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. Read a sample chapter (Pdf.)

Combining an economic perspective with sociological and historic insights, this book investigates the separation of 'popular' and 'serious' art over a period of almost two centuries. As the boundaries between our perceptions of established art and popular become more porous, Abbing considers questions such as: Who benefitted from the separation? Why is exclusivity in the established arts so important? Did exclusivity lead to high cost, high subsidies and high prices? Were and are underprivileged groups excluded from art consumption and production? How did popular music become so successful in the second half of the twentieth century? Why does the art profession remain extraordinarily attractive for youngsters in spite of low incomes? The book also discusses the evolution of art in the twenty-first century, considering for example how the platform economy affects the arts, whether or not the established arts are joining the entertainment industry, and the current level of diversity in art. Written from the dual perspective of the author as an artist and social scientist, the book will be of interest for cultural economists and academics as well as artists and general readers interested in art.

It is the objective of the series IIMaterials Research and Engineeringll to publish information on technical facts and pro cesses together with specific scientific models and theories. Fundamental considerations assist in the recognition of the origin of properties and the roots of processes. By providing a higher level of understanding, such considerations form the basis for further improving the quality of both traditional and future engineering materials, as well as the efficiency of industrial operations. In a more general sense, theory helps to integrate facts into a framework which ties relations between physical equilibria and mechanisms on the one hand, product development and econo mical competition on the other. Aspects of environmental compati bili ty, conservation of resources and of socio-cul tural inter action form the final horizon - a subject treated in the first ll volume of this series, IIMaterials in World Perspective . The four authors of the present book endeavor to present a comprehensive picture of process modelling in the important field of metal forming and thermomechanical treatment. The reader will be introduced to the rapidly-growing new field of application of computer-aided numerical methods to the quanti tative simulation of complex technical processes. Extensive use is made of the state of scientific knowledge related to materials behavior under mechanical stress and thermal treat ment."

Is art for everybody? Why do art lovers attach so much value to authenticity, autonomy and authorship? Why did the arts become so serious in the first place? Why do many artists reject commerce and cultural entrepreneurship? Crucially, are any of the answers to these questions currently changing? Hans Abbing is uniquely placed to answer such questions, and, drawing on his experiences as an economist and sociologist as well as a professional artist, in this volume he addresses them head on. In order to investigate changes in the social economy of the arts, Abbing compares developments in the established arts with those in the popular arts and proceeds to outline key ways that the former can learn from the latter; by lowering the cost of production, fostering innovation, and becoming less exclusive. These assertions are contextualized with analysis of the separation between serious art and entertainment in the nineteenth century, lending credence to the idea that government-supported art worlds have promoted the exclusion of various social groups. Abbing outlines how this is presently changing and why, while the established arts have become less exclusive, they are not yet for everybody.