ARTLAND: Flagship arts & culture for some, catastrophic cuts for everyone else #Budget2016

Arts Council EnglandBeneath the old iron bridges, across the Victorian parks
And all the frightened people running home before dark
Past the Saturday morning cinema that lies crumbling to the ground
And the piss stinking shopping center in the new side of town
I’ve come to smell the seasons change and watch the city
As the sun goes down again

Here comes another winter of long shadows and high hopes
Here comes another winter waitin’ for utopia
Waitin’ for hell to freeze over

This is the land where nothing changes
The land of red buses and blue blooded babies
This is the place, where pensioners are raped
And the hearts are being cut from the welfare state
Let the poor drink the milk while the rich eat the honey
Let the bums count their blessings while they count the money

So many people can’t express what’s on their minds
Nobody knows them and nobody ever will
Until their backs are broken and their dreams are stolen
And they can’t get what they want then they’re gonna get angry

Well it ain’t written in the papers, but it’s written on the walls
The way this country is divided to fall
So the cranes are moving on the skyline
Trying to knock down this town

But the stains on the heartland, can never be removed
From this country that’s sick, sad, and confused

Here comes another winter of long shadows and high hopes
Here comes another winter waitin’ for utopia
Waitin’ for hell to freeze over

The ammunition’s being passed and the lords been praised
But the wars on the televisions will never be explained
All the bankers gettin’ sweaty beneath their white collars
As the pound in our pocket turns into a dollar

This is the 51st state of the U.S.A.
This is the 51st state of the U.S.A.
This is the 51st state of the U.S.A.

The The – Heartland, 1986

THEY really must be careful.  The government announces MASSIVE cuts to disability benefits and local government (again), keeps screwing the NHS and flagrantly mocking junior doctors for daring to protest (politely), drives through devastating education policies that effectively seek to privatise schools, more.  Meanwhile THEY get tax breaks – the wealthy, the fossil fuel producers, more.  Austerity is a calculated ideological move to remove people’s hard fought rights and introduce precarious living en-masse to huge swathes of the population.

Oh, look: “Good news” for the (implicitly neoliberal) “Creative Industries”!  MORE NEW BUILDINGS!

[Sounds of corks popping.]

Hang on a minute, isn’t there a big fiscal black hole that needs filling?  Not to worry, that’s not Art’s burden.  Not Art that’s part of UK’s world dominating Creative Industries (and I mean that in an Imperialistic colonising sense, of course).

So more new “flagship investments” to reinforce the walls of THEIR cultural citadel.

Tax back for cultural institutions.

THEY’RE PARADING NOW!  Not on the streets, you understand: that’s not where THEY like their culture.  PARADING around THEIR cultural buildings – old and new – and parading around each other’s cultural buildings too.


(Well, they’ve grown a little nonchalant since THEY avoided big cuts.)

Not big flags.  Little one’s.  The sort you can easily secret away behind a carefully pressed lapel or a pin-hole rose…

What?  “WE are the 8%!  “Hand’s off OUR cultural capital!”  “BIG is better cultural value.”  “WE make YOU happy.”  “OUR art WILL make YOU happy.”

Flags for THEIR Creative Industries flagships!

Far more subtle than the ideological KEEP OUT signs omnipresent, yet almost imperceptivity invisible, on their front doors!

£20 million to the winning Northern city to host the Great Exhibition of the North.  Any takers?  Excellence.  It’s always about excellence.  Oh, and quality.  What?  Not this time?  Not often?  No.  This Northern city must comply with Conservative values.  It’s exhibition will be, like that at Crystal Palace, a showcase for colonial exploitation only this one will focus on internal colonisation.  Thatcher would have loved the irony of it.  Blair will, of course, be there.

NO MONEY UP NORTH FOR POOR PEOPLE.  Plenty for an exhibition of internal soft power!

Chin, chin!

THEY’RE throwing off their faux-democratic facades now.  (So late 1990s.)  DCMS and Arts Council England “consultations” will undoubtedly somehow rubber stamp silly Tory arts and cultural policy that will favour their friends and complicit flagships whilst quietly strangling the frightened majority and clamping down on any who dare dissent!

Money for arts citadels at the DIRECT EXPENSE of those in our society who most need it is nothing to cheer.  Nothing to be proud of.

I love arts and culture but I feel sickened when arts organisations cheer new “investment” using taxpayers’ money that (for Tory ideological reasons) has been ripped from those most in need!

The majority of people for whose “hearts are being cut from the welfare state”.

