Term Paper on "Funding or Defunding in the Arts"

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Funding or Defunding the Arts

Recommendations on a Proposal to Defund the Arts

This report considers the recent proposal in the House of Representatives to eradicate federal funding for the arts. This proposal cannot be taken lightly, considering that such a move would drastically alter the face of art as we know it in America today. With this in mind, I have presented in this report a thorough consideration of all sides of the issue, including academic theory about the nature and consequences of public art, its functions in the capitalist marketplace and its role in the lives of its creators and its consumers. I also examine recent public opinion about the arts, the role of government in national culture, and the value of public art in the current economic climate. I conclude with recommendations based on these considerations, and possible avenues of compromise or discussion.

Background

Though it may not be at the forefront of most citizens' minds, the arts play a pivotal role in our lives -- individually, as a culture, and as a species. In order to evaluate its place in the human experience and in the current American landscape, we must first consider what is meant by "art." Though there is much debate about what constitutes good art or valuable art, there are certain characteristics that define art in general. Art is at its root a form of entertainment. Art and entertainment, however, are not synonymous. Entertainment is solely dependent on the experience of the audience; it is defined by its ability to capture and hold our attention in a way that we find gratifying on some level. A piece of music can be entertaining. So too ca

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n a joke. The music might be considered art, the joke most likely would not. What, then, distinguishes the two?

Art is marked by three unique characteristics. A piece of art not only demands our attention, but also prompts in us a change. This change can be a spiritual experience in which the art accesses an emotional part of our being normally untouched by the everyday experiences of our lives. Or it can be an intellectual change, in which we are prodded by the art to consider ourselves or our world in a different light and are challenged to reconsider our assumptions. The second hallmark of art is the important role that the creator plays. Art is not just created as an entertainment commodity, but also (and sometimes exclusively) as a personal expression of the artist. Thirdly, and more controversially, art is defined by its ability to transcend its own time and place. In the eyes of many theorists and critics, art should have a relevance that is tied to the universal human experience, and should therefore retain its power and allure across cultures and generations.

Because of its power to transform individuals, communicate ideas, and unite the present with the past, art plays a vital social function in human culture. Some art theorists believe that art, though usually created by an individual, is not limited to being merely an expression of that individual, but is instead an expression of the society in which it is produced. Howard Becker, in his book Art Worlds (1982), contends that no piece of art is the creation of an individual person; rather, all art is the result of the coordinated efforts of a number of people. The cooperation of many individuals, from producers of materials to patrons to consumers, creates what Becker calls an "art world." "Art worlds," he claims, "rather than artists, make works of art" (198).

If we consider art as a sociological phenomenon, as Becker suggests, then we must also consider the implications of this viewpoint for the role of art as a commodity within society. While art as an individual product may have value based on its level of entertainment or its correspondence with the tastes and desires of consumers, art as a social product holds a value beyond what the market dictates. Consider the value of the Statue of Liberty. It has a material value, obviously -- the value of its metals, stone, and even the real estate on which it sits. It has an entertainment value as a tourist destination, and an artistic value as a masterfully-produced image of serenity, power, and stability. It has an historical value as a relic of an earlier era and as evidence of a particular moment in international relations. Beyond all of this, however, is its social value as a national emblem, a touchstone of American patriotism, and a symbol to those in other countries of the possibilities that life in the U.S. might offer. The Statue of Liberty is in this sense a continually evolving work of art, with each sightseer and wishful immigrant contributing to its existence and meaning.

The Statue of Liberty is an example of a "public good." A public good something that is available to everyone and that cannot be consumed. The Statue of Liberty is an obvious example, but other art functions as a public good as well. Art in museums, novels in public libraries, even the music playing in the local grocery store could be considered a public good. It is a good bet that nearly every day we benefit from art as a public good -- we find it on the radio, in the fountains at the town square, in the statues at the local park, and in the architecture of our government buildings.

The question that lays at the heart of the decision to provide or withhold federal funding for the arts is essentially a question of whether or not a certain amount of art should be created and maintained as a public good, and if so, whether it is the role of the state to ensure that this art is available. In order to answer these questions, we must examine the function of art in the marketplace, the function of art as a government-subsidized enterprise, and the emerging technologies and venues that are changing these functions daily.

