Art doesn’t play by conventional economic rules, argues Dutch economist and artist Hans Abbing in “Why Are Artists Poor?: The Exceptional Economy of the Arts.”

Art isn’t valued like typical commodities.
Art workers aren’t treated like other workers. Being an artist is similar, though, to being a small business owner — except that most small business owners have business plans, and know when to cut their losses.
Artists usually self-subsidize their practices, yet what most often makes artists stand out is their commitment to developing new work over the years. Like a Jenifer Wofford recently blogged, being an artist sometimes feels like a game of attrition — whoever sticks around long enough, whoever can still develop while forfeiting a salary and stability, wins.

But art is valued exceptionally, which inspires rare generosity. For example…

FRED went out on a limb to support my work for this year’s festival. They hadn’t heard of me and didn’t know anyone who could vouch for me (the “vouch” is important, not for cronyism, well, only, but because the terms “art” and “artist” are so unsanction-able; i.e., “artist” can refer to hobbyists and professionals alike), but they believed in my project. For the opportunity to realize my soft sculpture for FRED, I’m thankful.

When we made contact in England, Rico, my host in London, was a friend of the aforementioned Wofford. Without hesitation, Rico opened his home for a fellow artist. These days I would count him as a friend, and I’m grateful for his openness and hospitality.

I am also grateful to photographers who contribute art documentation to artists. Tony West shot brilliant photographs of my work for the FRED Festival. His excellent photos are vast improvements in my art documentation. I am so thankful to Tony West for sharing his photographs with me. Please check out Tony’s site. I am especially amazed with his landscapes. He’s a truly agile photographer, and you wouldn’t believe how quickly he works.