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Статті в журналах з теми "National Endowment for the Arts (NEA)"

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Автор: Grafiati

Опубліковано: 20 квітня 2024

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1

Wilbur, Sarah. "Does the NEA Need Saving?" TDR/The Drama Review 61, no. 4 (December 2017): 96–106. http://dx.doi.org/10.1162/dram_a_00694.

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Анотація:

What are the stakes in saving the NEA, today? Departing from the recent legislative back-and-forth between President Donald Trump and Congress over the budgetary future of the National Endowment for the Arts (NEA), this performance analysis of the NEA’s 31 March 2017 meeting of the National Council on the Arts reveals the complex political posturing that undergirds federal support for the arts in US culture.

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2

Markusen, Ann, and Anne Gadwa Nicodemus. "Arts and The City: Policy and Its Implementation." Built Environment 46, no. 2 (May 14, 2020): 22–38. http://dx.doi.org/10.2148/benv.46.2.182.

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The United States off ers a decade-long illustration of the implementation of a major policy initiative for art and culture across the nation's cities and towns. In this article, we focus on the National Endowment for the Arts (NEA), and its companion ArtPlace and Our Town initiative around place-making, as they have developed since 2009. We describe the challenges that almost eliminated the NEA in the 1990s, the subsequent advocacy shift towards the economic impact of the arts, and the emergence of the Our Town initiative in 2011. We analyse the policy initiatives, their rationales and implementation. We conclude with lessons and ways to improve practice in relation to the roles of artists and arts organizations covering issues of displacement, gentrification and racism (often unanticipated challenges for communities and funders); the impact of the arts in economic terms; and evaluative challenges for funders and place-makers, especially given cultural diversity and 'place-keeping' priorities.

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3

Resing, Mary C. "Source Theatre Company and the Mandate of the NEA: a Case Study." New Theatre Quarterly 11, no. 42 (May 1995): 128–34. http://dx.doi.org/10.1017/s0266464x00001147.

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The controversy in the United States surrounding the funding of ‘offensive‐ and ‘pornographic‐ works by the National Endowment of the Arts (NEA) has centered on whether or not the organization should espouse a morally conservative outlook in regard to the public funding of artistic works. However, the NEA arguably already pursues conservative policies rooted in its vision of the form, function, and outlook of the arts it exists to serve. The appointment of the actress Jane Alexander as chair of the NEA may have indicated that the organization would become more liberal in its moral stance, but the question remains: can government-supported art be anything but conservative? The following is a case study of one theatre's relationship to the NEA in the context of the Washington, DC, theatre community. The author, Mary C. Resing, is a former business manager of New Playwrights' Theatre in Washington, DC, and a former grant writer at the University of North Carolina at Chapel Hill. She is currently working on her dissertation on the actress-manager Vera Kommissarzhevskaia.

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4

Dillon, Deborah R., David G. O’Brien, and Kristen Nichols-Besel. "Motivating Boys to Read: Guys Read, a Summer Library Reading Program for Boys." Children and Libraries 15, no. 2 (June 15, 2017): 3. http://dx.doi.org/10.5860/cal.15n2.03.

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A 2013 National Endowment for the Arts (NEA) report, How a Nation Engages with Art, illustrates that voluntary “literary” reading rates of adults have fallen1 compared to an applauded rise in 2008.2Prior to these two reports, other NEA research showed a serious decline in both literary and book reading by adults of all ages, races, incomes, and education levels.3 Other survey data measuring what youth do in their leisure time indicated that young men and women read fewer than twelve minutes per day.4 These reports show that boys’ frequency of reading lags behind that of girls and that boys are reading neither the number of books nor the range of genres they should read as they progress through the elementary grades.

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5

McLeod, Douglas M., and Jill A. MacKenzie. "Print Media and Public Reaction to the Controversy Over NEA Funding for Robert Mapplethorpe's “The Perfect Moment” Exhibit." Journalism & Mass Communication Quarterly 75, no. 2 (June 1998): 278–91. http://dx.doi.org/10.1177/107769909807500204.