Art in the Marketplace

There is no doubt that the free market that defines American capitalism has contributed to the vibrant and productive art culture that we now have. As Tyler Cowen points out in Praise of Commercial Culture, the market fuels artistic production by providing financial incentive to producers, widens demand by exposing audiences to more choices, and has drastically reduced the cost of materials for artists. This creative economy is far-reaching, encompassing a large body of workers in manufacturing, transportation, food service, advertising, and many other fields, and accounting for a sizable percentage of discretionary spending among consumers. However, it is a subject of debate whether the free market can sustain and promote an artistic culture that is open to diversity and resistant to the tyranny of the majority.

One potential problem that an art culture governed solely by market forces faces is the gradual demise of the avant-garde. The avant-garde is the artistic community that exists on the margins of culture, separated from the mainstream and often marked by a sense of alienation. Because of their separation from mainstream society, the avant-garde is often responsible for introducing innovative thinking and original creative vision into the art world. This makes them a crucial element of an artistic society, despite their small size and relative obscurity. Though art often looks to the past for inspiration and guidance, artistic innovation is largely responsible for maintaining art as an expression of and influence on current society and culture. In that way, it keeps artistic expression moving forward and pushes techniques and technologies to keep pace.

The difficulty that the avant-garde faces in a free market is that there is no preexisting demand for their new ways of thinking or creating. Unless their artistic innovations are sufficiently tied to mainstream values to appear recognizable and desirable to the consumer, the avant-garde have little chance of finding a foothold in the market. Additionally, they often face discrimination as a result of their marginalized status.

Cowen argues that these difficulties do not necessarily work to the avant-garde's disadvantage. Because these individuals have "less to lose," claims Cowen, they tend to be "more inclined to take risks" (1998, 29). While this may not make them more likely to succeed in the marketplace, it does promote a dynamic and productive culture within the avant-garde that might otherwise not exist. Cowen further asserts that capitalism, while not always favoring the avant-garde, does offer them an opportunity for some success despite "systematic discrimination and persecution" (30). He points to the success of black rhythm and blues musicians in the 20th century, claiming that their independently-created music thrived as a result of ground-level support instead of conventional promotion. He does not consider, however, that the success of many black musicians came only after their music had been assimilated into mainstream culture by white artists like Elvis Presley.

Cowen makes a powerful argument for the role of the market in driving technological advances… READ MORE

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Quoted Instructions for "Funding or Defunding in the Arts" Assignment:

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I will send the sources after I get assigned a *****!!

Prompt:

Essay Option 1: You are a legislative aide for a congressional representative from California. A recent bill has been introduced in the House of Representatives to de*****fund federal subsidizing of the arts based on the logic that it is (a) an unnecessary expenditure for a nation faced with more pressing economic and security concerns, and b) a redundancy of what the free market already provides. Your congressperson has asked you to make an informed recommendation after authoring a concise report that outlines the issues at stake and responds to the question:

With major U.S. media corporations so heavily invested in producing American entertainment and culture, is it still necessary for the U.S. federal government to continue subsidizing art production/creation, performances, exhibitions, arts education programs, state arts councils, public broadcasting, *****brick and mortar***** museums, theatres, and concert halls?

Your 6*****8 pp (min/max) report is to be a well*****organized, well*****supported and persuasively argued paper that directly responds to the prompt, demonstrates your understanding of course concepts, and adheres to the following criteria:

1. (12 pts) You must incorporate for background and/or relevant support of your argument all of the following readings:

â' Both Cowen AND McChesney readings â†' I will give summaries but it will benefit me if the ***** does the readings as well, skim through really fast to add in quotes and get a better grasp of the two opposing views.

