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.

BETTY FREEMAN: I know.

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.

FRANK J. OTERI: Right.

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