The Many Views of Betty Freeman

The Many Views of Betty Freeman

Music & Visual Art

Crayon Drawing by David Hockney
(February 1, 1994)
Photo by Richard Schmidt, courtesy Betty Freeman

Betty Freeman with Philip Glass
in Los Angeles, 1981
Photo courtesy Betty Freeman

FRANK J. OTERI: To continue what we were saying about the art world versus the music world. It’s interesting because the art world has a very different economy than the music world.

BETTY FREEMAN: That’s right. They have an object.

FRANK J. OTERI: And we don’t.

BETTY FREEMAN: They have objects they can put on their walls. That’s right, we don’t. That’s where it stops.

FRANK J. OTERI: And it sort of makes things tricky because in music you’re lucky if you get someone, a person, or an organization to commission something, but they commission it before they’ve heard it.


FRANK J. OTERI: As opposed to a painting, which they can buy once they’ve seen.

BETTY FREEMAN: There’s no connection really.

FRANK J. OTERI: And you commission it, but it’s not really yours. You get to hear it but then it belongs to the world.

BETTY FREEMAN: That’s the way I like it.

FRANK J. OTERI: Right, because it is something the entire world can appreciate.

BETTY FREEMAN: The economy depends on other purposes. For the people who are art collectors, it’s important socially.


NewMusicBox provides a space for those engaged with new music to communicate their experiences and ideas in their own words. Articles and commentary posted here reflect the viewpoints of their individual authors; their appearance on NewMusicBox does not imply endorsement by New Music USA.

One thought on “The Many Views of Betty Freeman

  1. Pingback: Michael Kammen’s concepts of remembrance and commemoration, and war

Comments are closed.