From struggling academics, to struggling artists. The New York Times started a blog titled Attention Artists!, on the recession’s impact on artists. So far, responses have been surprisingly sanguine, ranging from “I am completely adapted to being satisfied from my work and my work alone,” to “I think that the recession is making people understand the intrinsic and real value of art.” Some artists wax lethargic about their financial woes. But a more characteristic comment would be this: “The sick economy, combined with the collapse and confusion of the corporate music business, has actually been good for those of us who have existed on the fringes for years.”
Artists may be blessed with strong survival skills, especially in the putting-a-brave-face-on-misery department. Or is this a form of “false consciousness” (to dust off another half-forgotten thinker who is suddenly back in vogue)? How realistic is this new silver-lining discourse?
The idea that art-market busts are good because artists can “take over the factory, make the art industry their own” and “daydream and concentrate” was given an airing in February by Holland Cotter in New York Times in a manifesto-esque article,“The Boom is Over. Long Live Art.” Lots of people who make their living in the art world took note, and some felt the critic may have missed the point. At this stage in history, must art’s credibility depend on proof of human suffering and absence of commercial success? “Certainly, the excesses of the art world were alienating,” observed Alexandra Peers, an ArtworldSalon friend, in a riposte to Cotter in New York magazine. “But there’s Schadenfreude in the argument that bad times are good for the naughty, naughty art world.”
So which is it: An outbreak of gooey-eyed Romanticism? Or a sober reckoning with tough but healthy new realities?