â' 2 additional course readings (of your choice)

â' 1 recent article from a major metropolitan newspaper (Staple article to the hard copy. DON*****T attach to Turnitin submission)

2. (10 pts) Integrate into your report clear and concise definitions for ALL five of the following concepts as they have been DEFINED AND USED IN THIS COURSE:

â' AVANT*****GARDE (OR VANGUARD) â' ART â' ENTERTAINMENT â' MEDIA CONCENTRATION â' PUBLIC GOOD

3. (12 pts) DEFINE and EXPLAIN a minimum of 4 concepts (use more) from the following list that you will discuss as part of your overview of the issues and recommendation to vote for or against this bill:

â' SOFT POWER

â' KNOWLEDGE EXPORTS

â' CULTURAL BRANDING

â' CONVERGENCE CULTURE

â' CONVERGENT MEDIA

â' OLIGOPOLIES

â' ARTISTIC INNOVATION

â' ARTISTIC DIVERSITY

â' CONSUMER CITIZENSHIP

â' PARTICIPATORY CULTURE

â' WEB 2.0

â' DIY CULTURE

â' COLLECTIVE INTELLIGENCE

â' CULTURAL PRESERVATION

â' MEDIA REGULATION

â' *****POWER TO NEGATE*****

â' *****MONSTROUS HYBRID*****

â' MEDIUMS, GENRES, STYLES

â' PUBLIC SPHERE/PUBLIC SPACE

â' SERVICE + ENCULTURATION

â' CREATIVE ECONOMY

â' CULTURE INDUSTRIES

â' CREATIVE LABOR

â' CROWDSOURCE CURATION

(6 PTS) SUBMISSION FORMATTING - To earn the maximum credit available, paper must comply with standard college format, which includes:

â' Well written and organized

â' Edited for grammar and spellchecked

â' Meets minimum/maximum page requirements

â' 1***** margins all around

â' Double*****spaced (w/no added paragraph spacing)

â' 12 pt uncondensed/unexpanded font

â' Name, date, course ID

â' Turabian formatted references page

â' Turabian formatted in text citations

â' Numbered pages

â' Article of choice stapled behind last page

â' All pages stapled into a single document

Outline:

Intro: Before we get into the discussion we need to discuss the terms that foreshadow the discussion*****¦

AVANT*****GARDE (OR VANGUARD) - A person separated from mainstream culture (Alienation) pushes for Innovation, and creates for the future. Reaction to the mainstream, pushing for something new.

*****An intelligencia that develops new and experimental concepts***** ***** Taplin

The Avant Garde comes out form people coming together out of a chance encounter and creating something new. It is a term for an intelligentsia that develops new or experimental concepts.

If it*****s funded by the Government, can it be against the establishment?

In the 1950*****s, the art created through the WPA artist association can be seen as avant garde

ART - Howard Becker, Art Worlds (1982)

*****All artistic work, like all human activity, involves the joint activity of a number, often a large number of people. Through their cooperation, the art work we eventually see or hear comes to be and continues to be. The forms of cooperation may be ephemeral, but often becomes more or less routine, producing patterns of collective activity we can call an art world.*****

*****Art worlds, rather than artists, make works of art.*****

Art is abys calling to abys

All art is entertainment but not all entertainment is art

When you are moved it is art.

Art needs to challenge, it needs to be relevant 600 years from now, there needs to be point of view

ENTERTAINMENT - entertainment is for the audience, an attempt to get as many people to see it as possible. That which holds us and captures our attention, something that is visceral, that jangles our nerves and keeps us in our seats.

MEDIA CONCENTRATION - refers to a process whereby progressively fewer individuals or organizations control increasing share of the mass media (Wikipedia). Media conglomerates keeping media in oligopolies. If the government handled media it would be the same outcome.

Media Concentration: Similar to vertical integration. Idea that media is being kept by a handful of sources in the free market. But if media was handled by the government the concept of the single gatekeeper would also be this case.

PUBLIC GOOD ***** a public good is something that everyone can share, it does not belong to a specific person and cannot be consumed unlike a Big Mac, which is only around for the person eating it and dissolves when done.

