The elite artist knows that his audience views his art in a context of certain predispositions; he anticipates success or failure within a definable framework of theory and achievement. His audience is acutely aware of him as an individual, knowing that his primary concern is the interpretation of his individual experience, and that he is personally with the content and technique of his product. The popular artist, however, works under no such set of rules, with a much less predictable audience, and for much less predictable rewards. His relationship with his public is neither direct nor critical, for between him and his audience stand editors, publishers, sponsors, directors, public relations men, wholesalers, exhibitors, merchants, and others who can and often do influence his product.