Why are artists poor? : the exceptional economy of the arts / Hans Abbing.

An unconventional socio-economic analysis of the economic position of the arts and artists.

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Bibliographic Details
Online Access: Full Text (via Cambridge)
Main Author: Abbing, Hans, 1946-
Format: eBook
Language:English
Published: Amsterdam : Amsterdam University Press, ©2002.
Subjects:

MARC

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100 1 |a Abbing, Hans,  |d 1946-  |1 https://id.oclc.org/worldcat/entity/E39PBJppx7yBBBFxgVXFkthmBP 
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 
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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. 
651 0 |a Art  |x Economic aspects. 
650 0 |a Artists  |x Economic conditions. 
650 7 |a Economics  |2 fast 
650 7 |a Artists  |x Economic conditions  |2 fast 
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 
776 0 8 |i Print version:  |a Abbing, Hans, 1946-  |t Why are artists poor?.  |d Amsterdam : Amsterdam University Press, ©2002  |z 9053565655  |w (DLC) 2003403782  |w (OCoLC)50997056 
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