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In 1989, Robert Mapplethorpe's photographic exhibit The Perfect Moment toured the country with the support of a $30,000 grant from the National Endowment for the Arts. The exhibit, which included several sado-masochistic and homo-erotic photographs, drew the ire of the Reverend Donald Wildmon, who turned to Senator Jesse Helms (R- NC). In the summer of 1989, Congress debated policy toward the funding practices of the NEA, sparking a major controversy in Congress and in the arts community. This study examines media coverage of the controversy and the reaction of the public in terms of museum attendance and the value of Mapplethorpe's art.

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6

Niemeyer, Greg. "Waves of Data." Boom 6, no. 3 (2016): 80–83. http://dx.doi.org/10.1525/boom.2016.6.3.80.

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With Brittney Silva’s tragic May 2014 death fresh in everyone’s memory, the city of San Leandro began collaboration efforts between them and University of California, Berkeley to do something to make the city safer for pedestrians. A course was developed at UC Berkeley called Sensing Cityscapes, offered Fall 2015, aiming to collect data about human activities too often ignored. As part of the interdisciplinary UC Berkeley Global Urban Humanities Initiative, the class aimed to harness methods not just from city planning, engineering, and architecture, but from the humanistic disciplines, cognitive science, art, public health, and performance studies, bringing students together from each field. We now are bringing the installation back to the streets of San Leandro with the support of a National Endowment for the Arts (NEA) Our Town grant for a project called San Leandro Lights. Transferring the project from the lab back to the street, we hope that the positive effect for individuals we observed in the lab will remain, and that responsive lighting will create a dynamic culture of attention.

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7

Blythe, Kurt. "Access of Digitized Print Originals in U.S. and U.K. Higher Education Libraries Combined with Print Circulation Indicates Increased Usage of Traditional Forms of Reading Materials." Evidence Based Library and Information Practice 4, no. 1 (March 8, 2009): 21. http://dx.doi.org/10.18438/b8560c.

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A Review of: Joint, Nicholas. “Is Digitisation the New Circulation?: Borrowing Trends, Digitisation and the nature of reading in US and UK Libraries.” Library Review 57.2 (2008): 87-95. Objective – To discern the statistical accuracy of reports that print circulation is in decline in libraries, particularly higher education libraries in the United States (U.S.) and United Kingdom (U.K.), and to determine if circulation patterns reflect a changing dynamic in patron reading habits. Design – Comparative statistical analysis. Setting – Library circulation statistics from as early as 1982 to as recent as 2006, culled from various sources with specific references to statistics gathered by the National Endowment for the Arts (NEA), the Library and Information Statistics Unit (LISU), the Association of Research Libraries (ARL), the National Center for Education Statistics (NCES), and the Association of College and Research Libraries (ACRL). Subjects – Higher education institutions in the United States and United Kingdom, along with public libraries to a lesser extent. Methods – This study consists of an analysis of print circulation statistics in public and higher education libraries in the U.S. and U.K., combined with data on multimedia circulation in public libraries and instances of digital access in university libraries. Specifically, NEA statistics provided data on print readership levels in the U.S. from 1982 to 2002; LISU statistics were analyzed for circulation figures and gate counts in U.K. public libraries; ARL statistics from 1996 to 2006 provided circulation data for large North American research libraries; NCES statistics from 1990 to 2004 contributed data on circulation in “tertiary level” U.S. higher education libraries; and ACRL statistics were analyzed for more circulation numbers for U.S. post-secondary education libraries. The study further includes data on U.K. trends in print readership and circulation in U.K. higher education libraries, and trends in U.S. public library circulation of non-print materials. Main Results – Analysis of the data indicates that print circulation is down in U.S. and U.K. public libraries and in ARL-member libraries, while it is up in the non-ARL higher education libraries represented and in UK higher education libraries. However, audio book circulation in U.S. public libraries supplements print circulation to the point where overall circulation of book materials is increasing, and the access of digital literature supplements print circulation in ARL-member libraries (although the statistics are difficult to measure and meld with print circulation statistics). Essentially, the circulation of book material is increasing in most institutions when all formats are considered. According to the author, library patrons are reading more than ever; the materials patrons are accessing are traditional in content regardless of the means by which the materials are accessed. Conclusion – The author contends that print circulation is in decline only where digitization efforts are extensive, such as in ARL-member libraries; when digital content is factored into the equation the access of book-type materials is up in most libraries. The author speculates that whether library patrons use print or digital materials, the content of those materials is largely traditional in nature, thereby resulting in the act of “literary” reading remaining a focal point of library usage. Modes of reading and learning have not changed, at least insofar as these things may be inferred from studying circulation statistics. The author asserts that digital access is favourable to patrons and that libraries should attempt to follow the ARL model of engaging in large-scale digitization projects in order to provide better service to their patrons; the author goes on to argue that U.K. institutions with comparable funding to ARLs will have greater success in this endeavour if U.K. copyright laws are relaxed.