1) Cowen and McChesney â†' introduce the two different sides, explain the issue, give an overview of what they say about funding and defunding artists, art councils, spaces, educational programs, stages theatres

Cowen states that*****¦

The free market/capitalism benefits the Avant Garde and the creation of new art. The costs of material are lower and so more people can make art and they do ot have to be rich in order to get the materials. The education of art will also benefit the artist. They wont be able to teach creativity, but they will be able to teach craft to better the creativity. With the free market system Cowen states that competition will go up and the quality will go up along with it. There will be more demand and thus more production. However, as McChesney states, wealth and financial insecurity leave people with nothing to loose and thus be more creative in pursuing art and challenging if not rejecting society values. The artistic vision might get corrupted with a corporate sponsor. Creators will copy rather than create, they will respond to past masterworks with emulation rather than differentiation. With the prevalence and ease of access more art forms will be available and innovations would not always have to eclipse older traditions, but will change inevitably. Outsiders and marginalized minorities will change more. CONVERGENCE MEDIA. If a person has less status quo, s/he will be more inclined to change more and challenge â†' just like the WPA artists during the second world war when great jazz musician and artists like Dizzy Gillespie and Jackson Pollock came to be. Those artists will also be able to put work out for everyone to access. Government should not act as bureaucracy. But fund artists for their creativity.

2) McChesney states that true art doesn*****'t exist because of capitalism and thus free market does not work while Cowen supports the opposite.

Cowen states that employment in a free market works because it allows artists to work and create at the same time. Cowen states that patronage used to work, but now with employment everybody in a free market/capitalist system is a patron of the arts, for example everybody buys songs from iTunes. Back in the day a patron had someone to create the Sistine Chapel and the patron decided the content, the artist, the venue*****¦ now with the free market there is freedom in creation. There is a distinction between high (for the elite, not accessible) and low culture (very accessible). Sculpture, metal design, ballet is more intended for high culture. Culture depends on what is produced and Cowen suggests that there is a spectrum of the arts. Cost of materials are high so there is less freedom and creative works. There is a huge supply and demand; people who would be professionals and do not have money to create are at a great disadvantage as Cowen puts it. In a free market system marginalized voices will have more access to materials and having access to materials such as canvas and oils is important but expensive so this disadvantage cuts a lot of people. If costs go down in the free market, artists will be more willing to fail and be more likely to try new things and innovate.

As for the issue of training, in a free market environment, more students will have access to education. There are specific schools for arts however these schools are not cheap and very hard to get into so maybe the access is not really at a huge incline. Elitism is in a free market so training would turn into an elite action. In education what you learn is craftsmanship that is achieved over years of practice, however you are the one bringing in the creativity. In a free market environment there will be more competition and thus more quality. Quality rises because people demand more however McChesney states that the problem with that is when people demand they get in the way of creativity if they give too many details.

In the case of Oligopolies (companies with more than 2 owners), Cowen argues that media outlets are getting bigger and they have to survive so when new people come they merge and create a single patron â†' in this system interest is directed by profit. However, what motivates arts and artists is different then what motivates businesses. When you eliminate independent record and film companies we are rendered down to a single voice/opinion/bias and we are left with no creative control. If you give people what they want then people will not produce, you need to have something new to produce Avant Garde. Cowen states that people want what is available to them, they cannot want what they do not know. He sais that people gain a common interest and that media companies are led around by what the audience wants. McChesney states that this is not true and that oligopolies control the content. He states that the era of reality TV (which is something different and new) was launched when there was no money, a ***** strike because it was easy: you did not need to pay actors or ***** because there was no script, it was easy to create and there was absolutely no creativity.

On the topic of technology, Cowen states that it is a good thing because more people can use it to generate art, however McChesney does make a valid point in stating that the elite is controlling technology and that technology is designed to promote a particular point of view. Also technology does not always promote difference it sometimes bounds the person, if the person does not try and experiment and step out of the set rules. In the topic of creativity and who has the power McChesney states that if the government funds artists, then the government should be the patron of the arts. McChesney himself was a WPA artist. (Roosevelt funded artists and as a result lots of good work was created. Yes the government has its own agenda, but the result is better then what the free market promises states McChesney.

