Paper short abstract:

This paper examines who deserves the title 'artist' through non-art practitioners in 'art worlds'. The title 'artist' is perhaps not an entitlement for any self-proclaimed artists but a privileged status for those who have satisfied the 'needs' of the artistic 'other'—as regarded by artists.

Paper long abstract:

Bain (2005) finds that who deserves the title of 'artist' is probably not a settled question among art practitioners in Canada. Based on this insight, this paper examines the same question — who deserves the title 'artist' — through non-art practitioners in 'art worlds' (Becker 2008), namely the Scottish government, consumers and businessmen.

I argue the title 'artist' is perhaps not an entitlement for any self-proclaimed artists but a privilege for those who have somehow satisfied the needs of 'the artistic other'—as regarded by artists. Non-art practitioners' expectations could affect the financial and symbolic rewards of artists in Scotland. By distributing funding and other advantages, governmental agencies sponsor artists whose work is seen to match those agencies' policies and political legitimisations. Commercial interests also seek profit in every aspect of art worlds. Failure to fulfil the demands of these non-practitioners may lead to the fact that despite there being relatively few recognised artists in Scotland, many art practitioners lack the visibility that may enable them to survive as 'artists' and have to accept the requirement of a 'huge effort for, often, little pay' (Taylor & Littleton 2012: 126).

An 'artist' has been interpreted as a representative of an agenda of 'resistance' (Oakley 2009), an ambivalent economic-cultural class (Bourdieu 1988) and a type of job (Banks 2007). This paper might render visible an aspect of artistic 'deservedness' often overlooked, challenging the everyday understanding of the title 'artist' simply as an acknowledgement of an individual's artistic talent or ability.