By Derrick Chong
Providing this severe review, at a time whilst curiosity in aesthetics and managements reviews is speedily expanding, Derrick Chong explores a necessary sub-discipline: arts administration. content material: Arts and the nation -- company and the humanities -- possession and administration of arts enterprises -- Arts intake and shoppers -- dealing with for excellence and inventive integrity -- monetary making an investment within the arts -- Globalization and the paintings global. summary: compatible for humanities managers and scholars alike, this name deals perception into the creative, managerial and social obligations worthy for these operating within the box. It takes an interdisciplinary technique in interpreting a few of the major impulses informing discussions at the administration of arts and cultural agencies. learn more...
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Extra resources for Arts management
Alvin Toffler (1967: 142) recognized, at the birth of cultural economics in the 1960s, that ‘the very idea of measuring the arts is abhorrent to many’; yet he believed that the arts as an important determinant of the quality of life in post-industrial societies made measurement incumbent. In the early 1970s, Kenneth Boulding (1972: 272) remarked: ‘It is clear that there is something, which now exists perhaps only in its embryo, which deserves the name of cultural economics. Because it has not yet taken an unambiguous form, it is obviously hard to describe’; and by the mid-1970s, enough worthy essays had been published to justify an anthology of readings, The Economics of the Arts (1976), edited by Mark Blaug.
With the formation of France’s Fifth Republic, in 1958 under Charles de Gaulle, Andre Malraux was appointed as the first Secretary of State for Cultural Affairs. Malraux promoted decentralization, namely the development of maisons de culture in regional capitals. At the same time, during the 1960s, the French Government was aware that Paris was losing its lustre and pre-eminence as the world’s artistic capital. That there is much visible evidence to suggest that Paris matters most when it comes to arts and culture owes much to the presidency of Georges Pompidou, who went against the general principle of decentralization, and immortalized himself by commissioning a museum of modern art.
As the country where capitalism is most ideologically secure, the model of a free enterprise exchange economy extends to the arts. MoMA reciprocated with the 1955 exhibition, ‘The Family of Man’, a statement of the universality of the American-style family (Staniszewski 1998). Indeed, Pop artists like Andy Warhol, representing post-Pollock artistic production, were able to elaborate a faith in the openness of the American life in terms supplied by consumer culture. Of course, it is ironic that the American distrust of a closer relationship between the arts and politics has not excluded a direct and active part of the role of government in promoting American art abroad; indeed throughout the Cold War, the arts were considered a valuable tool in foreign policy.