Why Are Artists Poor? : The Exceptional Economy of the Arts

Abbing, Hans

doi:10.5117/9789053565650

Cited by 138 publications

(186 citation statements)

References 17 publications

Supporting

Mentioning

151

Contrasting

Unclassified

Order By: Relevance

“…In short, the market for complex artistic goods is small and is greatly oversaturated. This is consistent with finding of Abbing (2002) who in his book tried to answer the question "why are artists poor? ".…”

Section: Source: Own Conceptualizationsupporting

confidence: 89%

“…Elaborating on the x axis that point to the emphasis of type of reward this is interesting as theory of labour cannot always be applied to all types of labour and that artists' behaviours tend not to reflect the economic conditions. Cultural economics explains this behaviour as an intrinsic motivation which is comparable with pecuniary external incentives (Abbing, 2002;Frey, 1997). Instinct motivation will be elaborated in the next section but for reference one can see Throsby (1994), who created a model of artists (and scientists) work preference in economic terms.…”

Section: Source: Own Conceptualizationmentioning

confidence: 99%

“…The degree of those is of course somewhat different, but in essence the mechanisms seem to be similar in terms of artistic work, as one of the first broadly acceptable forms of creative work which now seems to be more significant than ever before. By being so, it coined many definitions and stereotypes that constitute an intuitional environment (Eikhof & Haunschild, 2006) passed on to their more applicable "cousins" like architecture or design and many others (Abbing, 2002;Caves, 2000). Concluding, a better understanding of growth oriented artistic entrepreneurs can not only contribute to understanding any talent-based entrepreneurship and commercialization of creativity, but also can supply insight into the challenges of managing creative workers.…”

Section: Creative Industries -A Brief Introduction and Why Artists Mamentioning

confidence: 99%

See 2 more Smart Citations

Artistic Entrepreneurship and the Need for Market Orientation in the Context of Rising Significance of the Creative Industries

Olesiewicz

2011

SSRN Journal

View full text Add to dashboard Cite

Purpose: The purpose of this paper is to present a conceptual background and definitions helpful for further research of growth oriented artistic entrepreneurship. Creative industries are becoming increasingly important to the economy of developed countries. This fact is starting to affect the creative arts sector both as a source of creative and artistic workers, innovation and a potential source of higher economic contributions. A brief macro to micro analysis puts the phenomenon in a wider context. Analogies between academic and artistic work are drawn in order to allow the possibility of exploring what seems to be a similar process that had already happened in the education sector. In several aspects congruence between artistic and knowledge based work is presented. Additionally, the paper presents some initial data collected from a preliminary qualitative study of 4 in-depth, open-ended, semi-structured interviews with growth oriented artistic entrepreneurs and artists.Findings: Literature and initial field studies seem to indicate that artistic and administrative, business-like, activities differ in terms of methods used. They also suggest that this may impact the work of artistic entrepreneurs and their willingness to further develop the venture. This is connected with the fact that many artists seem to operate in very specialized expert markets which can prove to be a challenge in a successful commercialization of their work.Originality/value: The paper contributes to the development of a topic that has not been studied well, but might be of significance in the near future. Initial macro and micro analysis of the phenomenon of artistic entrepreneurship tries to take into account perspectives from several disciplines in order to contribute to the accumulation of, so far, very scarce knowledge on the topic.

show abstract

Section: Source: Own Conceptualizationsupporting

confidence: 89%

Section: Source: Own Conceptualizationmentioning

confidence: 99%

Section: Creative Industries -A Brief Introduction and Why Artists Mamentioning

confidence: 99%

See 1 more Smart Citation

Artistic Entrepreneurship and the Need for Market Orientation in the Context of Rising Significance of the Creative Industries

Olesiewicz

2011

SSRN Journal

View full text Add to dashboard Cite

show abstract

“…Overall, this has caused a substantial recruitment, thereby causing a labour market in which the excess of artists is generally larger than the demand for artistic production (Abbing, 2002;Casacuberta & Gandelman, 2012;Mangset et al, 2016). Because of this, artists have developed several ways of managing economic risk.…”

Section: Managing Economic Riskmentioning

confidence: 99%

The autonomous world reversed: comparing liberal policy and autonomy in the performing arts

Kleppe

2016

International Journal of Cultural Policy

View full text Add to dashboard Cite

“…The latter produce art for pay whereas the former do it "for fun." The distinction might make intuitive sense, but in practice, distinguishing between amateurs and professionals on the basis of earnings is not always accurate, as many serious artists often earn very little from their work (Abbing, 2002;Menger, 1999Menger, , 2001. Indeed, it is notoriously difficult to determine who is an artist.…”

Section: Artists and Audiencesmentioning

confidence: 99%

Art at the crossroads: The arts in society and the sociology of art

Alexander

Bowler

2014

Poetics

View full text Add to dashboard Cite

The arts face a number of challenges in the 21 st century brought about by various factors.These include rapid expansion of art markets at an international level, the impact of economic restructuring in public funding for the arts, the increasing dominance of neoliberal models of institutional and organizational success, changes in the definition of artistic work and artistic identity, and changes in the definition of audiences and new modes of arts participation in the face of technological innovations in communication technologies. In this paper, we identify and analyze six major themes central to the arts and the sociology of art: the marginalization of the arts in society and sociology, art and the state, arts institutions and organizations, artists and audiences, and issues of meaning and measurement. We argue that the arts and arts scholarship face a crossroads in the current environment. We conclude with some observations about directions for future research. Drawing inspiration from these changes in arts worlds and their implications for both the arts and arts scholarship, we explore six major themes central to the arts and the sociology of the arts in the current environment. Each of the themes-the marginalization of the arts in society and sociology, changing markets, art and the state, institutions and organizations, artists and audiences, and issues of meaning and measurement-includes observations about changes in the art world as well, as a discussion of scholarship in the area. We conclude with a discussion of directions for future research. It is our hope that this article will provide a useful overview of the state of arts scholarship at this challenging time, and suggestions for its future development. The articles in this special issue of Poetics are a contribution to that development. The marginalization of the arts in society and sociology 3The arts have occupied a marginalized position in both modern society and the discipline of sociology. Historically and today, the arts have been judged less important than other areas of study for the social sciences. As a recognized area of specialization, the sociology of art is relatively new and still developing (see below). The marginalization of art in society may be less obvious or even puzzling. After all, the arts hold an exalted, even sacred, position in society; they have the ability to confer status honor on the people who consume and possess expert knowledge about them; and expensive sales of art are reported frequently in the media. But as we demonstrate below, it is precisely this exalted status that results in the marginalization of the arts in the broader social context.The sharp, hierarchical distinction between the fine and popular arts that was drawn in the nineteenth and twentieth centuries created a dichotomous model of aesthetic objects and practices, the institutions and audiences to which they belong, and the functions or purposes they serve (DiMaggio, 1982a(DiMaggio, , 1982bLevine, 1988). 2 Put simply, the fine arts were ...

show abstract

Why Are Artists Poor? : The Exceptional Economy of the Arts

Cited by 138 publications

References 17 publications

Artistic Entrepreneurship and the Need for Market Orientation in the Context of Rising Significance of the Creative Industries

Artistic Entrepreneurship and the Need for Market Orientation in the Context of Rising Significance of the Creative Industries

The autonomous world reversed: comparing liberal policy and autonomy in the performing arts

Art at the crossroads: The arts in society and the sociology of art

Contact Info

Product

Resources

About