1989
DOI: 10.2307/3245443
|View full text |Cite
|
Sign up to set email alerts
|

Recent Writing on Interculturalism

Help me understand this report

Search citation statements

Order By: Relevance

Paper Sections

Select...
1

Citation Types

0
1
0

Year Published

2022
2022
2022
2022

Publication Types

Select...
1

Relationship

0
1

Authors

Journals

citations
Cited by 1 publication
(1 citation statement)
references
References 0 publications
0
1
0
Order By: Relevance
“…Firstly, just like in many other western countries (e.g. Cummings and Schuster, 1989), the 'space of possibles' for Flemish grant-applying artists has evolved from a model that sought to support both artistic talent and struggling artists, to a model that rejects social welfare considerations and legitimates subsidies based on excellence, and economic and societal accountability, as evidenced by discourse in the newsletters distributed to visual artists by the committee and the legal art decrees which we discuss in-depth elsewhere (Peters and Roose, 2022). While between 1965 and 1992 the Flemish visual art committee distributed small grants both to reputed and struggling artists, from 1992 onwards it granted 'more financial resources for fewer but high-quality artists' (Gielen, 2002: 236 -translated from Dutch; also see Peters and Roose, 2022, for a more detailed historical account of shifts in grant sizes).…”
Section: Developments In the Art Field Cultural Policy And Applicants...mentioning
confidence: 96%
“…Firstly, just like in many other western countries (e.g. Cummings and Schuster, 1989), the 'space of possibles' for Flemish grant-applying artists has evolved from a model that sought to support both artistic talent and struggling artists, to a model that rejects social welfare considerations and legitimates subsidies based on excellence, and economic and societal accountability, as evidenced by discourse in the newsletters distributed to visual artists by the committee and the legal art decrees which we discuss in-depth elsewhere (Peters and Roose, 2022). While between 1965 and 1992 the Flemish visual art committee distributed small grants both to reputed and struggling artists, from 1992 onwards it granted 'more financial resources for fewer but high-quality artists' (Gielen, 2002: 236 -translated from Dutch; also see Peters and Roose, 2022, for a more detailed historical account of shifts in grant sizes).…”
Section: Developments In the Art Field Cultural Policy And Applicants...mentioning
confidence: 96%