Prof. dr. Helleke van den Braber has been appointed professor of Patronage Studies from 1 January 2020, on behalf of the Geef om Cultuur Foundation. The chair is housed in the Department of Media and Cultural Studies.

Patronage studies

The interdisciplinary field of Patronage Studies examines gift relationships between artists and cultural institutions on the one hand, and benefactors on the other. Patronage is a game of give and take that has its own rituals, ideals, taboos and sensitivities. The Chair of Patronage Studies was established to map and interpret this complex cultural practice.

With its focus on patronage and cultural finance, the chair covers a wide range of themes: cultural participation, heritage, citizenship and identity in broad cultural-historical, political and socio-economic perspectives.

Research

The research conducted from the Chair of Patronage Studies assumes the following basic dynamics of the patronage relationship: there is a benefactor facing an artist, and they work together – in reciprocal exchange and interaction – to make, present or distribute art. The study of patronage revolves around the question of exactly how this reciprocal exchange works. That question does not stand alone, but builds on two underlying questions: what is art (worth) to us? and what makes (the creation of) art possible?

The chair sees patronage as a cultural practice. The research is therefore not limited to research on givers and receivers, but also focuses on questions around concepts such as value, profit, identity, legitimation, inclusivity and exclusivity.

Principles

The chair starts from the idea that patronage is all about making art possible (by trial and error). Based on this view, the chair works with four principles in its research.

Principle 1: Patronage research focuses on all dimensions of patronage practice. It focuses on the patron, or donor, ‘friend’ or crowdfunder; on the artist or cultural organisation; on the impact that their interaction has on the work of art (or that which is shown, played or presented), and on how all this is connected.

Starting point 2: Patronage research starts from the idea that patronage relationships are reciprocal. Both parties invest, and both parties benefit. In this exchange, giver and receiver seek balance. The work of art plays a mediating, but sometimes polarising role in this.

Principle 3: The relationship between patron and artist is rewarding and fruitful, but at the same time fraught and precarious. Givers and receivers have both much to gain and much to lose in their relationship. The exchange they make with each other can succeed, but – history teaches us – it can also fail.

Principle 4: What needs to be investigated is how both parties, past and present, manage to make their attempts at exchange and the ensuing skirmishes productive.