"... And this is something I feel to be increasingly difficult to develop and maintain both in art and other areas of life, when there are so many pressures in the market-driven economy to divide labor, to professionalize. As artists, curators, and writers, we are increasingly forced to market ourselves by developing a consistent product, a concise presentation, a statement that can be communicated in thirty seconds or less—and oftentimes this alone passes for professionalism. For emerging artists and curators there is an ever-increasing number of well-intentioned programs that essentially indoctrinate them into becoming content providers for an art system whose values and welfare are wholly defined by its own logic of supply and demand.
Being a professional should not be the only acceptable way for us to maintain our households, particularly when most interesting artists are perfectly capable of functioning in at least two or three fields that are, unlike art, respected by society in terms of compensation and general usefulness. I feel that we have cornered ourselves by denying the full range of possibilities for developing our economies ... Unless hard-pressed by circumstances, we still think that the proper thing to do is to wait for a sponsor or a patron to solve our household problems and to legitimize our work. In fact, we don’t need their legitimacy. We are perfectly capable of being our own sponsors, which in most cases we already are when we do other kinds of work to support our art-work. This is something that should not be disavowed, but acknowledged openly. We must find the terms for articulating what kind of economy artists really want. This can be quite complicated, since not addressing this question implicitly reinforces the simplistic myth of the artist as an isolated and alienated genius. Without a captivating alternative, artists will always defer to this myth out of habit, in spite of how complex and interesting their real household economy may be."
I agree and disagree.