Author: Schuman, William and Stevens Roger L.

Publication Year: 1978

Media Type: Book

Summary:

Includes two independent essays which are both commented on by three discussants. Mr. Schuman made several major points. And in this way, Mr. Schuman summarized the plight of many creative artists. By doing so, he did not ignore the importance of balancing expense an income; rather, he emphasized the interdpendence of artistic output and economic support.

Abstract:

Includes two independent essays which are both commented on by three discussants. Mr. Schuman made several major points. And in this way, Mr. Schuman summarized the plight of many creative artists. By doing so, he did not ignore the importance of balancing expense an income; rather, he emphasized the interdpendence of artistic output and economic support. The second point focused on the fact that, while fame and fortune have come to some artists, only the former has come to others - and that depended largely on the particular branch of an art chosen by the artist, e.g., poetry rather than prose or the composition of symphonies rather than pop music. His third point was that America, contrary to popular opinion at home and abroad, has become a world leader in the training of artists and in the excellence of their work.

Mr. Stevens approached the matter from the standpoint of cost-benefit analysis, i.e.

1. What must we expend in the form of subsidies? and
2. What benefit can we expect?

In seeking answers he observed that our nation is materially more affluent than any other in history, yet we are no happier. So it is the quality of our lives which most urgently needs attention, and that is precisely where the arts can be most beneficial. But we are poorly prepared to either understand that or appreciate the arts due to the failure of our educational system to foster appreciation of the arts. In addition to advocating attention to the quality of life, Mr. Stevens argued for greater subsidization of the arts as a means of enhancing our nation's role as an international leader.

Feeling that the case for subsidies was made, Mr. Stevens turned to the sources of support.

Here he argued for multiplicity, i.e. government (at all levels), foundations, business, and individuals. Thus no one group could dominate and freedom for the creative artist would be enhanced (unlike the situation in totalitarian societies). However, despite considerable growth in support in the last decade and a half, inflation and the pressures from artists' unions continue to produce large deficits and severe economic pressures. So the challenge is a great one, especially so since, in Mr. Stevens' words, np great democracy has ever lasted long enough to produce a high culture. He concluded by remarking that, as the oldest democracy in the world, it is up to America to prove that observation wrong.

While sympathetic to the points made in favor of subsidization of the arts, Professor Baumol and Dean Netzer raised some major substantive issues. Thus, Professor Baumol observed:

1. While economic support for the arts contributes to easing the material condition of the artist, it does not in itself produce creativity or excellence;
2. creativity is not exclusive to artists, nor is inadequate compensation (witness the case of physicists), but they can earn a living by teaching while continuing their work;
3. subsidization of symphonic orchestras, opera companies etc. seems somehow odd when their audiences are typically drawn from the most affluent and best-educated segments of society; and
4. it seems peculiar to bemoan the treatment of the arts in America when the is now in fact the world center of creativity in a multitude of arts fields.

In the last connection, the multiplicity of sources of support for the arts in the is probably a major contributor to creativity, for it prevents the establishment of an official taste.

Dean Netzer pointed out that the real issues are:

1. How badly off are the several types of arts producers vis-a-vis the rest of us? and
2. What damage flows from a failure to resolve the economic problem of the arts?

With respect to the first, we see that all the arts are not equally badly off, and that some of the problems are the doing of the artists themselves. Further, subsidization has grown greatly in the , and the outlook is for moderation in its future growth.

CONTENTS
Foreword by Abraham L. Gitlow.
The esthetic imperative by William Schuman.
Economic pressures and the future of the arts by Roger L. Stevens.
Discussant - William J. Baumol.
Discussant - Dick Netzer.
Discussant - David Oppenheim.

Arts & Intersections:

Categories: Creative Economies