- Paperback: 288 pages
- Publisher: Verso (November 11, 2014)
- Language: English
- ISBN-10: 1781685916
- ISBN-13: 978-1781685914
- Product Dimensions: 6.1 x 0.9 x 9.2 inches
- Shipping Weight: 7.2 ounces (View shipping rates and policies)
- Average Customer Review: 1 customer review
- Amazon Best Sellers Rank: #2,165,253 in Books (See Top 100 in Books)
Enter your mobile number or email address below and we'll send you a link to download the free Kindle App. Then you can start reading Kindle books on your smartphone, tablet, or computer - no Kindle device required.
To get the free app, enter your mobile phone number.
Other Sellers on Amazon
+ $3.99 shipping
+ Free Shipping
Cultural Capital: The Rise and Fall of Creative Britain Paperback – November 11, 2014
|New from||Used from|
See the Best Books of 2018 So Far
Looking for something great to read? Browse our editors' picks for the best books of the year so far in fiction, nonfiction, mysteries, children's books, and much more.
Customers who bought this item also bought
Customers who viewed this item also viewed
“A brilliant analysis of the way that the intrinsic value of art was undermined by a Blair-led government’s attempts to control creative production and turn it into an instrument of social engineering. It is a timely warning about the dangers of political interference and a rallying cry for art to both be publicly supported and maintain a hard won independence. Art needs this independence from power in order to show us to ourselves in ways that the media and politics never do and never can.” —Antony Gormley
“Long Britain’s best chronicler of culture and political policy, Robert Hewison turns his unflinching gaze on the New Labour era, a time of targets, access and excellence for all, complete with the National Lottery, Cool Britannia, the Millennium Dome and the 2012 Olympics. It’s not a pretty sight, and his findings of folly, incompetence and vanity will entertain and disturb readers in equal measure. They should also embarrass any politicians and arts administrators who retain a degree of self-awareness.” —Alwyn Turner, author of A Classless Society
“This is essential reading for anyone who has the slightest interest in the funding of the arts in this country.” —Richard Eyre
About the Author
Robert Hewison is a historian of contemporary British culture. Beginning in 1939 with Under Siege, his series of books presents a portrait of Britain that runs from the perils of wartime to the counterrevolution of Thatcherism in The Heritage Industry. He is an internationally recognized authority on the work of John Ruskin, and has held chairs at Oxford, Lancaster and City Universities. He is an Associate of the think tank Demos, and has written on the arts for the Sunday Times since 1981. He has been a consultant to the Clore Duffield Foundation, the Gulbenkian Foundation, the Arts Council, the Heritage Lottery Fund and the Royal Shakespeare Company, and is on the editorial advisory board of the journal Cultural Trends.
Top customer reviews
There was a problem filtering reviews right now. Please try again later.
Professor Hewison writes that Tony Blair’s strategy to nurture the arts was initially greeted with excitement. The idea was that a government-funded cultural capital might help reinvigorate a slumping post-industrial U.K. economy. However, the ‘Cool Britannia’ of self-actualizing artists was short lived. Mr. Hewison painfully documents how many well-intentioned initiatives faltered as government bureaucrats collided with creative artists and inattentive audiences. For example, the spectacular failure of The Millennium Dome illustrates how government goal-setting does not always synch with the needs and preferences of the local communities that such venues may have been intended to serve.
Professor Hewison goes on to talk about the U.K.’s struggle to enlarge access to the arts; the problems of communicating the arts mission; the defunding crisis that struck with the arrival of a Conservative government; the commercialization of popular arts; the importance of arts education; and related issues. Yet, Professor Hewison contends that the 2012 Olympic ceremonies allowed creative Britain a brief shining moment in the sun as its depiction of an inclusive, fun and progressive (if not overly self-reflexive) modern democracy was viewed with approval around the world.
Professor Hewison closes this thoughtful book suggesting that a meaningful role for government in the arts still exists. Professor Hewison believes that a new generation of homemade artists who have come of age using new collaborative tools and technologies have the potential to democratize the arts. On that promise, the author thinks that society must commit to allocating public resources to enable the most talented and collective imaginations a space to flourish.
I highly recommend this book to everyone.