patron
Here are some brief thoughts about the vocation of artists, and how we might think of the role of patrons in supporting art –
Independent artists typically don’t have a conventional employer, involving a contracted number of hours worked each week for a set wage. Essentially, society is the employer, if it decides that a person’s making art is an important enough contribution that that is how they should earn their living. Their making art is not considered supererogatory, as something that should be done above or in addition to their obligatory contribution of work; making art is sufficient and fulfills this obligation.
Patronage enables art to be made. It affords the time, resources, and livelihood for the artist to work, to bring their artistic potential into actuality. Without patrons, we would not have the inheritance of art we do through figures like Michelangelo or Tchaikovsky. On a smaller but perhaps more relatable scale, patronage in my case helps pay for things like childcare, someone to mind our rambunctious pair of toddlers for a few hours, which affords me time to work on writing or music.
In the past, it has largely been single persons or institutions – royalty, the church, or someone wealthy – that have served as patrons. The new model is crowdfunding as a form of more widely distributed patronage.
This provides an opportunity both culturally and individually to examine the value we place on art. There is a strange way that that value can be represented monetarily; yet because of the way recent technologies like music streaming have been established (with business models oriented around companies rather than the artists), we have adopted a mindset that art isn’t something that needs to be paid for, or only as part of an impersonal subscription to a corporation. To purchase an album we’ve repeatedly enjoyed often doesn’t get so far as an afterthought. Contrast this to the more frivolous spending we’re accustomed to in the form of a $6 latte or $8 craft beer, and we have a good indication of how we prioritize these things financially. Yet this is generally an underlying mentality rather than a conscious decision, so here I’d invite us to rethink how we approach these things.
On the flip side, patronage also gives us a new means to be in relationship with particular artists. In a world that has become so topsy-turvy, we often lack direct ways to participate in a cause, or do so in a way that seems to make an effective difference. Well, here is a direct and effective means to some good end. If after engaging with someone’s work, we can say “I wish there were more of this in the world” – we can help make that happen in a completely person-to-person way. Monetarily it doesn't have to be much, even $1 a month is a significant and meaningful contribution. Becoming a patron also creates a point of connection, fostering depth in engaging with a person’s art.
Lastly, but not least! Sharing someone’s work is free, easy, and one of the best ways to help. With a few clicks or a line of text, we can introduce others to something they may truly benefit from, whether in small or large degree. Sending someone material can be a seemingly simple gesture — yet one often involving the intimacy of friendship and personal knowledge of their taste, and the opportunity for shared rich experience, having art as a common reference point.
I hope these reflections are helpful in the decision to support creative folk. I am grateful for anyone who chooses to support me either through Patreon or Locals, or alternatively by purchasing my music. (To note, Patreon recently announced that they are being forced by the Apple app to pay a fee of 30% on services, which they are graciously passing on to content creators. So, more of your contribution would go to me through Locals, instead of to Apple.)
PayPal: @adamrookmusic