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Privatising Culture, by Chin-Tao Wu
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Corporate sponsorship and business involvement in the visual arts have become increasingly common features of our cultural lives. From Absolut Vodka’s sponsorship of art shows to ABN-AMRO Bank’s branding of Van Gogh’s self-portrait to advertise its credit cards, we have borne witness to a new sort of patronage, in which the marriage of individual talent with multinational marketing is beginning to blur the comfortable old distinctions between public and private.
Chin-tao Wu’s book is the first concerted attempt to detail the various ways in which business values and the free-market ethos have come to permeate the sphere of the visual arts since the 1980s. Charting the various shifts in public policy which first facilitated the entry of major corporations into the cultural sphere, it analyses the roles of governments in injecting the principles of the free market into public arts agencies—in particular the Arts Council in Great Britain and the National Endowment for the Arts in the USA. It goes on to study the corporate take-over of art museums, highlighting the ways in which ‘cultural capital’ can be garnered by various social and business ‘elites’ through commercial involvement in the arts, and shows how corporations have succeeded in integrating themselves into the infrastructure of the art world itself by showcasing contemporary art in their own corporate premises.
Mapping for the first time the increasingly hegemonic position that corporations and corporate elites have come to occupy in the cultural arena, this is a provocative contribution to the debate on public culture in Britain and America.
- Sales Rank: #1490482 in Books
- Brand: Brand: Verso
- Published on: 2003-07-10
- Released on: 2003-07-17
- Original language: English
- Number of items: 1
- Dimensions: 8.98" h x .85" w x 5.98" l, 1.35 pounds
- Binding: Paperback
- 392 pages
- Used Book in Good Condition
Review
“... she provides a foundational investigation, intensely researched, enlightening and often eloquent”—New Left Review
“... of great critical power”—Art & Language
“... admirably thorough study of the Anglo-American art world”—Washington Post Book World
“A superbly researched and invigorating study”—Library Journal
“Wu has written as good an account as you will find of the sly, disingenuous ways in which free-market capitalism infiltrates art.”—Art Review
“This is a wonderful book.”—Louise Bourgeois
About the Author
Chin-tao Wu specialises in contemporary art and culture, and has contributed to New Left Review and Kunst und Politik: Jahrbuch der Guernica-Gesellschaft. She is an Honorary Research Fellow at University College London and currently teaches at Nanhua University in Taiwan.
Most helpful customer reviews
6 of 7 people found the following review helpful.
Complex and raises some interesting issues...
By JB
By approaching her subject systematically through the use of social scientific methods, as well as through the lens of critical theorists such as Pierre Bourdieu, the author touches on some very pressing issues in the world of contemporary art. Rather than simply approaching her topic in the context of art history, the author (importantly) utilizes a cultural studies approach couching her analysis of the visual art world within a broader socio-economic context. She does not take private patronage of the arts as a natural given, but rather critically examines the shift from the individual collector of fine art to corporate sponsorship of the arts as composed of such individuals. Further, the author critically explores the interrelationships of economically powerful corporations to public governmental funding agencies, and how each is imbricated in the larger discourses of art and the public sphere, the relationships of power to the production of knowledge, and the political economy of the contemporary art world as it emerged through the neo-liberal economic policies of the Thatcher and Regan governments.
While her use of case studies and 'hard' data adds credence to the text, it is the authors critical voice that is most compelling. This is a very insightful book for all stakeholders in the world of contemporary art who are interested in interrogating the complex relationship between art and commerce, and its implications for the public sphere. While it is true that today the arts must depend on both private and public funding in order to survive, it remains important to to understand HOW the arts are funded (and in relation to systems of power).
Note: To approach the text with the reductive and simplistic belief that private funding for the arts is a "fact of life" will have been to completely miss the point and the book will be less useful.
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