Why Should Government Support the Arts? State governments today face monumental challenges: record-breaking budget shortfalls, rising unemployment, widespread home foreclosures and escalating needs for public assistance. States are wrestling with these immediate pressures while also trying to address long-term concerns about education, economic competitiveness and health care. All the while, public managers and elected officials must uphold the principles that taxpayers expect: thrift, accountability
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Marinetti addressed the “death” of traditional art in his Futurist Manifesto of 1909 when he stated “Why should we look back, when what we want is to break down the mysterious doors of the Impossible? Time and Space died yesterday. We already live in the absolute, because we have created eternal, omnipresent speed.” Marinetti, among with artists of the Futurist, Vorticist and Constructivist movements of the 20th century, believed that mechanisation was fundamental to creating a new future where machines
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central part of the way that our minds are designed to take decisions forward, Beth Cullen Kerridge’s onset with art undertook a route governed by her personal experiences. “My father was a painter, and I always thought ‘no, I won't do that - I actually need money to live’ so I sort of fought against [art] for a long time. But as I grew older, I just couldn't help myself, I ended up at art college and studied painting.” Such is the case on the path of least resistance, we instantly categorise every
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‘I've read and heard too much nonsense about how arts management is somehow special, but a good manager should be able to transpose their management skills to meet the needs of their business, arts or otherwise.’ Dave Moutry (2012). - Is there a need for arts managers? Introduction: On the basis of the quote mentioned in the title by Dave Moutrey (2012), I think he is trying to convey that there is not much difference between an arts manager and a general business manager. He mentions that
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certain aspect. However, relying on emotions too much could also cloud our judgment, for it is a very subjective way of knowing. This essay will discuss how reliable our emotion is in the pursuit of knowledge in two areas of knowledge; history and the arts. To start with, emotion plays a big part in judging historical figures and events that were immortalized through history books. The question is, would it be accurate enough to judge them solely based on our emotions? Take Richard III for example
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- Veronica Scarpellino August 7, 2014 “Hidden City: A Study in Social Impact and a Living City” Over the past few decades the concept of social impact has continued to gained traction as the new imperative across all industries. Artists and art organizations, too, seek to affect their communities in positive ways. How this is achieved is being experimented with daily, and an interesting endeavor takes shape in Philadelphia in the form of Hidden City, an organization that puts a spotlight on
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For the piece that stood out the most to in meaning something to me was Portrait of the Artist’s Wife, with Hands on Hips by Egon Schiele. It was done in 1915 with the simple use of black crayon on paper to illustrate just one women showing confidence with the pose she’s striking with her hands on her hips. It was at first glance the outfit the woman is wearing that gave me curiosity as to why would the artist draw her in what I consider to be common clothes with her hair unkept looking. My first
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historic and social point of view, it should be mentioned that this period was also marked by the Counter-Reformation of the Catholic Church, along with many religious movements aimed at reaffirming Christian beliefs. From the point of view of culture, art and literature were leading the years of the Golden Age; as a result, the Hispanic letters, along with other writings published during this period have to endure contributions to the Universal Literature. The blooming of the Golden Age brought the glory
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THE ART OF FICTION by Henry James [Published in Longman's Magazine 4 (September 1884), and reprinted in Partial Portraits (Macmillan, 1888); paragraphing and capitalization follow the Library of America edition.] I SHOULD not have affixed so comprehensive a title to these few remarks, necessarily wanting in any completeness, upon a subject the full consideration of which would carry us far, did I not seem to discover a pretext for my temerity in the interesting pamphlet lately published under
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Becca- Prince of the World and the Cathedral Façade Becca’s project focuses on the figure of the Prince of the world: a two sided figure who looks beautiful from the front, but vile and covered in sores, snakes, and rats from the back. She is looking into his placement on cathedral facades and the symbolism of his presence. He is only popular in the Germanic region, but he stops appearing after the 15th century, a phenomenon she is looking into. One theory Becca is looking into is the
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