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- Epilogue: the Future Economy of the Arts: Is this Book’s Representation of the Economy of the Arts Outdated?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
4 - The Selflessly Devoted Artist: Are Artists Reward-Oriented?
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- Epilogue: the Future Economy of the Arts: Is this Book’s Representation of the Economy of the Arts Outdated?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
Former Teachers and Experts Looking over the Artist's Shoulder
Alex considers himself a selfless and autonomous fine artist, but some years ago something happened that made him rethink his position.
Alex always works with a model. He asks the model to look him in the eyes while the model is sitting. This is an intense experience for both of them. Alex does his best to record the experience in his drawings. While he is drawing, the model's feelings and judgments seem to be reflected in the model's eyes. However, Alex gradually discovered that he was also projecting his own feelings onto his model. The model's eyes can turn into the eyes of people Alex has known. Quite often, it's his father looking at him through the model's eyes. What is brought into the drawing is a mixture of the model, Alex and the people Alex carries inside him. In this short-term symbiotic relationship the model and Alex fuse. There is nothing peculiar about this symbiosis. It is Alex's little artistic trick; other artists have their own tricks.
However, a few years ago, while Alex was drawing in this way, he had a unique experience that relates to the present topic. Alex was drawing a model who was also an art student. Before they began, they chatted awhile and it turned out that the model knew a lot about drawing. Alex also got the impression that this model was not pleased with Alex's intuitive drawing style. His interests were more conceptual. Alex started to draw him. The model's eyes gradually changed into those of Alex's condemning father. And then something unexpected happened. Alex realized that it was no longer his father looking at him but Rudi Fuchs, the director of the Stedelijk, the most prestigious museum of modern art in the Netherlands. His eyes certainly were not approving of what Alex had drawn thus far. (Alex cannot remember what became of this particular drawing, which probably means it did not turn out to his liking.)
This was a shock to Alex. It gave him an uncanny awareness of his limited autonomy. Since then he has come to the realization that all the time he thought he was alone in his studio with his model, there were actually many people present looking over his shoulder.
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- Information
- Why Are Artists Poor?The Exceptional Economy of the Arts, pp. 78 - 102Publisher: Amsterdam University PressPrint publication year: 2008