ARTLAND must not replace HEARTLAND!

But where are UK art’s dissenting voices?

Perhaps our state-led funding system creates an art world system that (like its other ideological systems) functions by breeding fear and compliance – the very opposite conditions needed for creativity and democracy…


Cultural policy

This is the fifth post taken from my draft literature review which is part of my on going PhD research centred around the question: Can participatory art support sustainable social change?  Previous posts are below.  This is a rough and ready document I just wanted to put out there.  It will be refined.  Some of this literature review material will form a new series of less formal and, quite probably, more critical, blog posts that will be following soon.  Please feel free to comment and criticise…


The academic discourse surrounding how and, indeed, if the arts might influence social change and the ‘intrinsic’ versus ‘instrumental’ questions (outlined in previous posts), cross into policy discussions about culture and value that perhaps shift the focus even further from the practice of socially engaged art and, for that matter, the arts in general. This section begins by returning to Matarasso’s later work as an illustration of how present policy discussions centre on the concept of ‘cultural value’ rather than ‘social impact’ or ‘social change’.

In 2012, Matarasso wrote On ‘The very idea of measuring cultural value’ in response to the burgeoning ‘cultural value debate’. He is critical, in his essay, about ‘value’ being perceived as ‘good’ even though ‘human beings do not agree on what is good’ and, if there is no definition of good, potential value cannot be measured (Matarasso, 2012). This ‘slipperiness’ about cultural value, for Matarasso, creates opportunities for tacit positions to go uncontested. Differing in emphasis from his position in Use or Ornament?, Matarasso extols arts and culture as ‘necessarily experiential’, existing ‘only in the intertwined experience of creator (artist, performer, author, maker) and re-creator (audiences, readers, viewers and listeners)’ (Matarasso, 2012). He believes that the ambiguity of the arts means it cannot be considered to have any ‘universal character, method, purpose, meaning or even existence’ and therefore ‘no universal value (good), unless one associates it with a universal deity’; cultural value cannot therefore ‘be measured against a universal scale’ nor can the effects of culture ‘be tested or replicated, except in certain limited terms’ (Matarasso, 2012). In this essay, Matarasso is stating a direct opposition to a policy position he was once demonised for supporting, if not creating: no longer the champion of instrumentalism; now a firm believer in art’s intrinsic nature.

The ‘cultural value debate’ has continued developing apace since Matarasso wrote the aforementioned essay. There are new initiatives appearing in the UK almost every other month at present. A brief overview of the stated aims and objectives of the key current initiatives around cultural value is therefore essential to understand how socially engaged art relates to this debate and its broader future policy implications.

The AHRC Cultural Value Project is clear in adopting a structural approach to ‘experience’, stating that it:

‘seeks to establish a framework that will advance the way in which we talk about the value of cultural engagement and the methods by which we evaluate that value. The first part of the framework will be an examination of the cultural experience itself and its impact on individuals and its benefit to society. The Project will take as its starting point the different forms of cultural experience, such as, for instance, the aesthetic and cognitive dimensions of our cultural encounters… In giving priority to the cultural experience itself, the Cultural Value Project will take the lead in developing a rigorous approach to what many see as the most important aspect of art and culture’ (AHRC, 2013).

The #culturalvalue Initiative, created by Belfiore, celebrates the new opportunities in this field and wishes to broaden the debate beyond economics. It states that:

‘the very existence of a set of cultural policies is predicated on the notion of cultural value, and the belief in the social importance of its preservation and nurturing… Yet, although how to articulate value is a central concern for cultural organisations in receipt of public funding… the sector finds it difficult to have a serious and honest discussion on the issue. As a result… the public debate on the value of the arts and culture has been intellectually colonised by the discipline of economics, at the expense of the humanities and social sciences’ (Belfiore, 2013).

The Warwick Commission on the Future of Cultural Value is led by many senior figures from across arts and culture as well as economics, public policy, sociology, etc. It has identified four trends to investigate and report upon in coming years: Investing; Valuing; Education; and International Trends. The overarching mission is to:

‘explore the “DNA” of the cultural landscape in England from both sector and public perspectives and imagine how it might be better connected and understood using the metaphor of an ecosystem… What kinds of investment do we need to ensure the future of culture and how can we work to ensure that all forms of culture are inclusive and accessible for all?’ (UoW, 2013)

Economics is central to most discussions about cultural value. UNESCO recently reported that the culture sector creates two types of impact: non-economic and economic; the key motive for renewed state intervention in the sector is apparent in UNESCO’s claim that:

