The economies of serious and popular art : how they diverged and reunited / / Hans Abbing

• Record Nr.: UNINA9910633915103321
• Autore: Abbing Hans <1946->
• Pubbl/distr/stampa: Cham, Switzerland : , : Palgrave Macmillan, , [2022]; ©2022
• ISBN: 9783031186486; 9783031186479
• Descrizione fisica: 1 online resource (355 pages)
• Collana: Cultural economics & the creative economy
• Disciplina: 706.8
• Soggetti: Art - Economic aspects; Art and society
• Lingua di pubblicazione: Inglese
• Formato: Materiale a stampa
• Livello bibliografico: Monografia
• Nota di bibliografia: Includes bibliographical references and index.
• Nota di contenuto: Intro -- Preface -- Acknowledgements -- Contents -- 1 Introduction -- 1 A Period of Serious Art. An Art Ethos -- 2 Useful Art -- 3 Artworlds -- 4 Serious and Popular Art. Art Buildings -- 5 Boundaries. Social Classes -- Notes -- References -- 2 Serious Artworlds -- 1 Separation of Serious Art and Entertainment -- 1.1 Art Used to Be Entertaining, Frivolous and Contemporary -- 1.2 Classification, Isolation and Etiquette -- 1.3 Art-Classics and an Art-Heritage -- 1.4 Nonprofits. De-Commercialisation -- 2 Much Respect for Serious Art -- 2.1 Celebrations and Magnificent Art Buildings -- 2.2 Much Respect for Art and Artists -- 2.3 Respectful Behaviour in Art Buildings -- 3 Governance by Artworlds. Innovation -- 3.1 Changing Governance of Art Production -- 3.2 Gatekeeping by Artworlds -- 3.3 Financial Support by Governments and Donors -- 3.4 The Evolving Justifications of Public Support. "Quality Comes First" -- 3.5 Innovation and Restricted Production in the Popular and Serious Arts -- Notes -- References -- 3 Authentic Art and Artists -- 1 In Search of an "Authentic Self" -- 1.1 Art Setting. Art Experience. Self-Constructed Artworks -- 1.2 An Ideal of Personal Authenticity. Deep Art Experiences -- 1.3 The Artist-in-the-Work -- 1.4 No Distractions. Much Self-Control -- 1.5 Informalisation -- 1.6 Identity Creation by a Choice of Artworks -- 2 An Obsession with Authenticity. ; Authorship. Singularity and Aura -- 2.1 Digression. Nominal and Expressive Authenticity -- 2.2 Digression. Originals. Multiples and Series. Reproductions and Productions -- 2.3 Performances Must Be Authentic -- 2.4 A Cost Disease. Subsidised Authenticity -- 2.5 Lowering Cost and Innovation -- 2.6 An Experience of Singularity and Aura -- 2.7 Correct Attribution and Financial Value -- 2.8 Attractive Sole Authorship. Little Collaboration.; 2.9 Passive Audiences. Refraction and Co-creation -- 3 An Attractive Low-Income Profession That Enables Self-Expression -- 3.1 Declaring to Be Artist. Between Professional and Amateur. Many Self-Taught Professional Artists -- 3.2 Digression. Human Capital. Measuring Problems -- 3.3 Decreasing Incomes. Increasing Numbers -- 3.4 Second Jobs. An Art-Work Preference -- 3.5 Explanations of the Attraction of the Arts Profession -- 3.6 *Everybody Creative? -- 3.7 Experience of Failure and Distress -- Notes -- References -- 4 Exclusion and Exclusivity -- 1 Introduction -- 1.1 Underrepresentation of Underprivileged Groups Among Consumers -- 1.2 Underrepresentation of Underprivileged Groups and Women in Art Production -- 1.3 Bringing Art to the Proletariat. Dissemination of Art -- 1.4 Learning and Understanding Art Is a Social Affair -- 2 Forms of Exclusion. Difficult Art. Meaningful Own Art -- 2.1 Price Exclusion -- 2.2 Digression: Pricing Policies That Serve Inclusion -- 2.3 Informal Exclusion in Art Buildings -- 2.4 Socialisation. Wrongly-Resourced and Unwanted. Differently Resourced. -- 2.5 Difficult Art. An Intellectual Discourse. Appropriation. -- 2.6 Own Meaningful Art of Social Groups -- 3 A Love of Art or a Love of Exclusivity -- 3.1 Looking Down on "Others" and Their Art -- 3.2 Disdain for and Fear of Low-Cost Reproductions and Recordings -- 3.3 An Unwillingness to Lower Costs -- 3.4 Membership in Exclusive Circles. Investment. Speculation. -- 3.5 Power. Distinction. Exclusivity -- Notes -- References -- 5 Commerce and the Rejection of Commerce -- 1 Hostile Spheres. Covering up of Commerce -- 1.1 Introduction. Market, Commodity, Commercialism and Related Terms -- 1.2 Hostile Spheres -- 1.3 "Art Is Precious". "Price Must Not Stand for Quality" -- 1.4 A Culture of Generosity -- 1.5 Exploitation of Artists.; 1.6 Covering Up of Commerce. Laundering of Blameworthy Activities -- 2 Autonomy and Compromise -- 2.1 Introduction. The Autonomous Space of Artists and Arts Organisations -- 2.2 Commercial Artists of Old -- 2.3 Commercial Art for the Sake of Art. A Balancing Act -- 2.4 Artists Being Shamed for Being Commercial -- 2.5 The Influence of the Market and Artworld Demands on Artists -- 2.6 Sponsors and Donors Influence Arts organisations -- 2.7 Conditional Support of Governments and Donors -- 3 Entrepreneurship and Marketing -- 3.1 Reprehensible Cultural Entrepreneurship -- 3.2 Reprehensible Marketing and Self-Branding -- 3.3 Enrichment -- 3.4 Over-Enrichment? -- Notes -- References -- 6 Art in the Twenty-First Century -- 1 Four Spheres of Art Practices. Entrepreneurship Education -- 1.1 A Consumer-Oriented Sphere -- 1.2 A Research Sphere -- 1.3 A Sphere of Hybrid Practices and Expanding Professionalism -- 1.4 A Bohemian Sphere and Wageless Work -- 1.5 Entrepreneurship and Entrepreneurship Education -- 2 New Art -- 2.1 Changes in Art Buildings. Side-Line Products -- 2.2 More Informal Art Events -- 2.3 Combinations of Serious and Popular Art -- 3 Digitisation and the Platform Economy -- 3.1 Digitisation. Innovation -- 3.2 New and Spectacular Art Products Relying on Digitisation -- 3.3 The Platform Economy -- 3.4 Marketing. Standing Out. Parasocial Relationships -- 3.5 Monetisation. Cost. Funding -- 4 Success and Diversity in the Twenty-First Century -- 4.1 Superstar Effects. ; A Long Tail. High and Low Incomes -- 4.2 Spectacular Competitions and New Career Paths. Amateur. Professional -- 4.3 Barriers -- 4.4 Winners in the Virtual and Real World -- 4.5 Industry Structure. More of the Same? -- 5 The End of the Period of Serious Art -- 5.1 Omnivorousness. There Is No Longer a Significant Boundary Between Popular and Serious Art.; 5.2 No Opposing Art Movements. Hybridisation, Blurred Boundaries and Diversity -- 5.3 Art or Culture? Who Is an Artist? -- 5.4 The End of the Period of Serious Art -- 5.5 Epilogue. Not All Is Well -- Notes -- References -- Author Index -- Subject Index.