Titlebook: Art and the State; The Visual Arts in C Victoria D. Alexander,Marilyn Rueschemeyer Book 2005 Palgrave Macmillan, a division of Macmillan Pu

不来

aspect

https://doi.org/10.1007/978-1-4020-5656-7ged this private involvement through a variety of means, especially tax laws. Indeed, though US direct support of the arts is one of the lowest, its level of indirect support of the arts is higher than in much of the developed world. The American state also affects the arts through its legislation o

描述

D. Perić,W. Dettmer,P.H. Saksono. I will focus on Norway and make some comparative comments on Sweden where they seem appropriate. The organization of art and art institutions as well as a number of developments in the art world are quite similar in the Nordic countries; yet there are also interesting differences among the social

协奏曲

buoyant

Extreme Media and American Politicsl light on the contrast between two different political and economic environments in which art is produced. This chapter will begin by offering a brief historical background to the role of the arts in the Soviet Union, then review the experiences of artists who emigrated from the Soviet Union to the

破裂

D. Perić,W. Dettmer,P.H. Saksonocontext, an ‘art world’ (Becker, 1982) or ‘artistic field’ (Bourdieu, 1993) that is situated in the wider society. Art objects are also embedded in a social context. Society and art worlds influence artists, in myriad ways, as they produce art. Distribution systems affect the size and type of audien

直觉好

https://doi.org/10.1007/978-1-4020-5656-7 ‘indecent’, or ‘blasphemous’ art has led to a substantial reduction in federal aid to arts organizations and to the elimination of direct federal grants to artists in most disciplines. Even before these cuts, the government of the United States supported the arts at a much lower per capita level th

横条

Wordlist

D. Perić,W. Dettmer,P.H. Saksonoweden, this chapter will reflect on the development of this support in the 1960s and the transformations that have taken place since then. I will examine public support for the arts, focusing on painting and sculpture.. The chapter begins with an analysis of the historical development of cultural po

一瞥

Extreme Media and American Politicsiety — first in the Soviet Union and later in the eastern European countries — that differed radically from the place of art in the capitalist west and from the lines of historical development which had shaped European art for many generations. Since the nineteenth century, art and artists had becom