The Government Serves Art

Opinions on Government Support for the Arts

Alex asked some friends why they think the government supports the arts. Paul, a composer of contemporary ‘classical’ music, observes “I don't think there would be modern music without government aid”. When I remind him of the existence of pop music he is embarrassed. He probably wanted to say that pop music is not real music, but he doesn't. Instead he talks about the great classical tradition. “I think it is absolutely necessary that it continues. And consistent renewal is the only way. I strongly believe that in the long run innovation is in everybody's interest. But even those who love classical music do not seem to be that interested. I hate to say this, but people don't even know what's good for them. And so the government has to take responsibility. And not supporting or not supporting music enough is not only shortsighted; it's also extremely unfair. Even with subsidies I earn very little and so bear a large part of the costs of my own artistic work. Without any support, artists like me would carry the full burden of the costs of the little innovation that still remains. I think it would be very unfair to stop subsidization.”

Peter is a visual artist who works in the ‘fringe’ avant-garde circuit. He just manages to eke out a living and continues to make his art because of the availability of all sorts of small subsidies. As long as he can do his own thing, he doesn't consider his low income as unfair. “It is the price I pay. But I do think society should also pay a price. Art comments on society and has values that are independent of market value. I think it's the duty of artists to offer critical commentaries through their art – also on the influence of the market and the role of money in society. But one cannot expect people to pay for painful comments. Therefore, society should furnish a free haven for art outside the market.” For Peter this is the raison d’être of subsidization. “If subsidization were stopped, art would become overwhelmingly commercial and lose its sting. In the end, society would emerge as the real loser.”

Anna is an art administrator. As a civil servant she worked for a government body that issues subsidies to artists. Now she is running an art festival, which is almost solely funded by the government. “I must stress how disastrous stopping subsidization would be for the arts and for society at large. Entire aspects of culture would just disappear. I think there would be no serious theatre and music left. This must never happen. It is in the interest of society that the arts flourish. This applies to traditional art just as much as to modern art. It is my viewpoint that society's willingness to let the government support the arts reflects the degree of it's civilization. And talking about civilized people, I must add two things. Firstly, the government has a duty to help poor artists, and, secondly, it must see to it that art is accessible to the poorest of its citizens. High prices for performances and museums are an assault on humanity. I really want to emphasize that subsidies should keep art affordable for everybody.” Alex objects at this juncture and points out that low prices do not stimulate the attendance of low-income groups. “You are absolutely wrong,” she says. “I personally know several people with little education and very little money, who attend classical theatre and music. And above all, it is the principle that counts.’’

Martin owned a number of factories that produced a certain brand of dairy products. He retired early. Now he collects art and he goes to concerts. He loves the opera above all. “It's a pity I did not discover art earlier. I would loved to have set up a visual art collection owned by my company and bearing the company name. Modern art, of course. But paintings that could be appreciated by my employees. It is not impossible, you know. About your question: I've changed my mind about subsidies. I'm now on this committee to recruit donors for the National Opera. Do you know how much a visit to the opera costs? At first I could not believe it myself. It's about twenty Euros per ticket. But actual costs would make the price around four hundred Euros. ¹ It could be even more if you consider the many free tickets – I get free tickets, of course. So you can work it out; without subsidies, prices would have to be raised by about two thousand percent. Nobody, well, hardly anybody could pay those kinds of prices. We are trying to get more private donations. But it is more difficult than I expected. We will increase our revenues by about one or two percent, but not more. Without subsidies, the opera would disappear or it would become an extremely elitist affair.” Alex adds that in his opinion it is already an elitist affair. “Oh no, think of all the students who come. And you know who I saw there last time? Auntie Sien from the Jordaan; she cleans my house.” (The Jordaan is a former working class neighborhood in Amsterdam.) “Well of course, she's an exception. In general, people have no idea how much they could benefit from the arts. People must be educated. Therefore, art should be affordable. But I tell you, if I were still in business, I would really hang my Rob Scholte paintings in the canteen. We can't leave everything to the government. We should all contribute to the good cause.”

Jonathan – Alex's personal favorite – works in the bakery around the corner. Alex happens to know that he occasionally goes to one of those mega-pop concerts that take place in football stadiums. But other than that, Alex never noticed that he was much interested in art. “Art? That's for rich people,” he says. “Well, not for all rich people, of course. Some go in for different stuff. But I think the queen and the people around her like art, and the ministers too. And all those people who live along the canals and in the Concertgebouw area, I am sure that most of them fancy art.” (The Concertgebouw area is an upscale neighborhood in Amsterdam next to the well-known concert hall.) “And I can tell you that those people have their ways. Yeah man, they know how to get stuff cheap. Well, maybe not cars and horses, but something like culture; that's easy for them. All these people know each other. And they have friends in the government. Actually I can't blame them. It's only natural. Everybody tries to get the best. They happen to get a little bit more. But I don't care.”