By Justin Lewis, Toby Miller
Critical Cultural coverage reports: A Reader brings jointly vintage statements and modern perspectives that illustrate how daily tradition is as a lot a made from coverage and monetary determinants because it is of artistic and patron impulses.
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Extra info for Critical Cultural Policy Studies: A Reader
The cultural elitist strand, which was also most prominent in the attack on ``political correctness'' in academia, was enunciated particularly by the writers of the New Criterion magazine, such as Hilton Kramer and Samuel Lipman, who wished to defend the established canons of American and European art. The public attribution of artistic status to a piss-artist photographer like Andres Serrano was in itself offensive to their highly refined sensibilities. To an extent, however, that merely repeated the historical contest between cultural establishments and various self-styled avant gardes.
Consider the perennial issue of the nation as an illustration of the importance of localism in intellectual work. The ascendent current of macrolevel thought in cultural studies today lays to rest the nation state and invites linking positive opportunities for internationalism with a renewed communalism. This may be appropriate for cultural thought in a European context in the present climate, but it is wholly inappropriate in virtually any context outside the First World, including Australia. There are high stakes involved in the arguments for internationalism and community against the nation.
In May 1989, Republican Senator Alphonse D'Amato dramatically tore up a reproduction of the offending work and scattered its pieces on the floor of the United States' Senate. Serrano had been the recipient of a $15,000 prize from the South Eastern Centre for Contemporary Art in Winston-Salem. The money came originally from the National Endowment for the Arts (NEA), the American equivalent of the British Arts Council, founded by a Democratic presidency during the 1960s. Although the NEA had not directly rewarded Serrano for his ambivalent commentary on the status of Jesus Christ in a commercial culture, D'Amato drew the all-tooobvious conservative inference from the relationship, in his eyes, between such blasphemous obscenity and public funding of the arts.