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8

Barron, Fraser. "National Endowment for the Arts: Advocate and Catalyst." Design For Arts in Education 86, no. 3 (February 1985): 26–30. http://dx.doi.org/10.1080/07320973.1985.9938110.

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9

MILLER, TOBY. "The National Endowment for the Arts in the 1990s." American Behavioral Scientist 43, no. 9 (June 2000): 1429–45. http://dx.doi.org/10.1177/00027640021955973.

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10

Peixoto, Paulo. "Título da página electrónica: National Endowment for the Arts (EUA)." Revista Crítica de Ciências Sociais, no. 67 (December 1, 2003): 145. http://dx.doi.org/10.4000/rccs.1127.

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11

Rushton, Michael. "Transaction cost politics and the National Endowment for the Arts." Poetics 31, no. 2 (April 2003): 133–50. http://dx.doi.org/10.1016/s0304-422x(03)00020-2.

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12

Dorf, Michael C. "Artifactions: The Battle over the National Endowment for the Arts." Brookings Review 11, no. 1 (1993): 32. http://dx.doi.org/10.2307/20080362.

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13

Knight, Robert H. "Point: The National Endowment for the Arts: Misusing Taxpayers' Money." Journal of Arts Management and Law 21, no. 1 (March 1991): 29–48. http://dx.doi.org/10.1080/07335113.1991.9943125.

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14

Bernard, Marie, and Sunil Iyengar. "Building the Science: Current Studies on the Impact of Arts Engagement on the Health of Older Adults." Innovation in Aging 4, Supplement_1 (December 1, 2020): 643. http://dx.doi.org/10.1093/geroni/igaa057.2210.

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Анотація:

Abstract Nearly a decade ago, a federal interagency task force on the arts and human development was launched as the result of a research summit held by the National Endowment for the Arts and the U.S. Department of Health and Human Services to investigate the arts’ relationships to health and well-being across the lifespan. Soon afterward, the National Institute on Aging partnered with the Arts Endowment and the National Academy of Sciences to identify research recommendations to benefit healthy aging and the treatment of neurodegenerative diseases in older-adult populations. While this session will revisit some of those findings, it also will share more recent advances in biomedical and behavioral research being conducted by a growing network of “Sound Health” researchers at the nexus of neuroscience, music, and health==with direct implications for the future of research on the arts and aging.

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15

Galloway, Ann-Christe. "Grants and Acquisitions." College & Research Libraries News 79, no. 7 (July 5, 2018): 396. http://dx.doi.org/10.5860/crln.79.7.396.

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16

Gilmore, Samuel. "Minorities and Distributional Equity at the National Endowment for the Arts." Journal of Arts Management, Law, and Society 23, no. 2 (July 1993): 137–73. http://dx.doi.org/10.1080/10632921.1993.9942927.

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17

Southern, Hugh. "Counterpoint: The National Endowment for the Arts: Fostering America's Artistic Enterprise." Journal of Arts Management and Law 21, no. 1 (March 1991): 55–65. http://dx.doi.org/10.1080/07335113.1991.9943126.

