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The artist’s experience of being inside art institutions, starting from the effort made to be accepted in order to develop one’s art practice, then the experience of going through them, and while in them, the many ways of having to learn how to be inside. This will in several ways inform the development of an artist’s practice, for the good or for the bad. Making this publication has been an attempt at recognizing and dealing with, rather than avoiding, the tensions that exist in the relationship between artists and art institutions at a time when most art institutions themselves are under the pressure of austerity-politics.
Art --- 373.67 --- proefschriften --- kunst en economie --- kunstenaarspraktijk --- musea --- culturele instellingen --- kunstinstellingen --- cultuursector --- praxis --- kunst en politiek --- tentoonstellingen --- onderzoek --- artistiek onderzoek --- onderzoek in de kunsten --- kunstenaars --- museologie --- kunstfilosofie --- kunstkritiek --- kunsttheorie --- 7.01 --- Artiste --- Institution artistique --- Politique culturelle
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75.07 --- 7.07 --- Schilderkunst ; 2012-2016 ; Ivan Grubanov --- Grubanov, Ivan °1976 (°voormalig Joegoslavië) --- Kunst en politiek ; 21ste eeuw --- Doctoraat in de kunsten ; KULeuven en LUCA Faculteit Kunsten --- kunst --- 75.01 --- schilderkunst --- kunsttheorie --- 75.071 GRUBANOV --- 75.039 --- kunst en politiek --- migratie --- onderzoek in de kunsten --- doctoraat in de kunsten --- Schilderkunst ; schilders --- Kunstenaars met verschillende disciplines, niet traditioneel klasseerbare, conceptuele kunstenaars A - Z --- Theses --- Political philosophy. Social philosophy --- National movements --- Art --- nationalism --- Grubanov, Ivan
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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.
kunst --- twintigste eeuw --- economie --- kunst en economie --- kunsttheorie --- esthetica --- cultuurfilosofie --- kunstenaarsstatuut --- kunstmarkt --- subsidies --- mecenaat --- politiek --- kunst en politiek --- 7.01 --- kunstenaarschap --- -#SBIB:316.7C333 --- 621 Kunstbeleid --- 623 Kunstenaars --- artists --- Socioeconomic status --- 7 --- Art --- -Artists --- #SBIB:316.7C310 --- #SBIB:35H436 --- #A0212A --- 7 Kunst. Ruimtelijke ordening. Architectuur. Sport en spel --- Kunst. Ruimtelijke ordening. Architectuur. Sport en spel --- Art, Occidental --- Art, Visual --- Art, Western (Western countries) --- Arts, Fine --- Arts, Visual --- Fine arts --- Iconography --- Occidental art --- Visual arts --- Western art (Western countries) --- Economic aspects --- Economic conditions --- Kunstenaars --- Cultuurbeleid: algemeen --- Beleidssectoren: welzijn, volksgezondheid en cultuur --- Theses --- Artists --- #SBIB:316.7C333 --- art criticism --- cultuursociologie --- kunstbeschouwing --- Business policy --- Service industry --- Economic aspects. --- Economic conditions. --- Artistes --- Social conditions --- Aspect économique --- Conditions sociales --- arts --- economics --- Economic theory --- Arts --- Social sciences --- History. --- Behavioral sciences --- Human sciences --- Sciences, Social --- Social science --- Social studies --- Civilization --- Political economy --- Economic man --- culture and instituten --- kunst en kunstgeschiedenis --- culture and institutions --- historical treatment of fine and decorative arts
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