenarios with More or Less Subsidization --</subfield><subfield code="t">Epilogue: the Future Economy of the Arts --</subfield><subfield code="t">Signs of a Less Exceptional Economy of the Arts --</subfield><subfield code="t">Artists with New Attitudes Enter the Scene (1) --</subfield><subfield code="t">Artists with new Attitudes Enter the Scene (2) --</subfield><subfield code="t">'Art Becomes Demystified as Society Becomes More Rational' --</subfield><subfield code="t">'Borders in and Around the Arts Disappear' --</subfield><subfield code="t">'New Techniques, Mass Consumption and Mass Media Help.</subfield></datafield><datafield tag="588" ind1="0" ind2=" "><subfield code="a">Print version record.</subfield></datafield><datafield tag="520" ind1=" " ind2=" "><subfield code="a">An unconventional socio-economic analysis of the economic position of the arts and artists.</subfield></datafield><datafield tag="506" ind1=" " ind2=" "><subfield code="3">Use copy</subfield><subfield code="f">Restrictions unspecified</subfield><subfield code="2">star</subfield><subfield code="5">MiAaHDL</subfield></datafield><datafield tag="533" ind1=" " ind2=" "><subfield code="a">Electronic reproduction.</subfield><subfield code="b">[Place of publication not identified] :</subfield><subfield code="c">HathiTrust Digital Library,</subfield><subfield code="d">2010.</subfield><subfield code="5">MiAaHDL</subfield></datafield><datafield tag="538" ind1=" " ind2=" "><subfield code="a">Master and use copy. Digital master created according to Benchmark for Faithful Digital Reproductions of Monographs and Serials, Version 1. 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| genre | Electronic books. |
| genre_facet | Electronic books. |
| geographic | Art Economic aspects. |
| geographic_facet | Art Economic aspects. |
| id | ZDB-4-EBA-ocm54479118 |
| illustrated | Not Illustrated |
| indexdate | 2024-11-27T13:15:31Z |
| institution | BVB |
| isbn | 0585498148 9780585498140 9053565655 9789053565650 1280958774 9781280958779 9786610958771 6610958777 9789048503650 9048503655 |
| language | English |
| oclc_num | 54479118 |
| open_access_boolean | |
| owner | MAIN DE-863 DE-BY-FWS |
| owner_facet | MAIN DE-863 DE-BY-FWS |
| physical | 1 online resource (367 pages) |
| psigel | ZDB-4-EBA |
| publishDate | 2002 |
| publishDateSearch | 2002 |
| publishDateSort | 2002 |
| publisher | Amsterdam University Press, |
| record_format | marc |
| spelling | Abbing, Hans, 1946- https://id.oclc.org/worldcat/entity/E39PBJppx7yBBBFxgVXFkthmBP http://id.loc.gov/authorities/names/n90641040 Why are artists poor? : the exceptional economy of the arts / Hans Abbing. Amsterdam : Amsterdam University Press, ©2002. 1 online resource (367 pages) text txt rdacontent computer c rdamedia online resource cr rdacarrier data file Includes bibliographical references (pages 349-360) and indexes. 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. Print version record. An unconventional socio-economic analysis of the economic position of the arts and artists. Use copy Restrictions unspecified star MiAaHDL Electronic reproduction. [Place of publication not identified] : HathiTrust Digital Library, 2010. MiAaHDL 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. http://purl.oclc.org/DLF/benchrepro0212 MiAaHDL digitized 2010 HathiTrust Digital Library committed to preserve pda MiAaHDL Art Economic aspects. Artists Economic conditions. http://id.loc.gov/authorities/subjects/sh87003948 BIOGRAPHY & AUTOBIOGRAPHY Artists, Architects, Photographers. bisacsh Economics fast Artists Economic conditions fast Wirtschaftliche Lage gnd http://d-nb.info/gnd/4248362-1 Kunstökonomie gnd http://d-nb.info/gnd/4315813-4 Künstler gnd http://d-nb.info/gnd/4033423-5 Kunstmarkt gnd http://d-nb.info/gnd/4120630-7 Kunstenaars. gtt Kunst. gtt Economische situatie. gtt Artists Arts Economics Electronic books. has work: Why are artists poor? (Text) https://id.oclc.org/worldcat/entity/E39PCGPQR6p68WkcwtkhvRdtPP https://id.oclc.org/worldcat/ontology/hasWork Print version: Abbing, Hans, 1946- Why are artists poor?. Amsterdam : Amsterdam University Press, ©2002 9053565655 (DLC) 2003403782 (OCoLC)50997056 FWS01 ZDB-4-EBA FWS_PDA_EBA https://search.ebscohost.com/login.aspx?direct=true&scope=site&db=nlebk&AN=104102 Volltext |
