In Praise of Commercial Culture (Hardcover)

~ (Author) "Art markets consist of artists, consumers, and middlemen, or distributors..." (more)
Key Phrases: many cultural pessimists, market for the written word, literary commercialization, The Wealthy City, The Arts, Market Economy (more...)

Editorial Reviews

From Library Journal

When you admire a poem, painting or piece of music, do you wonder how these "works of art" came about? To answer this question, Cowen (economics, George Mason Univ.) examines the relationship of artists through history to the market forces that helped foster them. Not every artist was supported by a Medici or a Rockefeller, but Cowen argues that capitalism's support of culture can be traced far back. He uses as his example the invention of the printing press, which in a remarkably unsupportable conjecture he maintains "paved the way for classical music" by enabling composers to record their notes mechanically and sell their sheet music. Unfortunately, in this discussion he totally discounts the importance of engraving by hand, and his examination of music centers mostly on composers and practically ignores the musicians. Cowen's book at least gives weight to the ongoing arts debate by citing the worsening plight of artists. But he doesn't relate this point to his general thesis, and his book reads too much like a textbook, with patches of lifeless prose, mountains of statistics, and forests of footnotes. One can almost hear the undergraduates groan. For larger academic libraries.ARichard S. Drezen, Washington Post News Research Ctr., Washington, DC
Copyright 1998 Reed Business Information, Inc.

Review

In Praise of Commercial Culture is a profoundly important book: In a historical moment when even socialists grant the efficiency and efficacy of markets in delivering a dizzying array of goods and services to people (and an increasing number of conservatives lament the same), there is still a great deal of resistance to applying a similar analysis to the production and consumption of culture.... Cowen's book is a seminal effort toward understanding that cultural matters, like other forms of human activity, benefit greatly from the decentralization, innovation, and feedback mechanisms endemic to market orders. -- Reason, Nick Gillespie

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Product Details

• Hardcover: 288 pages
• Publisher: Harvard University Press (May 26, 1998)
• Language: English
• ISBN-10: 0674445910
• ISBN-13: 978-0674445918
• Product Dimensions: 9.4 x 6.4 x 0.9 inches
• Shipping Weight: 1.2 pounds (View shipping rates and policies)
• Average Customer Review: 4.7 out of 5 stars  See all reviews (7 customer reviews)
• Amazon.com Sales Rank: #564,271 in Books (See Bestsellers in Books)

Customer Reviews

Most Helpful Customer Reviews

13 of 14 people found the following review helpful:

5.0 out of 5 stars Excellent Account of How Markets Promote Diversity In Art, July 27, 2001

By	Michael D. Mallinger (Woodbridge, VA USA) - See all my reviews (REAL NAME)

This review is from: In Praise of Commercial Culture (Paperback)

"In Praise of Commercial Culture" is Cowen's attempt to demonstrate that capitalism and economic growth promote, rather than squelch, individual creativity through artistic expression. In it, he provides a detailed history of the origin and development of markets for literature, painting, sculpture, and music. Throughout the book, he focuses on both pecuniary and non-pecuniary incentives that markets create for individuals to challenge prevailing artistic sentiments and express their creative energies in new and unique ways.

He begins his economic analysis of art markets by stating that the creation of wealth enables people to address their aesthetic interests. Specifically, markets enable artists to free themselves from both the desires of wealthy patrons and the need to satisfy mainstream tastes. This enables outsiders who stand to gain little by appealing to mainstream conventions to take risks and establish new cultural ideas. He gives a number of examples of how members of ethnic minorities managed to break color barriers by creating new genres of music.

In the area of books and literature, he asserts that the decentralization of editorial and financial decision-making enabled the number of publishers to skyrocket. He points out that small independent and university publishers can flourish in a commercial society by gathering capital for little-known authors who operate outside of popular spheres. He states that it has become more and more difficult for a small group of authors to dominate the attention of readers. He responds to the accusation that literary diversity diminishes fame-based incentives for authors by explaining that markets tend to increase the quantity of fame available to everyone over time. As a result, the quantity and quality of literature available to the public also increases over time.

Cowen responds to critics from across the political spectrum. He deconstructs arguments brought against capitalistic art by neo-conservatives, religious leaders, neo-Marxists, feminists, multiculturalists, artists, and surprisingly, some libertarians. He explains that members of each group fear culture because it can produce rapid changes in people's worldviews. As unregulated culture cannot be controlled, people who have a vested interest in preserving certain ideas tend to oppose it. Thus, people who work in politics must limit human creativity to stay in power.

Although his defense of government as a limited entrepreneur in the cultural market will rankle some readers, Cowen's account is a lively historical view of how markets reward individual creativity. Like Samuel Johnson, he praises the ability of markets to enable artists to turn their passions into livelihoods. He presents an effective critique of arguments that favor heavy government involvement in the artistic realm. Most importantly, he demonstrates why individuals should look forward to enjoying high quality artwork for years to come.

4 of 4 people found the following review helpful:

5.0 out of 5 stars Concise and convincing argument for the cultural marketplace, June 12, 1998

By	Laurence Jarvik "laurencejarvikonline" (Washington, DC USA) - See all my reviews (REAL NAME)

Tyler Cowen has done an outstanding job of making the case for free competition in cultural pursuits. Culture and commerce are revealed not as antagonists, but as complementary. The tension between them enriches both. Stands the Marxist cultural critique on its head. Must reading for anyone seriously interested in what has come to be called the "culture war."

6 of 7 people found the following review helpful:

5.0 out of 5 stars A stylish, intellectual tour de force, May 29, 1999

By A Customer

What is quite extraordinary about Tyler Cowen's book is not his sohphisticated understanding of economics (one expects that), or even his ability to put across difficult problems clearly, but the breadth of his knowledge about art and music. The book is indispensable to anyone who claims an interest in arts policies.