Cooperation makes it easier to make art and therefore to create social change

Money=attention=time

***Jenkins â†'

synopsis: Convergence Culture maps a new territory: where old and new media intersect, where grassroots and corporate media collide, where the power of the media producer and the power of the consumer interact in unpredictable ways. Henry Jenkins, one of America*****'s most respected media analysts, delves beneath the new media hype to uncover the important cultural transformations that are taking place as media converge. He takes us into the secret world of Survivor Spoilers, where avid internet users pool their knowledge to unearth the show*****'s secrets before they are revealed on the air. He introduces us to young Harry Potter fans who are writing their own Hogwarts tales while executives at Warner Brothers struggle for control of their franchise. He shows us how The Matrix has pushed transmedia storytelling to new levels, creating a fictional world where consumers track down bits of the story across multiple media channels.Jenkins argues that struggles over convergence will redefine the face of American popular culture. Industry leaders see opportunities to direct content across many channels to increase revenue and broaden markets. At the same time, consumers envision a liberated public sphere, free of network controls, in a decentralized media environment. Sometimes corporate and grassroots efforts reinforce each other, creating closer, more rewarding relations between media producers and consumers. Sometimes these two forces are at war. Jenkins provides a riveting introduction to the world where every story gets told and every brand gets sold across multiple media platforms. He explains the cultural shift that is occurring as consumers fight for control across disparate channels, changing the way we do business, elect our leaders, and educate our children

Jenkins talks about the transformation of consumers to producers. He discusses the issue of convergent media (seen below) and how it allows consumer to become part of the artistic experience. The audiences freely labor for the companies advertise by speech so producers do not need to spend so much time marketing.

***Course Reading along with lecture notes in museums and art (incorporate with the whole essay!!)

Lecture:

Technology changes and adapts as artists use them to create different styles. Appropriation of media and styles changes and adapts to technology for artistic needs

Now much more artists start to use the internet along with newcomers who use the internet to create art projects, photostreams etc.

There is a connection between technologies, visual art and the museum industry â†' there are many virtual museums along with regular ones

*****"A museum is a non-profit making, permanent institution in the service of society and of its development, and open to the public, which acquires, conserves, researches, communicates and exhibits, for purposes of study, education and enjoyment, material evidence of people and their environment.***** - ICOM

The government allows museums to be non-profit; museums are publicly profitable organizations

Art creates places for: social cohesion and civic participation, creates a safe educative environment, is a poverty fighter

Direct art jobs such us employment of creative workers, curators, commissioners help create thousand of indirect jobs such as purchasing of food, merchandise, and creates tourism etc.

A museums power as a single/free standing institution allows it to portray avant-garde work however, sometimes avant-garde does clash with institutions

*****Participatory culture shifts the focus of literacy training from individual expression onto community involvement: the new literacies are almost all social skills which have to do with collaboration and networking.*****

- Henry Jenkins, 2007

Participatory culture leads to broader issues: it creates collective intelligence, deliberate democracy, social capital, civic engagement, network society. â†' Museums are still elitist even though they look and appear participatory. Museums are partially open: the public rates which works they like the best, but in the end of the day it is up to the institution.

Reading:

*****Making Museums Matter***** by Stephen E. Weil

We used to value civic engagement, community, hard work, success stories, lush and open landscape in the US. The museums were classical, expensive, there was an exhibition of wealth, divine notions of superiority and domination. The purpose was to show richness, secure power, and celebrate the elite. They invited people into space and defined their virtue, uplifted and refined the public, showed the public what they mastered, showed that the ruling class mastered over the subservient class, share the values of the nation and also do philanthropy. Now there is more of a reflection of diversity of public in a society. Going to a museum is an inverting experience, it is a safe public space in an urban environment; if you are a minority, single mom you can go there if you want to have a controversial argument, if you want to feel like you belong, if you want a safe place to go to. There is a new ideology of service along with a doctrine of diversity. Philanthropy has turned to consumption, there is a decline in supporting the arts from the ruling elite, art became for of an investment now and collections in museums began to decline. The values of the nation transformed to individuality, diversity, paying tribute to people the US hurt in the war. As Cowen states public is the patron now, this occurred after the free market economy. People demand an acknowledgement of diversity, they are the patron of power in a museum and they wish for consolidation.

