In the world of contemporary art and music today, many artists make their living by working in academia for an educational institution, working towards tenure and earning a salary. Others teach private lessons or work a completely separate job to support themselves. However, an older model for the working artist was to be supported by patronage. That means that in addition to selling their ready made works or receiving performance fees, they would be commissioned to create custom works for a patron, collector, organization, institution, or governing body. This model allowed artists to spend the majority of their time where they should be, on their artistic work and all that goes into it. Instead of splitting their work hours between teaching duties, bureaucratic responsibilities, and publishing writing to stay relevant and be promoted, artists who survive from patronage dedicate their working lives solely to their artistic practice and its management.
As a middle-aged artist who has been an educator at all levels, taught privately and at academic institutions, and who has worked countless part-time and odd jobs to make ends meet so that I could continue doing my REAL work in this world, I have now transitioned to committing most of my working hours to the task at hand: composing and performing music, creating sound and visual art installations, writing books and short publications, touring to perform and exhibit, and collaborating with an expanding cohort of interdisciplinary artists, curators, and administrators to realize my work and bring it into the world (as well as supporting the work of others in my sphere).
I am only able to do so through patronage.
Over the past several years, I have been grateful to receive several opportunities and invitations to perform, exhibit, and create new works at many places around the globe. Recently, I have expanded my composing activities and become quite serious about writing and performing new works with ensembles and as a solo artist. I also have a growing resume of site-specific installations and happenings, taking me to ancient caves in Greece, medieval castles in Sicily, rooftops in Bulgaria, abandoned farmhouses in Japan, walled gardens in Oaxaca, and flowing rivers in Northern California.
I continue to welcome invitations and commissions that support my livelihood and allow me to continue to explore, grow, and deliver my work to help enrich our cultural, spiritual, and aesthetic landscape. The purposes of art extend beyond the material and practical, beyond the investment or decoration. The esoteric keys of art and music are what imbue it with such a unique and essential role in the lives and spirits of human beings everywhere.
A world without art and music is a dead world because the spirit would be missing, the creative force would be void, beauty would vanish, and the balance would shift so far toward the exoteric, practical, and material that there would be few noble or worthy reasons left to live.
If you’re here reading this, you probably understand this already but people like me who make their life’s mission serving this rich path of purpose and creativity are working with a high stakes, life and death practice. That doesn’t mean we can’t be light, have fun, and see the humor in things. But it does mean that your support, enthusiasm, and willingness to commission work, offer physical space, and financially encourage my work is essential for me to continue and for the relationships to build.
For more information about commissioning work, inviting me to exhibit, install, and perform, and all other related inquiries, please feel free to drop me a line about your project at info@prestonswirnoff.com
Thanks as always for your support and presence. Hope to see you out there somewhere soon!
-Preston