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18

Mark Schuster, J. Davidson. "The formula funding controversy at the national endowment for the arts." Nonprofit Management and Leadership 2, no. 1 (1991): 37–57. http://dx.doi.org/10.1002/nml.4130020107.

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19

Fowler, Charles. "Arts Education and the NEA: Does the National Science Foundation Point the Way?" Design For Arts in Education 91, no. 4 (April 1990): 7–18. http://dx.doi.org/10.1080/07320973.1990.9934816.

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20

Smith, Julie A. "The Arts in Education Program at the National Endowment for the Arts (Washington, D.C.)." Dance Research Journal 27, no. 1 (1995): 70–72. http://dx.doi.org/10.1017/s0149767700004186.

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21

Maher, Kevin. "Washington Hotline." College & Research Libraries News 81, no. 2 (February 4, 2020): 98. http://dx.doi.org/10.5860/crln.81.2.98.

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Federal funding for libraries increases in FY 2020 and the 2020 Census is underwayCongressional appropriators needed overtime to complete the FY 2020 budget, but the result was good news for libraries: a $10 million increase for the Institute of Museum and Library Services (IMLS), including $6.2 million for the Library Services and Technology Act (LSTA) – the largest increase in LSTA funding in 12 years. The final federal spending bill also includes increases for other library and higher education programs, including the Carl D. Perkins Career and Technical Education Act, Library of Congress, National Library of Medicine, National Endowment for the Arts, National Endowment for the Humanities, and programs for students and institutions of higher education.

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22

Hodsoll, Frank. "The national endowment for the arts and cultural economics: The information partnership." Journal of Cultural Economics 9, no. 1 (June 1985): 1–12. http://dx.doi.org/10.1007/bf02267485.

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23

Urice, John K. "An Iconoclast's View of the National Endowment for the Arts and K-12 Arts Education." Arts Education Policy Review 103, no. 1 (September 2001): 19–22. http://dx.doi.org/10.1080/10632910109600276.

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24

Moen, Matthew C. "Congress and the national endowment for the arts: Institutional patterns and arts funding, 1965–1994." Social Science Journal 34, no. 2 (June 1, 1997): 186–200. http://dx.doi.org/10.1016/s0362-3319(97)90050-1.

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25

Knight, Felicia K. "The ultimate calamity scenario in US arts funding: eliminating the national endowment for the arts." Cultural Trends 26, no. 4 (September 29, 2017): 341–44. http://dx.doi.org/10.1080/09548963.2017.1383001.

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26

Love, Jeffrey. "Sorting Out Our Roles: The State Arts Agencies and the National Endowment for the Arts." Journal of Arts Management and Law 21, no. 3 (September 1991): 215–26. http://dx.doi.org/10.1080/07335113.1991.9943137.

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27

Wyland1, Russell M. "Public Funding and the “Untamed Wilderness” of Victorian Studies." Articles, no. 55 (April 20, 2010): 0. http://dx.doi.org/10.7202/039554ar.

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Abstract Victorian studies emerged, like many interdisciplinary fields, during the 1950s and 1960s. While scholars today accept the validity of interdisciplinary work, it was not always so, and early issues of Victorian Studies and the Victorian Periodicals Newsletter reflect both scholars’ excitement over the prospect of interdisciplinary work and their hesitation in the face of an “untamed wilderness.” The same forces that gave rise to Victorian studies had their equivalent on Capitol Hill with passage of the National Foundation on the Arts and Humanities Act of 1965. This essay explores the relationship between the emerging field of Victorian studies and the National Endowment for the Humanities. The debates and methodological discussions that shaped the founding of the field left scholars well positioned to take advantage of opportunities offered by the Endowment. NEH-supported projects such as Walter Houghton’s Wellesley Index shaped Victorian studies in profound ways, and Victorian studies, in turn, helped shape the Endowment.

