Ebook Privatising Culture
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Privatising Culture
Ebook Privatising Culture
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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
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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.
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Product details
Paperback: 392 pages
Publisher: Verso; Revised ed. edition (July 10, 2003)
Language: English
ISBN-10: 1859844723
ISBN-13: 978-1859844724
Product Dimensions:
6 x 0.8 x 9 inches
Shipping Weight: 1.6 pounds (View shipping rates and policies)
Average Customer Review:
4.0 out of 5 stars
1 customer review
Amazon Best Sellers Rank:
#186,463 in Books (See Top 100 in Books)
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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