Author: Adizes, Ichak

Publication Year: 1973

Media Type: Report

Summary:

It is generally recognized that the problems of operating artistic institutions are very different from those encountered by the managers of commercial enterprises; and that the arts operate under such a financial handicap in the free market that it is difficult for them to survive without public support. But the reasons for these differences are rarely considered in a systematic manner. This paper attempts to analyze the factors that make it difficult for artistic organizations to flourish in the open market.

Abstract:

It is generally recognized that the problems of operating artistic institutions are very different from those encountered by the managers of commercial enterprises; and that the arts operate under such a financial handicap in the free market that it is difficult for them to survive without public support. But the reasons for these differences are rarely considered in a systematic manner. This paper attempts to analyze the factors that make it difficult for artistic organizations to flourish in the open market.

These factors can be conveniently broken down into two categories: there are certain financial handicaps inherent in the nature of artistic purposes and goals as distinct from commercial goals, and these are here called teleological differences; and there are other handicaps inherent in the mode of production, which are here called technological differences. It will be argued that the handicaps imposed by these combined pressures are so stringent that the arts, in order to function properly, should have a much more thoroughgoing sort of public support than that which they now receive; and some suggestions will be made concerning the optimal relationship between the arts and public support. (Introduction, p. 2).

CONTENTS
Introduction.

Part 1. Teleological differences: 

1. Finding an audience.
2. Expanding an audience.
3. Keeping an audience.

1. Baumol's disease.
2. Limited audience.
3. Unpredictability.
4. Commitment to concepts.
5. Matching supply and demand.
6. Limited production.

Part 3. Conclusion.

Arts & Intersections:

Categories: Funding