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28

Levine, Mindy N. "National Endowment for the Arts/Andrew W. Mellon Foundation Dance Documentation and Preservation Study." Dance Research Journal 23, no. 2 (1991): 52–54. http://dx.doi.org/10.1017/s014976770000320x.

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29

Balfe, Judith Huggins. "Introduction: The Arts and Legislation Copyright Construction, Nonprofit Board Law, and the National Endowment for the Arts." Journal of Arts Management, Law, and Society 27, no. 2 (January 1997): 83–84. http://dx.doi.org/10.1080/10632929709601554.

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30

Shockley, Gordon E. "Political Environment and Policy Change: The National Endowment for the Arts in the 1990s." Journal of Arts Management, Law, and Society 41, no. 4 (October 2011): 267–84. http://dx.doi.org/10.1080/10632921.2011.628232.

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31

Barron, Fraser. "A mission renewed: The survival of the national endowment for the arts, 1981?1983." Journal of Cultural Economics 11, no. 1 (June 1987): 22–74. http://dx.doi.org/10.1007/bf00148070.

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32

Camp, Julie Van. "Freedom of Expression at the National Endowment for the Arts: An Opportunity for Interdisciplinary Education." Journal of Aesthetic Education 30, no. 3 (1996): 43. http://dx.doi.org/10.2307/3333321.

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33

Bumgarner, Constance. "Artists in the Classroom: An Analysis of the Arts in Education Program of the National Endowment for the Arts." Marilyn Zurmuehlen Working Papers in Art Education 11, no. 1 (1992): 54–71. http://dx.doi.org/10.17077/2326-7070.1233.

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34

Bradshaw, Tom, and Olive Mosier. "Public participation in the arts in the United States: Summary of the national endowment for the arts 1997 survey." Cultural Trends 9, no. 33 (January 1999): 35–104. http://dx.doi.org/10.1080/09548969909365068.

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35

Bienvenu, Beth. "BUILDING RESOURCE NETWORKS IN SERVICE OF OLDER PEOPLE THROUGH STATE ARTS AGENCIES' COMMUNITIES OF PRACTICE." Innovation in Aging 3, Supplement_1 (November 2019): S30. http://dx.doi.org/10.1093/geroni/igz038.115.

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Abstract National, state, and local arts networks help build the capacity of public and private sector organizations to serve older adults through quality arts engagement opportunities. The National Endowment for the Arts has worked closely with state arts agencies to build networks through a community of practice to facilitate partnerships with artists, arts organizations, aging services, and the healthcare system. With more than 40 states participating, the initiative has resulted in new state partnerships, new state grant initiatives, and new arts learning programs for older adults. Arts service organizations also have a role to play in this work. For example, the American Alliance of Museums is building a network of museums that will develop and implement high-quality, intensive arts learning opportunities for older adults across the United States. This presentation will address how these networks are helping build capacity across the country to improve the health and well-being of older adults

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36

Urice, John K. "Three Contemporary Reports That Influenced the Creation of the National Endowment for the Arts: A Retrospective." Journal of Arts Management, Law, and Society 33, no. 1 (January 2003): 5–16. http://dx.doi.org/10.1080/10632920309597337.

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37

Wertz, Spencer K. "The National Endowment for the Arts and Its Opposition: Danto's Argument for Art for Our Sake." Journal of Aesthetic Education 41, no. 3 (2007): 111–17. http://dx.doi.org/10.1353/jae.2007.0031.

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38

Wertz, S. K. "The National Endowment for the Arts and Its Opposition: Danto’s Argument for Art for Our Sake." Journal of Aesthetic Education 41, no. 3 (October 1, 2007): 111–17. http://dx.doi.org/10.2307/25160241.

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39

Zainaldin, Jamil. "Public Works: NEH, Congress, and the State Humanities Councils." Public Historian 35, no. 1 (February 1, 2013): 28–50. http://dx.doi.org/10.1525/tph.2013.35.1.28.