Museums are a safe place for exchange, deliberation, interaction, the institution changed drastically form inculcation to service; from an ideologically packed (packed with information) place to a neutral place where everybody could have a subjective experience. Avant-garde responds to what is democratic and changes it and moves it forward. Being avant-garde however, isn*****t a democratic process, not a fair process. You are always being evaluated by the rules they set forth for you, and you cannot pick the pictures you want to see in a museum.

***(might work in conclusion part) Should art that receives funding be subjected to community approval before appearing in a public space?

If the system is truly democratic then yes, but there will never be anyone who is not offended in some way, everyone*****s spectrum is different so there should be a division of funds, and a council set forth through a democratic voting procedure to determine and speak for the public. In picking the council we must remember that the public of the avant-garde lies in the future. We must be open minded ***** something that art teaches us to do. We must not merely look at something, but we must see it in the context of the artist and the piece.

***Article â†' http://thecaucus.blogs.nytimes.com/2011/04/06/kevin-spacey-in-role-as-lobbyist-for-the-arts/?scp=1&sq=funding%20arts&st=cse (incorporate with whole essay ***** mostly with recommendation part because it is a relevant article about what is going on today)

3) Art is in the public interest during the economic crisis because *****¦

Conclusion: Resolutions/Recommendations ***** while both sides have valid points I recommend that we*****¦ informed recommendations taken from readings and ties to the terms *****

Would the government fund an artist that goes against the government itself?

*****¢ Would it become a censor of the arts it funds.

*****¢ However, NPR checks the government at times.

*****¢ Recommendation how funds would be distributed

I agree with what Cowen has to say but the recommendations have to be political so if it does not work out I am not the one at blame: Major corporations already fund the arts ***** but the Avant Garde doesn*****t pop from the mainstream

Cowen states - give people what they want, but what they want isn*****t***** always good.

Soft Power: instilling and promoting the values of US culture into other countries through Hollywood films

Knowledge exports: the US doesn*****t produce much anymore; information is our biggest export along with innovation. LA*****s biggest export is the entertainment and arts business along with creative laborers

Convergent Media: is two portals delivering the same product (TV and text messaging interfacing on a similar product like for American Idol) â†' art is not only creation, there are people who create the materials like canvases, ink, the museum payments, the curator gets paid in the museum etc. like told in the lecture notes above

Vertical integration: when a company purchases al the ways in which a story or content gets delivered. Twilight is a film, a book series, has action figures, has a soundtrack. And together this changes the way decisions are made with art. Publisher makes a deal with a producer to produce.

*****Power to Negate***** â†' Jenkins says that new media has the power to be very democratic for people*****s voices, but it also has the power to negate issues. In YouTube sexism and homophobia clips are run as parody and satire and diminishes the seriousness of these conditions. Museums and public space â†' peole decide what is appropriate or not to be in a museum or not. They decide what is beautiful or ugly, however who gives them the power to decide the whole option of what is appropriate and what is not appropriate. ***** do people even know what they want or are they just looking at something because it is there?

Participatory culture: Jenkins states that now we see more user generated content. The user has the ability of choice, rating and evaluation. This limits the type of product, stifles competition, lowers diversity and lowers incentive for company. This shift to participatory culture exploits advantages of media, creates multiple ways to sell content to consumer, and cements consumer loyalty in a fragmented marketplace, shapes consumer behavior. How ever thee is a gap where not everybody can join interaction, which is where media is going. Interaction promotes participatory culture, is predesigned for you and has an action/reaction that is pre planned.

â†' People need a public sphere to discuss, to challenge to talk and put out their information

Public Sphere ***** Exchange of ideas and knowledge, an open form to exchange knowledge and free speech, the Internet is now a public sphere as Jenkins states. It is a tool for engagement that falls short.

Public Space ***** Open spaces for the public sphere to communicate and discuss ***** EX: Hyde Park

Monstrous Hybrid: preservation and production of culture is dependent upon capitalism - Inject a bit of commercial morality into guardian tasks, or vice versa, and you produce *****"monstrous hybrids.*****"

Museums: maintain the culture, educate young people, help people open their minds and challenge their thought, museums are a portal into the past, present and future, they create awareness of ones world.

*****

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