Contemporary creative identity no longer opposes commerce to art.

Evidence

In the new economy, as Angela McRobbie and others make clear, “the new relation between art and economics marks a break with past anti-commercial notions of being creative.” The business side, she explains, now has a central place in artistic identity. — Brooke Erin Duffy, (Not) Getting Paid to Do What You Love, 739

Categorization

• XREF: connects to: Calculated authenticity as promotion emerged in early twentieth-century America — Brooke Erin Duffy, (Not) Getting Paid to Do What You Love:…, 319; Art and play no longer model nonalienated labor under late capitalism — Fredric Jameson, Postmodernism, or, The Cultural Logic…, 354; Postmodern aesthetic forms lift and cancel their cheap commercial origins rather than transcending them. — Fredric Jameson, Postmodernism, or, The Cultural Logic…, 257 (+5 more)

Broader Connections

• Autonomous art is itself a product of market commercialization, not its opposite. #corroborates (0.82) — Theodor W. Adorno, The Culture Industry, 211
• Art and play no longer model nonalienated labor under late capitalism #complicates (0.80) — Fredric Jameson, Postmodernism, or, The Cultural Logic…, 354
• Capitalist commodification displaces the aesthetic value of art #contradicts (0.80) — Wael Hallaq, Restating Orientalism, 69
• Postmodern aesthetic forms lift and cancel their cheap commercial origins rather than transcending them. #expands (0.78) — Fredric Jameson, Postmodernism, or, The Cultural Logic…, 257
• Modern art openly admits it is a commodity rather than hiding its market status #corroborates (0.75) — Theodor W. Adorno, Max Horkheimer, Dialectic of Enlightenment, 118
• Creative-industries policy funded corporate-sponsored art projects instead of public services #exemplifies (0.75) — Max Haiven, Cultures of Financialization, 460
• Artistic invention is a social good the market will not optimize for. #contradicts (0.72) — W. David Marx, Blank Space, 850