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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.

Most artists earn very little. Nevertheless, there is no shortage of aspiring young artists. Do they give to the arts willingly or unknowingly? Governments and other institutions also give to the arts, to raise the low incomes. But their support is ineffective: subsidies only increase the artists' poverty. The economy of the arts is exceptional. Although the arts operate successfully in the marketplace, their natural affinity is with gift-giving, rather than with commercial exchange. People believe that artists are selflessly dedicated to art, that price does not reflect quality, and that the arts are free. But is it true? This unconventional multidisciplinary analysis explains the exceptional economy of the arts. Insightful illustrations from the practice of a visual artist support the analysis. - Kunstenaars verdienen vaak weinig. Toch is er aan jonge kunstenaars geen gebrek! Nemen zij het beperkte financiële gewin voor lief of weten zij niet beter? De overheid levert een bijdrage om de lage inkomens te compenseren, maar door subsidies lijkt de armoede onder kunstenaars slechts toe te nemen. In deze onconventionele en multidisciplinaire studie analyseert fotograaf, schilder en econoom Hans Abbing de uitzonderlijke economie van de kunsten: wijden kunstenaars zich geheel belangenloos aan hun werk, of laten zij zich wel degelijk leiden door economische motieven.

Most artists earn very little. Nevertheless, there is no shortage of aspiring young artists. Do they give to the arts willingly or unknowingly? Governments and other institutions also give to the arts, to raise the low incomes. But their support is ineffective: subsidies only increase the artists' poverty. The economy of the arts is exceptional. Although the arts operate successfully in the marketplace, their natural affinity is with gift-giving, rather than with commercial exchange. People believe that artists are selflessly dedicated to art, that price does not reflect quality, and that the arts are free. But is it true? This unconventional multidisciplinary analysis explains the exceptional economy of the arts. Insightful illustrations from the practice of a visual artist support the analysis.

Most artists earn very little. Nevertheless, there is no shortage of aspiring young artists. Do they give to the arts willingly or unknowingly? Governments and other institutions also give to the arts, to raise the low incomes. But their support is ineffective: subsidies only increase the artists' poverty. The economy of the arts is exceptional. Although the arts operate successfully in the marketplace, their natural affinity is with gift-giving, rather than with commercial exchange. People believe that artists are selflessly dedicated to art, that price does not reflect quality, and that the arts are free. But is it true? This unconventional multidisciplinary analysis explains the exceptional economy of the arts. Insightful illustrations from the practice of a visual artist support the analysis.

Most artists earn very little. Nevertheless, there is no shortage of aspiring young artists. Do they give to the arts willingly or unknowingly? Governments and other institutions also give to the arts, to raise the low incomes. But their support is ineffective: subsidies only increase the artists' poverty. The economy of the arts is exceptional. Although the arts operate successfully in the marketplace, their natural affinity is with gift-giving, rather than with commercial exchange. People believe that artists are selflessly dedicated to art, that price does not reflect quality, and that the arts are free. But is it true? This unconventional multidisciplinary analysis explains the exceptional economy of the arts. Insightful illustrations from the practice of a visual artist support the analysis.