Sustaining artistic practices post George Brandis’s controversial Australia Council arts funding changes: cultural policy and visual artists’ careers in Australia

This article analyses how public funding enables artistic practices from the perspectives of both national cultural policy decision makers, and our three interviewed subjects in the visual arts. Funding from the Australia Council for the Arts is examined in terms of the extent to which it is perceived to dis/enable ongoing artistic practice. This examination is timely given Australia’s former Minister for the Arts George Brandis’s 2015 shock annexation of Australia Council funding: $104.7 million was originally to be transferred from the Australia Council to the newly established National Programme for Excellence in the Arts (NPEA). This body represented a move away from the ‘arms-length’, independent peer-reviewed funding decisions with the arts minister having the ultimate authority with regard to the NPEA. The NPEA has now been renamed Catalyst – Australian Arts and Culture Fund (Catalyst) as a result of consultations and feedback relating to the NPEA.     

‘Missing’ from policy history: the Dartington Hall Arts Enquiry, 1941–1947

Largely undocumented in the published accounts of cultural policy history in the UK, the Arts Enquiry was a privately funded survey of the arts in wartime England. It was launched in 1941 as an initiative of the Arts Department at Dartington Hall and funded by the trustees of Dartington Hall, who spent £19,000 on the study over its six-year history. The Enquiry brought together artists, intellectuals, philanthropists and arts professionals in specialist committees to examine the visual arts, music, drama and documentary film. Three book-length studies were published: The Visual Arts (1946), The Factual Film (1947) and Music (1949). This article examines the history of the Arts Enquiry, its entanglement in the cultural politics of the period and what it reveals about policy formation in the UK, as well as the historiography of cultural policy.     

Artists and policy: a case study of the creative industries in north-eastern Australia

Artists play a major role in the cultural fabric of society. They operate within the creative industries, a sector of activity widely accepted as significant to developed and developing economies. While there is a substantive body of literature relevant to the nature of policy-making as applied to the arts, research that explores the views of practitioners at the grass roots level is limited, and particularly so in regional north-eastern Australia, an area with significant challenges caused by isolation and distance. This article contextualises the issues of relevance in relation to artists’ engagement with policy, after which it presents survey and interview data obtained from those working in the field. The findings reveal the influence of isolation in north-eastern Australia, not only in a geographic sense, but in terms of the number of artists who see themselves as disconnected from policy, arts and cultural strategy.     

The continuing saga around arts funding and the cultural wars in Australia

Cultural policy, and arts funding in particular, has been a site of much contention and discussion in Australia over the past decade. The events of the past two years took this to another level showing major ideological schisms in the present political approach. While the established arts sector was protected and consolidated, the emerging sector, individual artists, and small organisations were all negatively affected. The policy changes demonstrate the implicit challenges of direct political intervention in arts funding. What this period highlights also though is the vulnerability of artists and the philosophical contradictions around the nature of arts funding.     

John Maynard Keynes,the Bloomsbury group and the origins of the arts council movement

The article examines the origins of the arts council movement in the ideas of the Bloomsbury Group and John Maynard Keynes. The Bloomsbury Groups' sense of experimentation and flexibility, their willingness to take action to create new institutions, and their distrust of bureaucracy, influenced Keynes's development of a new model for state patronage of the arts in 1946. He took an organization established during the Second World War to employ artists and organize morale‐boosting tours of the performing and visual arts, and oversaw its development into the Arts Council of Great Britain, the first such arts council. His model – making grants of public funds through semi‐autonomous government bodies to private individuals and privately operated arts institutions – became a standard form of public funding for the arts by the end of the twentieth century in many countries around the world.     

THE THERAPEUTIC STATE

State subsidy for the arts in Britain has been determined by a variety of political and social factors over the last two hundred years. This article examines the recent emergence of a therapeutic ethos that has come to shape arts policy in the United Kingdom. It begins with a survey of existing literature describing a shift in Britain’s arts policy since the 1970s. It examines the limitations of existing explanations and suggests another explanatory factor – the growing valorisation of the arts as a therapeutic tool to address social problems. This can be seen in two historically convergent trends: the challenge to cultural authority through the emergence of a therapeutic understanding of creativity, and the reorientation of political activism around issues of culture and wellbeing. Finally, the article considers how and why these ideas became institutionalised in Britain’s main arts policy body – the Arts Council.     

