I'm not sure why so much very good poetry came out of the First World War, but it did. Perhaps this was the last war that began with some sense of war as a noble, aristocratic adventure.
It’s always justifiable to question why we are compelled to support the arts, but it’s all the more understandable that taxpayers recoil at arts funding when that art is particularly esoteric and inaccessible.
Authors Fink and Cranor consistently find ways to take the most ordinary parts of our lives, crack them open, and find the weirdness within.
What should be challenged is public funding of all art, especially when taxpayers must foot the bill for works of art that they may find ideologically flawed, morally depraved or aesthetically worthless.
The hit show explores a rich set of philosophical questions including the nature of humankind, our ability to cooperate with one another, and the conflict between worldviews.
Netflix's Blacklist, featuring a former respected surgeon-turned-fugitive, raises complex questions about market demand.
While culture and the arts may appear to be relatively small budget items this election season, the political appeal of arts funding is important in many ways.
Most people probably don’t think of free markets as beautiful. They’re dynamic. They’re productive. They’re useful. But beautiful? That’s not really a word we associate with them.
Contrary to the oft-repeated claims of the arts community, it is a flexible, voluntary, pluralist society with free markets that best produces the conditions for innovation and invention in artistic production.
That art is all around us tells us that art is a market phenomenon.
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