Book contents
- Frontmatter
- Contents
- Preface
- 1 Sacred Art: Who Has the Power to Define Art?
- 2 The Denial of the Economy: Why Are Gifts to the Arts Praised, While Market Incomes Remain Suspect?
- 3 Economic Value Versus Aesthetic Value: Is There Any Financial Reward for Quality?
- 4 The Selflessly Devoted Artist: Are Artists Reward-Oriented?
- 5 Money for the Artist: Are Artists Just Ill-Informed Gamblers?
- 6 Structural Poverty: Do Subsidies and Donations Increase Poverty?
- 7 The Cost Disease: Do Rising Costs in the Arts Make Subsidization Necessary?
- 8 The Power and the Duty to Give: Why Give to the Arts?
- 9 The Government Serves Art: Do Art Subsidies Serve the Public Interest or Group Interests?
- 10 Art Serves the Government: How Symbiotic Is the Relationship between Art and the State?
- 11 Informal Barriers Structure the Arts: How Free or Monopolized Are the Arts?
- 12 Conclusion: a Cruel Economy: Why Is the Exceptional Economy of the Arts so Persistent?
- Epilogue: the Future Economy of the Arts: Is this Book’s Representation of the Economy of the Arts Outdated?
- Notes
- Literature
- Index of Names
- Index of Subjects
5 - Money for the Artist: Are Artists Just Ill-Informed Gamblers?
Published online by Cambridge University Press: 23 January 2021
- Frontmatter
- Contents
- Preface
- 1 Sacred Art: Who Has the Power to Define Art?
- 2 The Denial of the Economy: Why Are Gifts to the Arts Praised, While Market Incomes Remain Suspect?
- 3 Economic Value Versus Aesthetic Value: Is There Any Financial Reward for Quality?
- 4 The Selflessly Devoted Artist: Are Artists Reward-Oriented?
- 5 Money for the Artist: Are Artists Just Ill-Informed Gamblers?
- 6 Structural Poverty: Do Subsidies and Donations Increase Poverty?
- 7 The Cost Disease: Do Rising Costs in the Arts Make Subsidization Necessary?
- 8 The Power and the Duty to Give: Why Give to the Arts?
- 9 The Government Serves Art: Do Art Subsidies Serve the Public Interest or Group Interests?
- 10 Art Serves the Government: How Symbiotic Is the Relationship between Art and the State?
- 11 Informal Barriers Structure the Arts: How Free or Monopolized Are the Arts?
- 12 Conclusion: a Cruel Economy: Why Is the Exceptional Economy of the Arts so Persistent?
- Epilogue: the Future Economy of the Arts: Is this Book’s Representation of the Economy of the Arts Outdated?
- Notes
- Literature
- Index of Names
- Index of Subjects
Summary
Taking the Reckless Decision to Enter the Arts
At the age of thirty, Alex decided to stop working as an economist. At that time, Alex unintentionally joined a life drawing class, and three months later, he was admitted to art school. Alex had decided to become an artist. It was a sudden and reckless decision. Alex felt relieved. It felt like he had finally discovered his destiny. He was not worried about his chances. On the contrary, Alex tried not to think about it. In the back of his mind, he must have known that the odds were against him, as they are against any average art student. Therefore, Alex told himself that he had no choice. If he wasn't going to pursue a life in the arts, he might as well just die. Alex was also convinced that anybody as confident as he was about becoming an artist, was bound to be a success one way or another. He stuck to a simple belief: the more dedicated he was, the more inevitable his chances of success.
Looking back at that time, Alex realizes that, now as back then, he had numerous choices. Becoming an artist was only one. Therefore, by not pondering the odds, Alex tried to convince himself of the reasonability of being unreasonable. As he now realizes, someone who makes it in the arts is so unusual, that the desire to become an artist is little more than leaping off a cliff with one's eyes closed.
The life drawing class that Alex presently teaches is made up of artists, art students, and some extremely talented amateurs. The work of some of these amateurs is better than that of the artists and would-be artists. Alex has initiated some discussions between the amateurs and artists. In the course of the conversations, it turns out that some of these amateurs are aware of their talent. Some had even contemplated going to art school, but decided not to in the end. One of the reasons they hesitated to enter the art world was the many uncertainties involved in an arts career. They seem less reckless than the artists. Moreover, they demonstrate that almost anyone can find out that one's chances of success in the art world are low. Nevertheless, they are often apologetic about their decisions.
- Type
- Chapter
- Information
- Why Are Artists Poor?The Exceptional Economy of the Arts, pp. 103 - 123Publisher: Amsterdam University PressPrint publication year: 2008