Art for money or money for art?
Our readers often inspire me as much as our colleagues. Something that resonated with me this week was Steve Durbin's comment on Joe Nickell's post. He said that "people work for their passions, as well as for money." I'd have to agree with him. I'm not sure there is anything other than passion worth spending one's life blood and precious time for. I know that one of the reasons I do corporate writing is to subsidize the type of writing that I want to do--including arts writing.
Someone whose work has long resonated with me is Dorothy Sayers. She once wrote a play dealing with the topic of work and why we do it. Given that she considered art to be her work, I find it particularly germane to the discussion that has been going on here. She argued that we need to "estimate work not by the money it brings to the producer, but by the worth of the thing that is made."
Certainly artists and journalists alike will often say that they are called to a higher purpose than simply a bottom line. I need to make enough money writing so that I can continue to write--which means feeding my family and paying my bills. I'm not writing so that I can get rich (I wouldn't complain if that were to happen, but that would be a pleasant side effect, not the end goal).
Many artists would tell you the same thing. They're not creating so that they can become filthy rich, they're creating because they have to. To not create would be to psychically damage themselves. There is economic necessity that must be met, but as Sayers promotes, payment should be that which allows people to continue doing the work that they're doing.
This is often at odds with the capitalist society we live in. It's certainly at odds with the exaltation of acquisition above all else. It's perhaps where art often suffers the most as it is difficult to "possess" a performance.
When I was very young, my father was careful to ensure that I could distinguish between political and economic systems--and, because it was in the midst of the Cold War and we attended what I later learned to be a very conservative church--that none of them were good or evil; they were just ways of doing things.
However, our culture doesn't always draw such fine distinctions and we often try to apply our economic system to our politics and our politics to our culture. Rather than allowing them to influence each other as part of an ecosystem, there is a tendency to force one system's philosophy upon the other, to believe that what works for one will work for all.
Art suffers when we force upon it the same economic model that businesses operate under. If their goal must be the making of money rather than the making of art, they're going to fail. This doesn't mean that artists can be oblivious to economic factors or lack in all business sense, but it does mean they must choose their model carefully. How they manage their finances will say something about who they are and whether their art will be sustainable.
Art has traditionally relied much on government support and money from individual and corporate donors. There is an understanding that not all art will be commercially viable and succeed only through the price paid by those who consume it. We've accepted this because there is a societal value that far outweighs the burden of cost that any individual can afford to bear.
Indeed, like education, society reaps the benefit of art even when it is not the direct consumer. My life is made better when my neighbor goes to the symphony, even if I do not. As a member of my community, I want to see our communal dollars support what benefits all of us. I want to live in a society where people share a commitment to creation and to connection. Those are things that will spill over into politics and economics. Those are the things that will bring about a better world.
At the NEA Institute last winter, Ben Cameron talked about how theaters make communities a healthier place. He quoted a study that said high school students who have been in a single play are 42 percent less likely to support racist behavior than those who have not.
If arts were to operate on a purely capitalist model that encourages greater consumerism, it would miss out on its higher calling and the calling that makes it truly relevant and of value to the community.
The money has to be there, but it can't be the reason or the goal. Rather it is the set piece which makes the play possible, not the story itself.
Bloggers We Love
Bridgette Redman and Lansing Theater
Drew McManus' "Neo Classical" at the Partial Observer
Marc Moss (Missoula, MT artist)
Mary Louise Schumacher's "Art City"
Other Great Sites
American Composers Orchestra
Arts & Letters Daily
Center for Arts and Culture
Cultural Policy and the Arts National Data Archive
National Arts Journalism Program
NEA Arts Journalism Institute for Dance Criticism
NEA Arts Journalism Institute in Classical Music and Opera
NEA Arts Journalism Institute in Theater & Musical Theater
New Music Box: American Music Center
USC Annenberg/Getty Arts Journalism Program
AJ BlogsAJBlogCentral | rss
Terry Teachout on the arts in New York City
Andrew Taylor on the business of arts & culture
rock culture approximately
Laura Collins-Hughes on arts, culture and coverage
Richard Kessler on arts education
Douglas McLennan's blog
Dalouge Smith advocates for the Arts
Art from the American Outback
For immediate release: the arts are marketable
No genre is the new genre
David Jays on theatre and dance
Paul Levy measures the Angles
Judith H. Dobrzynski on Culture
John Rockwell on the arts
Jan Herman - arts, media & culture with 'tude
Apollinaire Scherr talks about dance
Tobi Tobias on dance et al...
Howard Mandel's freelance Urban Improvisation
Focus on New Orleans. Jazz and Other Sounds
Doug Ramsey on Jazz and other matters...
Jeff Weinstein's Cultural Mixology
Martha Bayles on Film...
Fresh ideas on building arts communities
Greg Sandow performs a book-in-progress
Exploring Orchestras w/ Henry Fogel
Harvey Sachs on music, and various digressions
Bruce Brubaker on all things Piano
Kyle Gann on music after the fact
Greg Sandow on the future of Classical Music
Norman Lebrecht on Shifting Sound Worlds
Jerome Weeks on Books
Scott McLemee on books, ideas & trash-culture ephemera
Wendy Rosenfield: covering drama, onstage and off
Chloe Veltman on how culture will save the world
Public Art, Public Space
Regina Hackett takes her Art To Go
John Perreault's art diary
Lee Rosenbaum's Cultural Commentary
Tyler Green's modern & contemporary art blog