‘[t]he growing interest in cultural industries and their rapid acceptance as a fairly general model for addressing development problems at the economic and political level, have contributed that cultural industries become a key component in the formulation of economic policy and strategic development planning.’ (UNESCO b, 2012, p. 7)

Alongside UNESCO’s research into measuring the economic benefits of arts and culture sits Measuring cultural participation (2012). It aims to develop ‘a conceptual foundation and a common understanding of culture that will assist the measurement of a wide range of cultural expressions – irrespective of any particular economic and/or social mode of production’ (UNESCO a, 2012, p. 8); it points to the ‘scientific measurement scale, the psychological general wellbeing index’ as a long-existing tool for measuring positive impacts of arts participation, irrespective of ‘artistic competence’ (UNESCO a, 2012, p. 9). But surely these are big claims to make, especially as the PGWBI is a generic psychological tool for measuring perceived wellbeing that does not measure any specific responses to either cultural activity or participation. Indeed, UNESCO go on to conclude that any attempt at even local standardisation will be difficult ‘[g]iven that most active participation tends to happen in a dispersed and uncoordinated way through small, often predominantly social, organizations that are neither recognised nor funded by governments as sustainable “institutions”’ (UNESCO a, 2012, p. 9). Is this international recognition that participation is independent and, if so, a territory to be colonised by new forms of instrumentalism? Certainly, the report’s authors identify ‘a disjuncture between three coexisting but fundamentally different sets of values – intrinsic, instrumental and institutional’ (UNESCO a, 2012, p. 10) and are perplexed by linguistic problems not just between different international interpretations of ‘participation’ but also between its active and passive forms of meaning (UNESCO a, 2012, p. 19).

Measuring cultural participation makes clear that UNESCO are not interested in artistic quality nor ‘[o]pposed concepts and cultural hierarchies (active/passive, high/low, professional/amateur)’ (UNESCO a, 2012, p. 20). The report is also clear that participation can only be understood ‘in a meaningful, wider context’ by investigating ‘a range of issues which can be understood only by using qualitative methods’ (UNESCO a, 2012, p. 49). The report concludes that no single ‘standard’ model will be able to describe ‘[t]he inter-relationships between cultural participation, participation as a whole, social inclusion and civil society’; attempts to measure participation in cultural activities must therefore use local ‘lenses and tools’ based upon ‘[s]cientific findings’ presented ‘in the best and widest possible way to encourage effective policies’ (UNESCO a, 2012, pp. 73-74).

A crisis of the legitimacy of cultural value was identified back in 2006 by Holden. He argued this could only be addressed by creating a democratic consensus through better and broader arguments about the value of culture that politicians could understand and support (Holden, 2006, p. 9). He explained that cultural value has three forms – ‘intrinsic value, instrumental value and institutional value’ – and is ‘created and “consumed”’ in ‘a triangular relationship between cultural professionals, politicians, policy-makers and the public’ (Holden, 2006, p. 10). The solution lay, for Holden, in creating ‘a different alignment between culture, politics and the public’ that nurtures ‘greater legitimacy directly with citizens’ (Holden, 2006, p. 10). But it would appear that, since then, cultural policy and cultural value have, in fact, moved further away from people outside a very narrow sphere of the arts, into a highly professionalised world of ‘cultural leaders’ and ‘public policy-makers’.

O’Brien’s 2010 report to the DCMS, Measuring the value of culture, warned that ‘the cultural sector will need to use the tools and concepts of economics to fully state their benefits in the prevailing language of policy appraisal and evaluation’ (O’Brien, 2010, p. 4). His report argues for increased state instrumentalism as well as an adoption of economic measures delivered ‘using the language of public policy and cultural value’ because only can ‘funding decisions… be made that are acceptable to both central government and the cultural sector’ (O’Brien, 2010, p. 5). Whilst acknowledging the value of narratives as useful in articulating cultural value, O’Brien warns they ‘fail to represent the benefits of culture in a manner that is commensurable with other calls on the public purse’ (O’Brien, 2010, p. 9). His stringent solution: find a way of fitting ‘the unique aspects of culture, outside of the social and economic impacts, into the economic language of the welfare economic paradigm suggested by the guidance in Department for Culture, Media and Sport in the Green Book’ (O’Brien, 2010, pp. 16-17). He concludes by requesting that the DCMS ‘rectify this issue by producing detailed guidance on measuring cultural value with stated preference techniques, making it clear that this will be the standard approach to valuation for central government’s consideration of policy for the cultural sector’ (O’Brien, 2010, p. 48). The voice of public policy abounds.

