In Weber (2017), I introduce the category “art statism” to describe when the state, as defined by Max Weber (1919), uses public art to gain, maintain or grow its discretionary power. In this blog I share a personal story taking place during coronavirus-time in New York City, centered around the Brooklyn Museum and this highly-divisive time in American politics, to illustrate an on-the-ground example of art-statism.
By Nora Elena Espinal-Monsalve, Andrey David Ramos-Ramírez y Luz Yadira Gómez-Hernández
The relationship between cultural reproduction and cultural consumption can be framed from the theory of social reproduction of Bourdieu (1986) to the theories of cultural omnivorousness (Peterson, Simkus, and Kern, 1996) and individualization (Bauman (2007). Greater participation in cultural activities generates employment, economic growth, and increases the perception of the quality of life. As such, understanding the extent to which it is an inherited behaviour from parents, is a fundamental policy issue to reduce participation gaps among different demographics.Continue reading “TESTING THE CULTURAL CAPITAL REPRODUCTION THEORY IN COLOMBIA”→
By Jonathan Daniel Gómez‐Zapata, Luis César Herrero‐Prieto, and Beatriz Rodríguez‐Prado
Music is linked to human senses and emotions and is one of the most important manifestations of mankind’s creativity as well as being a factor that forges individual identity and realisation. Music also has implications in an area’s social, cultural and economic configuration, such that it helps to define collective and geographical cultural idiosyncrasy, and may also help to shape long-term economic development. Music can act as a powerful tool for progress and social change since it is particularly suited to dealing with risk factors amongst the young, such as helping to reduce crime levels, fostering peace amongst communities and improving individuals’ socioemotional health and quality of life.Continue reading “DOES MUSIC SOOTHE THE SOUL?”→
By Ana Flávia Machado, Débora Freire, Rodrigo Cavalcante Michel, Gabriel Vaz de Melo, and Alice Demattos Guimarães
The Covid-19 global pandemic has drastically changed routines in worldwide. Given the high capacity of this virus reproduction, the most effective measure is social isolation. In this context, certain economic activities which are based on consumption outside the home and shared with other individuals, i.e.: sessions in movie theatres, live performances (theatre, dance, concerts, etc.), visits to galleries and museums, are and will be significantly affected by the current pandemic. Therefore, our objective is to discuss the Brazilian cultural sector, projecting the impacts of the shutdown of cultural activities outside home in both the cultural sector and broadly in the economy.Continue reading “EFFECTS OF COVID-19 IN BRAZILIAN CULTURAL ECONOMICS”→
In the cold winter’s night of 9 to 10 January 2005, criminals left a devastating scene at the Westfries Museum in Hoorn, the Netherlands. Glass doors were shattered, wooden panels were destroyed, and valuable porcelain was smashed into hundreds of pieces. Possibly more devastating was the additional theft of 70 pieces of silver and 24 paintings of important 17th century artists like Jan van Goyen, Jacob Waben, and Matthias Withoos with an estimated value between €250.000 and €1.3 million. A few years later, without violence but with similar devastating consequences, seven paintings belonging to the Triton Family Foundation were stolen from the Kunsthal in Rotterdam. Amongst these were works by Claude Monet, Pablo Picasso, and Lucian Freud. Estimated value: €18.1 million. The 2002 thefts of two unique Van Gogh paintings from the Van Gogh Museum in Amsterdam, finalizes the list. ‘Childishly easy’ is how the theft was described in the media. With a rope, ladder, and a broken window, the criminals could steal one of only two seascapes made by Van Gogh from his Dutch years. The described cases are considered to be the most notable art crimes that took place in the Netherlands in the past 20 years.Continue reading “POLICING ART CRIME”→