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Анотація:

The National Foundation on the Arts and Humanities Act of 1965 is the most ambitious piece of cultural legislation in American history. The story of its creation and evolution is a tangled one that continues to the present day. This essay looks at NEH and NEA in their early years, their relations with Congress, and the process by which NEH fostered the invention of humanities-based “State Committees,” significantly different in concept from NEA’s innovation of “State Arts Agencies.” The circumstances that led to the creation of these grassroots programs ultimately changed NEH itself while popularizing the novel terminology and concept of “public” humanities work. The essay concludes with reflections about the time-bound quality of NEH and the State Humanities Councils and considers their sustainability in a new century.

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40

Bowman, Deborah. "Folklife and Education." Practicing Anthropology 7, no. 1-2 (January 1, 1985): 10–11. http://dx.doi.org/10.17730/praa.7.1-2.t87245726864k271.

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From 1980 to 1983, I served as the Folklife in Education Coordinator for the Ohio Arts Council. The program is an outgrowth of a collaboration between the Folk Arts and the Artists in Education programs, which the National Endowment for the Arts designed to incorporate folk arts and artists into AIE's Artists-in-Residence program. By 1980 twenty-seven states offered some kind of school or community program where folk artists spent a period of days or weeks working with students of all ages. These programs are increasingly popular. Most states now offer residency programs, curriculum materials, and other opportunities for bringing students into closer communion with the folk traditions of their culture or geographic area through state arts agencies, folklife programs or Parks and Recreation departments.

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41

Thomas, Sandra P. "“Sound Health: Music and the Mind”: The New Initiative of the National Institutes of Health and National Endowment for the Arts." Issues in Mental Health Nursing 38, no. 10 (October 3, 2017): 779. http://dx.doi.org/10.1080/01612840.2017.1379816.

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42

Reis, Paula Félix dos. "Modelos de financiamento público da cultura: estudo comparativo entre o Brasil e os Estados Unidos." Políticas Culturais em Revista 12, no. 1 (October 1, 2019): 51. http://dx.doi.org/10.9771/pcr.v12i1.30438.

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<p>Este artigo compara o sistema público de financiamento da cultura do Brasil e dos Estados Unidos. Além do exame dos mecanismos de financiamento existentes, o trabalho analisa os principais investimentos públicos realizados nos últimos anos pelo Ministério da Cultura brasileiro e pelo<em>National Endowment for the Arts</em>. </p><p><strong>Palavras-chave: </strong>Financiamento Cultural, Brasil, Estados Unidos<strong>.</strong></p>

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43

Kimbis, Thomas Peter. "Surviving the Storm: How the National Endowment for the Arts Restructured Itself to Serve a New Constituency." Journal of Arts Management, Law, and Society 27, no. 2 (January 1997): 139–58. http://dx.doi.org/10.1080/10632929709601559.

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44

Saunders, S. "The Case for the National Endowment for the Arts: Federal Funding for the Arts in America in the 1960s and 1970s." History of Political Economy 37, no. 3 (September 1, 2005): 593–616. http://dx.doi.org/10.1215/00182702-37-3-593.

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45

Bertz, Inka. "Dreaming of Raphael: The Politics and Aesthetics of the Michael-Beer-Stiftung for Jewish Artists." Ars Judaica: The Bar Ilan Journal of Jewish Art 16, no. 1 (January 1, 2020): 69–94. http://dx.doi.org/10.3828/aj.2020.16.6.

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In his will, the poet and playwright Michael Beer (1800-1833) provided an endowment for a prize to support Jewish painters and sculptors to travel to Italy for one year. The grant was placed under the auspices of the Berlin Academy of Art and awarded from 1836 to 1921. This essay focusses on the establishment of the prize, exploring the mindset and motivations of the donor, situated in their historical, social, and ideological contexts. It opens insights into early nineteenth-century Jewish-Christian networks, as well as into contemporary views on national art and the aesthetics of the classical tradition, private patronage and public institutions, Jewish emancipation, antisemitism, and civil rights.