Public arts policy-maker and funder, Arts Council England (ACE), were surprisingly late in joining the ‘cultural policy debate’, publishing The Value of Arts and Culture to People and Society, in April 2014. Their report has been much maligned since publication because of its drive to increase instrumentalism and its poorly conducted research. ACE make their position clear from the start, describing the intrinsic value of arts and culture as being ‘in part, a philosophical assertion that can’t be measured in numbers’, whilst stating that ‘[q]uantifying the [instrumental] benefits and expressing them in terms of facts and figures that can evidence [their] contribution… is something that arts and culture organisations will always have to do in order to secure funding from both public and private sources’ (Arts Council England, 2014, p. 4). They reinforce their drive towards measuring instrumental values by stating:

‘When we talk about the value of arts and culture, we should always start with the intrinsic – how arts and culture illuminate our inner lives and enrich our emotional world… But while we do not cherish arts and culture because of the impact on our social wellbeing and cohesion, our physical and mental health, our education system, our national status and our economy, they do confer these benefits and need to show how important this is… on different scales – on individual, communal and national levels – so that we can raise awareness among the public, across the cultural, educational and political sectors, and among those who influence investment in both the public and private sectors… to help people think of our arts and culture for what they are: a strategic national resource… [and] to see where the impact of our work is felt, and where we don’t yet reach’ (Arts Council England, 2014, p. 4).

The remainder of the report, which should perhaps be titled The Value of State Support for the Arts, gives very little in terms of ‘evidence’ of instrumental measures. Beginning with five ways in which arts and culture might lead be economically beneficial – ‘attracting visitors; creating jobs and developing skills; attracting and retaining businesses revitalising places; and developing talent’ (Arts Council England, 2014, p. 7) – the examples descend into exceptionally tenuous realms. The published examples directly relating to participation in the arts and social change include statements such as:

‘Those who had attended a cultural place or event in the previous 12 months were almost 60 percent more likely to report good health compared to those who had not, and theatre goers were 25 percent more likely to report good health’ (Arts Council England, 2014, p. 7).

‘People value being in the audience to the arts at about £2,000 per person per year and participating at £1,500 per person. The value of participating in sports is about £1,500 per year.’ (Arts Council England, 2014, p. 7)

‘High-school students who engage in the arts at school are twice as likely to volunteer… and 20 percent more likely to vote as young adults… Employability of students who study arts subjects is higher and they are more likely to stay in employment… There is strong evidence that participation in the arts can contribute to community cohesion, reduce social exclusion and isolation, and/or make communities feel safer and stronger.’ (Arts Council England, 2014, p. 8)

‘Schools that integrate arts across the curriculum in the US have shown consistently higher reading and mathematics scores compared with similar schools that do not… Participation in structured arts activities increases cognitive abilities… Students from low income families who take part in arts activities at school are three times more likely to get a degree…’ (Arts Council England, 2014, p. 8)

So, apparently, going to ‘a cultural place or event’ makes you healthier; it is more valuable to watch a cultural event than participate creatively or take part in sport; art at ‘high-school’ makes young people really ‘good’ all-round citizens; integrated art teaching improves literacy and numeracy; structured art arts improves (structured) thinking; and, amazingly, by participating in school arts, poor students are much more likely to gain a degree (presumably in any subject). Is this a (re)turn to state instrumentalism in the mode of Matarasso’s Use or Ornament? It would certainly appear so with ACE themselves concluding that:

‘We know that arts and culture play an important role in promoting social and economic goals through local regeneration, attracting tourists, the development of talent and innovation, improving health and wellbeing, and delivering essential services. These benefits are “instrumental” because art and culture can be a means to achieve ends beyond the immediate intrinsic experience and value of the art itself’ (Arts Council England, 2014, p. 11).

The report does, however, warn that there is little evidence to support claims that ‘preventative interventions which use arts and culture to reduce the need for other public services’ do not, in fact, ‘demonstrate the associated reduction in public spending’ (Arts Council England, 2014, p. 23).

