The commodification of art navigates a delicate balance between artistic autonomy and economic influences. However, following government cutbacks, cultural institutions in the Netherlands were told to raise more money in the private sector, among other ways through philanthropy. This then constituted a further commodification of the arts. This thesis investigates the effects of this shift through interviews with fundraisers of museums and theatres; answering the question: How do fundraisers handle the clashing logics of economy and art in the case of cultural philanthropy? It finds that by structuring philanthropy as a practice based on social relationships and trust, institutions frame the exchange as a gift. However, the gifting is formalized and institutionalized according to the characteristics of market transactions. I call the practice ‘institutionalized’ gifting. As such, gifting is adopted into a market logic without losing the relational characteristics. The commodification then follows ‘differentiated ties’ characteristics: each source of funding comes with distinct social codes and legitimizing narratives. With philanthropy, the codes concerning autonomy are stricter because private money is involved. Strong boundaries are drawn between economic and artistic processes; influence by patrons on economic processes is welcomed and influence on artistic decision-making is rejected. These processes help institutions to protect the ideal of autonomous art and by extension their reputation. With these boundaries in place, economic and artistic logics are not seen as opposites, but as logics that can exist side-by-side. Still, increasing dependence on philanthropy in the future can upset this balance, it must thus be closely monitored.

Onderwerpen: 2020-heden filantropie

Auteur: Olga van den Brandt MA