Linking cultural policy from Great Britain to Canada

The Canada Council marks its fiftieth anniversary in 2007. The third national arts council to be established after the Arts Council of Great Britain in 1946, it was created on the recommendation of a Royal Commission chaired by Vincent Massey, a Canadian philanthropist and diplomat. While it differed from the ACGB in its early scope and organization, it was and is an arm’s‐length body. Using unpublished and published sources, I track Massey’s social contacts during his tenure as High Commissioner to London from 1935 to 1946, where he served on the war‐time boards of the National Gallery and the Tate. This work put him in social contact with Samuel Courtauld, J. M. Keynes, and Kenneth Clark, who were engaged in the governance of British national arts organizations. My findings illustrate the influence that friendships and social networks played in arts policy formulation in these early years of the arts council model.     

Critical artistic interventions into the geopolitical spaces of islands

Something about the apparent romanticism of islands prompts creative reflections such as those comprising visual artworks in the Dis-covery exhibition touring Australia for 2 years from 2011. The exhibition forms the basis for this paper, written by its progenitor and curator—an artist, and its essayist—a cultural geographer. The curatorial premise was that islands and island cultures are at risk from global and multinational forces, as well as from amplified local impacts internal to the limits of their boundaries. In turn, the exhibition's aim was to trouble the layered cultural clichés that represent island conditions especially in terms of the romantic. Participating artists—all of whom have lived on islands—were invited to explore how islands and romanticism are both containers for disparate yet overlapping ideas, among them references to imagination, projected desire, unsatisfied longing, rising tides, exoticism, resource mining, militarism and marginalization. Drawing on conversations with the artists, and on their writings and works, this paper captures insightful reflections about islands, arts and the geopolitical imagination; reveals significant artistic interventions into the geopolitical spaces of islands; and underscores the productive relations that derive from critical and creative engagements between geography and art.     

Creating a life: the role of symbolic and economic structures in the gender dynamics of Swedish artists

This article examines the prevalence of parenthood among professionally practising artists in Sweden. The overall aim of the article is to employ feministic and sociological perspectives to provide a theoretically-based understanding of the problems of balancing work and family life in the arts. Data are presented that reveals that female artists are more frequently childless compared to their male counterparts and women in the overall population. Male artists, however, are less frequently childless than men in general. The article develops a theoretical explanation focused on the effect of economic resource structures, which leave women artists to cope with lower incomes with which to pursue careers in the arts, and symbolic structures, which present creative work as difficult to combine with everyday domestic work. Given that motherhood continues to be associated with more comprehensive caring responsibilities than fatherhood, women are more frequently confronted with a choice between starting a family and pursuing their artistic calling.     

Handcraft as Cultural Diplomacy: The 1968 Mexico Cultural Olympics and U.S. Participation in the International Exhibition of Popular Arts

Mexican post-revolutionary cultural institutions excelled at implementing Mexican art and popular arts as key elements in cultural diplomacy. However, while there is abundant research regarding these arts and their inclusion in international exhibitions during the first part of the twentieth century, there is little research on their role in international cultural diplomacy during the second half of that century. In the first part of this article I present a historiographical appraisal of the 1968 Mexican Cultural Olympiad and the resolutions of the “First Latin American Seminar on Popular Arts and Crafts” sponsored by UNESCO in Mexico City in 1965. In the second, I examine the case of U.S. participation in the “Exposición Internacional de Artesanías Populares” (International Exhibition of Popular Arts), which was part of the 1968 Cultural Olympiad’s programme – largely neglected by the historiography of the XIX Olympics – to explain how popular arts were made to perform as agents of cultural diplomacy in Mexico and the U.S. during the Cold War. In addition, I argue that U.S. participation in this exhibition also reveals negotiations and redefinitions of the concepts of handcraft and arte popular, and the economic and social situation of their makers in the United States.     

Outsiders? A sociological study of Norwegian artists with minority background

Why are there relatively few successful artists from a migrant background in Norway? Based on a study of artists of known migrant backgrounds, we explore this question from the artists’ points of view. We analyze both their social and cultural background, and the mechanisms of exclusion and inclusion at work in Norway’s art world, and especially the interaction between the two. We have concentrated on the dramatic arts: theater and dance. The article presents a theoretically informed analysis of the qualitative material using the sociology of art on the one hand and the sociology of migration and ethnic relations on the other. Further, the empirical analyses are in constant dialog with other Norwegian studies of the art field and the artists themselves. The article presents original findings on the relationship between barriers in young migrants’ backgrounds and impediments to entering and navigating at the field of dramatic arts.     