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Gallagher, Kelly Sims. "Why & How Governments Support Renewable Energy." Daedalus 142, no. 1 (January 2013): 59–77. http://dx.doi.org/10.1162/daed_a_00185.

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Many countries have adopted comprehensive policy frameworks to support renewable energy, but the United States has not adopted any consistent and stable policies at the national level to foster the use of renewable energy. This essay explores why some nations (Germany, China, and Denmark) and certain U.S. states (Colorado, Texas, and Ohio) have developed robust policies for the deployment of renewable energy. My aim is not to evaluate the specific policy mechanisms that countries and states have chosen, but rather to shed light on the underlying societal factors that contributed to each government's decision to enact the policies in the first place. I explore four factors that could influence a government's decision to adopt favorable policies for renewable energy: (1) economic motives; (2) a high endowment of renewable resources and/or a low endowment of nonrenewable sources; (3) the political system; and (4) cultural factors and attitudes.

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Urice, John K. "Planning at the National Endowment for the Arts: A Review of the Plans and Planning Documents, 1978–1984." Journal of Arts Management and Law 15, no. 2 (June 1985): 79–91. http://dx.doi.org/10.1080/07335113.1985.9942156.

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Goddard, Alison, and Vicki Carss. "A radical approach to providing support to adults with dyslexia and other specific learning difficulties." OP Matters 1, no. 15 (May 2012): 21–24. http://dx.doi.org/10.53841/bpsopm.2012.1.15.21.

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In November 2011, the National Endowment for Science, Technology and the Arts (NESTA) together with The Observer newspaper, set out to find examples of inspirational ideas that are improving the lives of individuals and communities across Britain. Amongst the 50 winners of the so-called New Radicals awards is Lexxic Ltd, a consultancy that provides specialist services for adults in the workplace affected by dyslexia, dyspraxia, dyscalculia, ADHD and other neurological differences. Lexxic’s services are aimed at unlocking the potential of adults with specific learning difficulties, raising awareness of dyslexia and other neurological differences within the workplace, and creating ‘dyslexia-friendly’ environments.

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Gaztambide-Fernández, Rubén. "Thinking Otherwise About the Arts in Education—A Rejoinder." Harvard Educational Review 83, no. 4 (December 1, 2013): 636–43. http://dx.doi.org/10.17763/haer.83.4.j2545n6147x22758.

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In this essay, Rubén Gaztambide-Fernández reflects on the comments made in a forum convened to reflect on his article “Why the Arts Don't Do Anything: Toward a New Vision for Cultural Production in Education,” published in the Harvard Educational Review (HER)'s special issue entitled Expanding Our Vision for the Arts in Education (Vol. 83, No. 1). Participants in the forum (published in HER Vol. 83, No.3) were John Abodeely, manager of national partnerships, John F. Kennedy Center for the Arts, Washington, DC; Ken Cole, associate director, National Guild for Community Arts Education, New York City; Janna Graham, project curator of the Serpentine Gallery, Centre for Possible Studies, London; Ayanna N. Hudson, director of arts education, National Endowment for the Arts, Washington, DC; and Carmen Mörsch, head of the Research Institute for Art Education, Zurich University of the Arts. In his original essay, Gaztambide-Fernández makes the case that advocacy for arts education is trapped within a “rhetoric of effects” that relies too heavily on causal arguments for the arts, whether construed as instrumental or intrinsic. Gaztambide- Fernández further argues that what counts as “the arts” is based on traditional, Eurocentric, hierarchical notions of aesthetic experience. As an alternative, he suggests a “rhetoric of cultural production” that would focus on the cultural processes and experiences that ensue in particular contexts shaped by practices of symbolic work and creativity. Here the author engages the forum's discussion in an effort to clarify his argument and move the dialogue forward.

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Angelo Tata, Michael. "Nude Descending a Staircase at the National Endowment for the Arts: A Legal Anatomy of Karen Finley’s Constitutional Challenge." Revue française d’études américaines N° 171, no. 2 (June 1, 2022): 40–56. http://dx.doi.org/10.3917/rfea.171.0040.

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