This review also briefly considers the role of art in regenerating public spaces as part of public policy. The Art of Regeneration (1996), written several authors including the ubiquitous Matarasso, identified the increasing role of the arts in urban regeneration which, whilst initially mainly focused upon expensive, large-scale capital works, was becoming increasing interested in ’participatory arts programmes which are low-cost, flexible and responsive to local needs’ (Landry, et al., 1996, p. i). This was a clear policy change – ‘a shift in emphasis in regeneration strategies towards seeing local people as the principal asset through which renewal can be achieved’ with arts activities becoming ‘effective routes to a wide range of social policy objectives’ (Landry, et al., 1996, p. i). Here, perhaps, lies the seeds of Use or Ornament? This participatory approach to regeneration led to a movement, particularly strong in the US, and now growing in the UK, known as ‘creative placemaking’, which the NEA defines as:

‘In creative placemaking, partners from public, private, nonprofit, and community sectors strategically shape the physical and social character of a neighborhood, town, tribe, city, or region around arts and cultural activities. Creative placemaking animates public and private spaces, rejuvenates structures and streetscapes, improves local business viability and public safety, and brings diverse people together to celebrate, inspire, and be inspired (Nicodemus, 2012).

Bedoya is more cautious about the motives behind creative placemaking. His essay, Creative Placemaking and the Politics of Belonging and Dis-Belonging (2012), reminds practitioners to ensure they apply an authenticity and ‘ethos of belonging’ when working in this area to ensure residents ‘achieve strength and prosperity through equity and civility’ (Bedoya, 2012). Bedoya warns against a ‘build it and they will come’ culture based upon speculative economics as ‘suffocating, unethical, and [supportive of] a politics of dis-belonging employed to manufacture a “place”’ (Bedoya, 2012). He is at pains that creative placemaking must not become ‘a development strategy but… a series of actions that build spatial justice, healthy communities and sites of imaginations’ (Bedoya, 2012). Clearly then, creative placemaking, with its routes in policies aligned with regeneration and participation, may well always be a form of ‘instrumentalism-lite’ at best; a means of gentrification and state interventionism at worst.

Belfiore’s 2012 essay, “Defensive instrumentalism”, offers a thoughtful evaluation of the question of instrumentalism as cultural policy. She argues for a more nuanced, ‘philosophical approach to the notions of “impact”, “instrumentalism”, and the underlying assumption that the arts can be used as a tool to effect real transformation on individuals’ sense of self, place, belonging, morality, etc., and ultimately on communities and society’; describing UK cultural policy as being, for more than a century, dominated by increasingly normative forms of institutionalisation now ‘embedded within powerful cultural and educational organisations, national curricula and public sensibility’ (Belfiore, 2012, p. 104). The result, contends Belfiore, is the present UK arts funding system in which ‘the recipients of the largest grants, which account for a very substantial portion of the available funding, have changed little since Keynes, and:

‘the exquisitely ideological question of making the (political) case for the arts has been translated in the rather more technical (and therefore apparently neutral) issue of arts impact assessment, with the focus firmly on the methodological problems of evaluation rather than on thorny questions of cultural value, and the political problem of how to address the as of yet unresolved issue of widening access and participation to the publicly supported arts’ (Belfiore, 2012, p. 107).

Linking the current cultural policy situation with that under New Labour, Belfiore unveils a ‘new guise of economic instrumentalism’ – a form of ‘“defensive instrumentalism” that leaves no room for a positive and constructive vision’ (Belfiore, 2012, pp. 108-109). Perhaps, then, debates about cultural value and instrumentalism reflect the complete ‘commodification of public policy’ (Belfiore, 2012, p. 110). Yet none of these debates and policies ever mention socially engaged arts practice; participation is mentioned fleetingly and often incoherently.

Here we go round the mulberry bush

A repetitive, cyclical dance around a plant upon which mulberries don’t really grow whilst mimicking of everyday actions and chanting ‘This is the way…’  and a response to a blog post on the #culturalvalue initiative website by Daniel Allington entitled Intrinsically cultural value: a sociological perspective.


Walter Crane, Here we go round the mulberry bush, colour printed wood engraving, 1878


The art business, a trade in things that have no price, belongs to the class of practices in which the logic of the pre-capitalist economy lives on… These practices, functioning as practical negations, can only work by pretending not to be doing what they are doing. Defying ordinary logic, they lend themselves to two opposed readings, both equally false, which each undo their essential duality and duplicity by reducing them either to the disavowal or to what is disavowed – to disinterestedness or self-interest.[1]

Who said Bourdieu’s cultural capital and network theory don’t mix? Daniel Allington explains in this post that he finds this unlikely coupling ‘a useful way of studying cultural value from a perspective informed by Bourdieu’.[2] This is not all, he begins by stating that ‘Art for art’s sake… means understanding the value of culture as intrinsically cultural.’[3] Bourdieu, art for art’s sake, and many other words and assumptions in Allington’s essay all sit uneasily with my perspectives of arts and culture (based as they are upon critical theory and my own practise as part of the arts ‘field’), as indeed does the rather insidious term ‘cultural value’.