‘The land and its people’: reflections on artistic identification in an age of nations and nationalism

From the late eighteenth century onwards, increasing numbers of visual artists came to identify with their nations and with the homeland and its people. This development was strongly influenced by growing national cultural support and regulation of the arts by academies, art schools, museums and art markets in Western Europe. On a subjective level, the Rousseauan movement of a ‘return to Nature’, Herder's espousal of vernacular cultural self‐expression and, above all, the widespread Romantic cult of authenticity, were potent influences on the inner self‐identification of visual artists after 1800, and were manifested in the novel importance accorded to landscape and rural genre painting in Western Europe. Here I consider the role of national sentiment, the ‘return to Nature’ and the cult of authenticity, first in landscape paintings by Paul Sandby, J. M. W. Turner and John Constable in early nineteenth‐century Britain, and then in the rural genre paintings of Jean‐Francois Millet and Jules Breton in nineteenth‐century France and Josef Israels, Anton Mauve and Vincent Van Gogh in the later nineteenth‐century Netherlands. Their work reveals how nineteenth‐century visual artists became inwardly identified with the ‘land and its people’, and how they in turn contributed, especially through prints and engravings, to the dissemination of national imagery and a cultural nationalism.     

Going ‘mainstream’: evaluating the instrumentalisation of multicultural arts

This paper considers how debates over the instrumentalisation of the arts have informed the cultural production of an Australian arts organisation – Multicultural Arts Victoria (MAV). In an effort to make multicultural arts more ‘mainstream’, MAV has increasingly adopted market‐based rationales for its work – particularly the use of ‘audience development’ policy frameworks. It is easy to evaluate this marketisation of multicultural arts negatively as an acceptance of neoliberal policy agendas and as a weakening of its commitment to ‘cultural development’ goals. This paper suggests, however, via a critique of Ghassan Hage’s analysis of multiculturalism, that such accounts do not consider how economic rationales actually sit in practice with MAV’s other (cultural development) agendas. Such critiques, therefore, preclude an affirmative reading of the instrumentalisation of multicultural arts. An alternative analytical framework is proposed – one which can more readily account for multicultural arts as a set of practices informed by diverse agendas, and which acknowledges how such practices might both contest and converge with official government policies.     

ADMINISTRATIVE DEFINITIONS OF ARTISTS IN THE NORDIC MODEL OF STATE SUPPORT FOR ARTISTS

This article considers the role of public arts policy in producing societal definitions for “art” and “artists”. It examines administrative definitions generated and used by the Nordic system of state support for artists and reflected in its administrative categories and structures of decision‐making. Using the concepts of “artistic field” and “artistic classification system” as starting points, the article focuses on the regulated and institutionalized interaction of the state and artistic fields in decision making, and on the administrative categories emerging from this interaction. Through this interaction, professional and administrative definitions of “art” and “artist” are closely intertwined in the four countries discussed. The administrative categories examined show considerable variation between the countries related to differences in the nature of this interaction. The definition power involved in state support for artists is related to the nature of this interaction, as well as to such factors as the legitimating arguments, objectives and criteria for the support.     

Theodore Caplow. Two Against One: Coalition in Triads

The authors collect information on visual artists to allow a broad historical ranking of the most prominent artists. Their purpose is to examine the birth and work locations, and the consequential pattern of labor movement, of prominent artists over a number of long time periods. The article indicates that a relatively simple column-inch approach may suffice for the purpose of identifying the thousand or so most prominent artists, but that much more detailed source material is then required to examine the labor mobility experiences of these artists. A significant bias to the home or target market country is posited in the ranking of artists across countries, even in prestigious publications. Some preliminary data are provided on the ranking of artists by country of birth, covering a very broad historical sweep.     

