TY - JOUR

T1 - The Artists’ Critique on Crowdfunding and Online Gift-Giving

AU - Dalla Chiesa, Carolina

N1 - Publisher Copyright: © 2021 The Author(s). Published with license by Taylor & Francis Group, LLC.

PY - 2021/12/20

Y1 - 2021/12/20

N2 - Crowdfunding is known as a funding solution for creative projects. Creators and business ventures consider crowdfunding as an outlet for promoting creative projects and raising funds. The literature and the media coverage overemphasized its benefits without taking into account key limitations for specific sectors. Based on exploratory, qualitative data gathering, this article investigates what artists expect from crowdfunding and what results from their successful engagement with this funding model. The findings organized in three sequential moments (pre-campaign, during and after) revealed that artists see crowdfunding as a contingent funding resort when other preferred methods are unavailable (subsidies, sponsorship, or labor market opportunities). While expecting to enter markets, artists remain restricted to their social networks, thus reaching successful, yet low funding targets. Artists report that the “investments” in their work resemble gift-giving practices of a costly nature. We interpret these findings as the result of a relative difficulty to reach out to other audiences and match one’s expectations with this funding model.

AB - Crowdfunding is known as a funding solution for creative projects. Creators and business ventures consider crowdfunding as an outlet for promoting creative projects and raising funds. The literature and the media coverage overemphasized its benefits without taking into account key limitations for specific sectors. Based on exploratory, qualitative data gathering, this article investigates what artists expect from crowdfunding and what results from their successful engagement with this funding model. The findings organized in three sequential moments (pre-campaign, during and after) revealed that artists see crowdfunding as a contingent funding resort when other preferred methods are unavailable (subsidies, sponsorship, or labor market opportunities). While expecting to enter markets, artists remain restricted to their social networks, thus reaching successful, yet low funding targets. Artists report that the “investments” in their work resemble gift-giving practices of a costly nature. We interpret these findings as the result of a relative difficulty to reach out to other audiences and match one’s expectations with this funding model.

KW - Sociology

KW - crowdfunding

KW - artist

KW - new funding tools

KW - artists career

KW - gift-giving

KW - platforms

UR - http://www.scopus.com/inward/record.url?scp=85121336999&partnerID=8YFLogxK

UR - https://www.mendeley.com/catalogue/4dce48b4-d004-3e2a-ad13-00df6800621d/

U2 - 10.1080/10632921.2021.1997848

DO - 10.1080/10632921.2021.1997848

M3 - Journal articles

VL - 52

SP - 20

EP - 36

JO - The Journal of Arts Management, Law, and Society

JF - The Journal of Arts Management, Law, and Society

SN - 1063-2921

IS - 1

ER -