| spellingShingle | Abbing, Hans, 1946- Why are artists poor? : the exceptional economy of the arts / 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 -- 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. 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 -- 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 -- 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. 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. 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 -- 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 -- 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. 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 -- Differences between Government Involvement in the in the Arts in the US and in Europe -- 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 -- 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. Artists Economic conditions. http://id.loc.gov/authorities/subjects/sh87003948 BIOGRAPHY & AUTOBIOGRAPHY Artists, Architects, Photographers. bisacsh Economics fast Artists Economic conditions fast Wirtschaftliche Lage gnd http://d-nb.info/gnd/4248362-1 Kunstökonomie gnd http://d-nb.info/gnd/4315813-4 Künstler gnd http://d-nb.info/gnd/4033423-5 Kunstmarkt gnd http://d-nb.info/gnd/4120630-7 Kunstenaars. gtt Kunst. gtt Economische situatie. gtt |
| subject_GND | http://id.loc.gov/authorities/subjects/sh87003948 http://d-nb.info/gnd/4248362-1 http://d-nb.info/gnd/4315813-4 http://d-nb.info/gnd/4033423-5 http://d-nb.info/gnd/4120630-7 |
| title | Why are artists poor? : the exceptional economy of the arts / |
| title_alt | 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 -- 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. 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 -- 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 -- 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. 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. 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 -- 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 -- 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. 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 -- Differences between Government Involvement in the in the Arts in the US and in Europe -- 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 -- 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. |
| title_auth | Why are artists poor? : the exceptional economy of the arts / |
| title_exact_search | Why are artists poor? : the exceptional economy of the arts / |
| title_full | Why are artists poor? : the exceptional economy of the arts / Hans Abbing. |
| title_fullStr | Why are artists poor? : the exceptional economy of the arts / Hans Abbing. |
| title_full_unstemmed | Why are artists poor? : the exceptional economy of the arts / Hans Abbing. |
| title_short | Why are artists poor? : |
| title_sort | why are artists poor the exceptional economy of the arts |
| title_sub | the exceptional economy of the arts / |
| topic | Artists Economic conditions. http://id.loc.gov/authorities/subjects/sh87003948 BIOGRAPHY & AUTOBIOGRAPHY Artists, Architects, Photographers. bisacsh Economics fast Artists Economic conditions fast Wirtschaftliche Lage gnd http://d-nb.info/gnd/4248362-1 Kunstökonomie gnd http://d-nb.info/gnd/4315813-4 Künstler gnd http://d-nb.info/gnd/4033423-5 Kunstmarkt gnd http://d-nb.info/gnd/4120630-7 Kunstenaars. gtt Kunst. gtt Economische situatie. gtt |
| topic_facet | Art Economic aspects. Artists Economic conditions. BIOGRAPHY & AUTOBIOGRAPHY Artists, Architects, Photographers. Economics Artists Economic conditions Wirtschaftliche Lage Kunstökonomie Künstler Kunstmarkt Kunstenaars. Kunst. Economische situatie. Electronic books. |
| url | https://search.ebscohost.com/login.aspx?direct=true&scope=site&db=nlebk&AN=104102 |
| work_keys_str_mv | AT abbinghans whyareartistspoortheexceptionaleconomyofthearts |