The Implications of Analytic Philosophy of History for the Practicing Historian

An article by John O'Hagan and Elish Kelly in 2005 (see Historical Methods 38:118-25) discussed collecting information on visual artists that would allow a broad historical ranking based on "prominence." O'Hagan and Kelly collected these data to examine prominent artists' birth locations, work locations, and their consequential patterns of labor movement during several long periods. In this article, the authors examine artists' migration for four periods (based on their date of birth): Renaissance Italy, Europe in the first half of the nineteenth century, and the Western world in general for the periods 1850-99 and 1900-49. The data show that important artists clustered in all periods at a remarkably high level. Florence and Rome dominated in Renaissance Italy, with significant clustering because of the artists' birthplaces and domestic migration. Paris and London witnessed a marked clustering of artists born in the first half of the nineteenth century, with Paris continuing to dominate among artists born in the second half of the nineteenth century. Artists born in the first half of the twentieth century clustered in New York City, with all prominent American artists clustering there.     

‘Artists are a tool for gentrification’: maintaining artists and creative production in arts districts

This study investigates the relationship between arts-themed development and the strategies used by neighborhood stakeholders, including artists and other marginalized populations, to maintain their place in gentrifying arts and cultural districts. Using a case study of a state-sanctioned Arts & Entertainment District in Baltimore, MD (U.S.A.), I find that the organizations that are ‘thoughtful’ in their development actively seek to maintain the production of arts and the residency of artists in the neighborhood into perpetuity. At the same time, the influx of arts-themed development helps raise property values and spurs re-colonization of the neighborhood’s large industrial buildings, making it difficult for artists to find legal, affordable live/work spaces in the district. As illegal DIY artists’ spaces are increasingly scrutinized by city inspectors, artists and other marginalized populations lose territory in the district and feel that they are being used for capital interests. This paper evaluates arts-themed development and public–private partnerships as a strategy for maintaining artists in revitalizing neighborhoods and considers the possibilities for a more inclusive arts district through political and community engagement.     

Annie Garnett: the Arts and Crafts Movement and the Business of Textile Manufacture

Abstract

The social bearing of the Arts and Crafts movement in our country has certainly been perceived, and it has been the focus of a great amount of effort and energy…. Yet in England, which has been generally regarded as the cradle of this revival, it seems strange that there has been as yet no effective disposition, as in other countries, to treat the Arts and Crafts of Design as matters of National concern; or to establish a permanent organization or institution upon a substantial basis for their better care and fostering. At least, beyond the limited introduction as subjects of study in technological institutes, municipal and county council schools, and the Royal College of Art, it has been left to private effort, and the enthusiasm of groups of individuals or societies, mainly of hard-working artists and craftsmen, at their own risk and cost to endeavour to maintain a high standard of these arts by means of such exhibitions as those of our society.     

The autonomous world reversed: comparing liberal policy and autonomy in the performing arts

Comparative studies of cultural policy commonly emphasize the way in which states treat the autonomy of the arts. Such studies often claim that liberal states promote autonomy, while social democratic states promote more external, instrumental values, such as solidarity, universalism and equality. This article challenges this conception by claiming that in actual cultural policy-making it is in fact the other way around. Based on a comparative study of theater policy in England, Norway and the Netherlands, I find that the focus on artistic autonomy is surprisingly absent in the liberal state of England, compared to what it is in the social democratic state of Norway. Conversely, English theaters are more obliged to work for, and with, the citizens and the community than theaters in Norway are. In the Netherlands, where recent development in general policy has headed in a liberal direction, artistic autonomy actually appears to be increasingly challenged.     

Artists in rural locales: market access, landscape appeal and economic exigency

The period 1971 to 1991 saw a significant increase in the proportion of Canadians employed in the 'arts'. While still concentrated to a large extent in urban Canada, artists do seek out rural locations to pursue their craft. This paper identifies, interprets and classifies communities in rural Canada that specialize in the production of visual, performing and literary art. Location quotients are calculated from a custom-tabulated run of 1991 census data on employment in the arts in all Canadian census subdivisions. We propose several factors that may account for high concentrations of artists in some rural places. Cluster analysis is used to develop a classification of Canadian rural arts communities. We identify 371 small arts centres in Canada, ranging from Cape Dorset in the Northwest Territories to Elora in southwestern Ontario. Market access, landscape appeal and economic exigency are among the location determinants isolated. Further analysis reveals that five types of arts communities exist in rural Canada. Future research on a localized scale is now necessary to uncover specific factors responsible for the prevalence of artists in the rural ecumene.