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By Victoria D. Alexander, Marilyn Rueschemeyer

This e-book examines the impression of states and their regulations on visible artwork. States form the position of artwork and artists in society, impression the improvement of audiences, aid inventive paintings, or even have an effect on the very nature of creative construction. The ebook contrasts advancements within the usa with artwork regulations in Britain and within the social democratic states of Norway and Sweden. moreover, it analyzes revealing transitions - the adjustments led to in East Germany after unification and the reviews of artists who left the Soviet Union for the west. the result's an important contribution to the sociology and the political financial system of paintings.

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Additional resources for Art and the State: The Visual Arts in Comparative Perspective (St. Antony's Series)

Sample text

It has operational independence and its own endowment. The National Gallery of Art, whose collections span the medieval period to the present, is an independent bureau under the Smithsonian umbrella. Its annual appropriations cover maintenance and the operation of the gallery. Works of art, however, are bequeathed, given, or purchased with private funds. The government does not pay for acquisitions, nor does it fund exhibitions or programs. It is telling how the United States got its National Gallery.

Though the NEA’s budget recovered somewhat in 1984, and peaked in 1992 at $176 million, as DiMaggio (1986) points out, the NEA’s budget had been decreasing in real terms since 1979. In recent years, the NEA has received significant increases in its appropriations, but it is notable that the increase was earmarked for the Challenge America initiative, new in 2001, which provides funds for underserved populations and communities in the United States. 1 Year 1966 National Endowment for the Arts appropriations history Appropriation ($) ...................................................

9. 10. We also note that states are rarely unified actors. Programs, policies, and the individual predilections of state officials may vary among segments of the state. While we do not disentangle these various issues, we do look at the degree of centralization and consistency in state actions in the countries we study. For discussions of unofficial art and dissident artists in the Soviet Union, see Baigell and Baigell (1995), Golomshtok and Glezer (1977), and Sjeklocha and Mead (1967). For discussions of different models of state support of the arts, see Benedict (1991), Boorsma et al.

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