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Art in Public Places: Hawaii State Foundation on Culture and the Arts and its cultural significance.

机译:公共场所的艺术:夏威夷州文化艺术基金会及其文化意义。

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I have based this study on the idea that providing art for the people is a legitimate responsibility of government, which must make aesthetic experiences available for all. By its very nature, art for the people raises broad political and aesthetic questions that often result in controversy. If the state of the arts and their support by government are to remain healthy and vital, such controversy is important as a catalyst for discussion.;As Hawaii's official agency, the State Foundation on Culture and the Arts assumed a significant role as art patron. Its role expanded when the legislature passed the percent-for-art law establishing the Art in Public Places program. This program was responsible for the purchases of portable, relocatable works as well as permanently installed, commissioned works of art. Its goal was to enhance public enjoyment of art, develop public awareness of art, encourage professional artists, and preserve the multicultural heritage of the people of Hawaii.;Using the case-study method, this research focuses on how the program's commissioning process demonstrates the cultural democracy that is the basis for its policies. The Foundation democratized the arts by bringing fine art traditions of the East and the West to the people. Such a dissemination of fine art conveys an aesthetic standard that values high culture as the best or most appropriate for the people. The Foundation also democratized the arts by expanding the definition to include ethnic and folk art as well as the crafts. It considered all aesthetic expressions art. This melding encouraged popular participation. Thus, Western abstractions incorporating Asian and Hawaiian forms competed for resources with ethnic representations of mythical Hawaiian deities.;In addition, the Foundation accommodated two different visions of art. One involved a multicultural synthesis within a Western concept. The other included various expressions of the different cultural enclaves striving to preserve their heritage. Both visions of art were valid, as were the two approaches to cultural democracy. They helped to explain how the Foundation operated its art program.
机译:我的研究基于这样的思想,即为人民提供艺术是政府的合法责任,必须使所有人都能获得审美体验。就其本质而言,为人民服务的艺术提出了广泛的政治和美学问题,这些问题常常引起争议。如果要保持健康和至关重要的艺术水平及其在政府的支持,那么这种争论就很重要,可以作为讨论的催化剂。作为夏威夷的官方机构,国家文化艺术基金会作为艺术赞助人发挥了重要作用。当立法机关通过建立公共场所艺术计划的艺术百分比法时,其作用扩大了。该计划负责购买便携式,可重定位的作品以及永久安装的委托艺术品。其目标是增强公众对艺术的享受,提高公众对艺术的认识,鼓励专业艺术家并保存夏威夷人民的多元文化遗产。使用案例研究方法,本研究着重于该程序的调试过程如何证明文化民主是其政策的基础。基金会通过将东方和西方的美术传统带给人们,使艺术民主化。美术的这种传播传达了一种审美标准,即将高级文化视为对人们最好或最合适的文化。基金会还通过扩大其定义范围,使民族和民间艺术以及手工艺艺术化,从而使艺术民主化。它考虑了所有美学表现艺术。这种融合鼓励了公众的参与。因此,融合了亚洲和夏威夷形式的西方抽象作品以神话般的夏威夷神灵的种族表现形式争夺资源。此外,基金会容纳了两种不同的艺术观。一个涉及西方概念内的多元文化综合。另一个包括努力保护其遗产的不同文化飞地的各种表现形式。两种艺术观都是有效的,文化民主的两种方法也是有效的。他们帮助解释了基金会如何运作其艺术计划。

著录项

  • 作者

    Munson, Gloria Ursal.;

  • 作者单位

    University of Hawai'i at Manoa.;

  • 授予单位 University of Hawai'i at Manoa.;
  • 学科 American studies.;Fine arts.;Public administration.
  • 学位 Ph.D.
  • 年度 1992
  • 页码 240 p.
  • 总页数 240
  • 原文格式 PDF
  • 正文语种 eng
  • 中图分类
  • 关键词

  • 入库时间 2022-08-17 11:50:21

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