How Do I Get an Arts Sponsorship?

We hope to borrow this book to inspire and lead our attention to the current state of art sponsorship in China.

Sponsor art

"Gabor is a kind of erudite generalist. She can always take the ordinary and ordinary things to the level of metaphysics. In her new book, Gabor uses extraordinary talent and talent to tell the reader a root Based on the theme of our daily life. Wandering in every unexpected corner from high-end culture to low-end culture, freely to capture unknown but justified illustrations, Gabor proved creative art How important sponsorship is. "
Michael Holquist, Professor of Honor of Yale University "Marjorie Gabor's strokes are elegant and straightforward, which makes her words brilliant." Sponsoring Art "can be regarded as the most elegant style of Gabor writing. Representative. "
David Damrosh, Columbia University's "Gabber's book is impressive. It is a fascinating and compelling book for artists, critics, journalists, scholars, and art-savvy readers. Wise book. "
Peter Cohen, University of Pennsylvania

Preface Chapter 1 Paradox of Sponsorship Chapter 2 Government Sponsorship Chapter 3 Thinking about the Commercialization of Art Chapter 4 Art or Science Chapter 5 University as a Sponsor

Foreword In the United States today, people's "sponsorship" for the cause of art is twofold. On the one hand, foundations, businesses, universities, and private donors often give it financial support. On the other hand, this condescending "Alms" also makes art underestimated. In some people's view, the art career has become an entertainment and not a serious job. This is nothing new. This situation has changed little in the past few years.
Next, I want to point out that these two kinds of "patronizing" are not only related, but also intertwined and inextricably linked. The art sponsorship system leads to an underestimation of the value of artistic creation and performance. It is also harmful that people have combined "creative art" with aesthetic transcendence, and no longer evaluated it according to traditional academic standards. As a result, its value has been overestimated.
In my opinion, this tendency to overestimate and underestimate the value of art is both irresistible and dialectical. For its part, this does not constitute a problem, because people are bound to solve it and can solve it. It is better to say that this is the situation of art today, and the reason for this situation is that it is not related to the art cause (whether it is painting, poetry, theater, or architectural design), not progress, reason, logic, and benefit The original intention of society is possession, materiality, taste and desire. But no matter whether art "makes the world better" or "makes us better people" in a mysterious, secular, cultural or ethical sense, works of art and artists have become market economies and libido economies ( libidinal economy). The relationship between these two areas forms the core of the patronage problem and the patronizing problem with two meanings.
As far as the underestimation of artistic value is concerned, I mean that art has become an incidental recreational activity, and it has become a provision for so-called real hard work such as economic, political, medical, physical or commercial activities. In this way, whenever the school budget is not enough, the first thing to cut off is art or music. No one thought of canceling the science or history class. In these cases, art is despised for being regarded as something of no value to the "real world". On the other hand, when assessing the value of art and works of art, an overestimated attitude raises another problem. Some people think that this is beyond the scope of ordinary experience. Art work (including works of art and artistic creation) is too noble to perform general appraisals and evaluations-in their words: art is "priceless."
This attitude seems to be quite similar to the situation of "beautiful in the eyes of a lover" described by Freud, which he considers to be a typical feature of falling into love. He wrote, "When it comes to being loved, the overestimation of the opposite sex always impresses us. In fact, the person being loved is not to be blamed to some extent. Compared to someone who is not loved His personality characteristics have been overestimated. "Here, Freud's" object "is a" loved object ", not an" object ", but I think the emotional tendencies are the same. Let s make a comparison: humorist Gelett Burgess famously said, I do nt know anything about art, but I know what I like, and Lord Potter Stewart (Stewart), when talking about naked pornography, said, "I know it as soon as I see it," and obviously, the two claims have the same meaning.
We will find that when we compare art and science and explore their implications for the artistic value of modern civilization, those who believe that art and love are related to etymology and real life in the sense of amateurism (amateur ) Related views have adversely affected the concept of art as a profession. Since the Romantic period, an idea has been transmitted and developed in some areas: being an artist is a chore, and pain, including economic embarrassment, is a testing ground to test the true artist and his sense of professional mission. Affected by this belief, some people claim that if artists do not suffer and do not succeed through competition, their art will be devalued, and then providing them with subsidies is actually reducing the level of art. So despite our culture cherishing museums, art collections, professional theaters and ballet companies, people are still somewhat opposed to treating art creation as a job, and against opening this profession in colleges or universities.
A survey conducted by the Urban Institute cited statistics stating that there is a so-called "American paradox", that is, although 96% of Americans say that art makes them "inspired" in life, Art is "highly valued", but only 27% "think that artists have made a" significant "contribution to the improvement of society." It is worth noting that this "American paradox" is related to two factors. If people don't see contemporary art as a "career" or artistic creation as a "work", then (perhaps it should be said, then) those who are identified as art by patrons, collectors, curators and critics Things become the object of desire and appraisal. Critics have invented a number of extraordinarily gorgeous words to comment on these current things, saying that they are "great", "universal" and "immortal." The antonyms of these terms, if they have antonyms, are used to describe the artistic work carried out under certain conditions of production and consumption, that is, the materiality of artistic work. To regard art as something extraordinary, means that art has nothing to do with experiment, operation, rehearsal, rewriting, error, correction and reconstruction, that is, art has nothing to do with academic, scientific, commercial, etc. While people regard art as the "born thing", they also ignore the mundane aspects of art creation.
However, the training and sponsorship of artists is a serious and time-consuming undertaking, and usually requires a lot of expense, because the undertaking involves space, materials, equipment and personnel, which can often be Under the taboo word "resources". However, for today's artists or any group, if anyone still has a serious belief in art, then they must not only know about various art activities (acting, film, video, photography, installation, music, dance, Performance, drama) are intertwined with each other, and it is also necessary to understand the supply of art, and more precisely, how to provide important resources such as space and materials (such as studios, dance classrooms, venues for performances or installations).

Even today, when companies, venture capitalists, government agencies, and art lovers compete to fund art, and when publicity, compliments, and fame and fortune become regulars in the art market, it is still difficult to guarantee that sponsors and sponsors will not scorn each other , Will not overestimate or underestimate each other's value. But what I want to prove is that although this contempt is inevitable, it is ultimately beneficial. This is a starting point. It is an arena that has achieved fruitful results through fierce debates. It is a test of various analytical research, observation and commentary, and even cultural activities (whether the activities here are interviews, installations, exhibitions or academic papers) Showing) what went wrong.
The appearance of those who I will call "visual intellectuals" and related artists in the fields of performance, music, and other emerging arts provides a window in time to show that every intersection from academia to public life exists Seriousness and universality of artistic creation. Interested donors in art venues, universities, curators, and the public and private sectors should see this moment as an opportunity and a challenge. In the field of public culture, among students, as well as in business and celebrities, if people can realize the central role played by art and artistic creation in the education of complex social civilizations while gaining huge benefits, then they will have a strong Motivate to work together to take advantage of this node. Dedicated and knowledgeable parties will combine these elements to create artistic projects and works that cannot be completed by themselves.
If people's goal is to design and implement an unsponsored sponsorship model for artistic activities at all levels, then artists must have the opportunity to speak and comment in the process of dealing with their sponsors, regardless of whether the sponsors are funding providers , Fund manager, exhibition sponsor, theater manager, art collector, audience, employer, peer, or fan. Because we need to understand how the interaction between patrons and artists, production and consumption, art and science, excellence and practicality, theory and practice becomes part of the cultural dialogue, and how each of them complements and interrupts And challenge the other.