For me, the antiquated and elitist concept of ‘art for art’s sake’ is circular – self-referential – intrinsic. So too, surely, is the conceptualisation of ‘the value of culture’ as ‘intrinsically cultural’. What is the value of culture? Essentially cultural. What are intrinsically cultural beliefs? Cultural value. Here we go round… For Allington, the answer to this conundrum may lie in Bourdieu’s suggestion that ‘cultural value is a form of belief’; a belief in ‘magical’ and fetishised objects of art and literature that believers consider magical.[4] Citing The Emperor’s New Clothes, ‘It isn’t’, according to Allington, ‘that there are people who have laughingly duped the rest of society into believing in something they know very well not to be real.’[5] Rather, it is about ‘symbolic capital’ in which ‘[t]he making of art for art’s sake is… not about satisfying an audience of consumers, but about earning the esteem of fellow producers, who are also competitors for one another’s esteem.’[6] Allington attempts to legitimise this statement by referencing Bourdieu’s The production of belief: contribution to an economy of symbolic goods, selecting the following quote: ‘“the conviction that good and bad painting exist” is both “the stakes and the motor without which [the field of painting] could not function’”.[7]

So what’s the problem here? Well, it would seem to me and my somewhat limited knowledge of Bourdieu – limited because I do not find it particularly useful or important from an art historical perspective – that Allington has misread Bourdieu’s intentions. The quote at the beginning of this piece is from the first paragraph of The production of belief: contribution to an economy of symbolic goods. It clearly illustrates Bourdieu’s disdain for the ‘arts business’. Bourdieu’s entire essay is about the complicit nature of all participants in the field of cultural production who, by refusing commercialism and even claiming to be ‘anti-economic’, actually profit via a ‘disinterested’ game of smoke and mirrors that ultimately creates ‘symbolic capital.’[8] But symbolic capital, as Bourdieu explains:

[I]s to be understood as economic or political capital that is disavowed, mis-recognized and thereby recognized, hence legitimate, a ’credit’ which, under certain conditions, and always in the long run, guarantees ’economic’ profits.[9]

Indeed, Bourdieu goes on to explain that this ‘circle of belief’ ensures that ‘only those who can come to terms with the “economic” constraints inscribed in this bad-faith economy can reap the full “economic” profits of their symbolic capital.’[10] So, this is like The Emperor’s New Clothes. The believers know the ‘magic’ isn’t real because they all dance the bad-faith dance, round and round. Producers, curators, critics, sellers, buyers, even (sometimes) the viewing public, all play the art game – they all know their place, their role in a field where naivety has no place; an arts economy where:

In and through the games of distinction, these winks and nudges, silent, hidden references to other artists, past or present, confirm a complicity which excludes the layman, who is always bound to miss what is essential, namely the inter-relations and interactions of which the work is only the silent trace.[11]

So, rather than ‘conceptualising’ intrinsic cultural value as a form of circulated belief as Allington does in his essay,[12] one could view the production of visual art (taking Allington’s example) as the making of an object of personal choice which is then selected by an institution/ commercial gallery and marketed to audiences by a variety of means (including critics). Only then are values (cultural, economic, social) assigned to it which are then reassigned to the work over and over as it ages and is perceived anew by different audiences.

So my argument with Allington is that he has misread Bourdieu in his attempt to investigate intrinsic cultural value. He has not accounted for the bad faith inherent in Bourdieu’s critical analysis of the art world game – a position I do not hold to personally. Bourdieu made his position very clear in 1972 when he explained:

The denial of economic interest finds its favourite refuge in the domain of art and culture, the site of [a] pure [form of] consumption, of money, of course, but also of time convertible into money. The world of art, a sacred island systematically and ostentatiously opposed to the profane world of production, a sanctuary for gratuitous, disinterested activity in a universe given over to money and self-interest, offers, like theology in a past epoch, an imaginary anthropology obtained by the denial of all the negations really brought about by the economy.[13]

I would recommend interested readers take a look at Brigit Fowler’s essay Pierre Bourdieu’s sociological theory of culture (Variant, 1999) for more on this subject.[14]

I could expand but I’ve still exceeded 800 words (975) – the limit imposed by the #culturalvalue initiative debating rules.  But I like to break rules.

[1] Pierre Bourdieu, trans. Richard Nice, ‘The production of belief: contribution to an economy of symbolic goods’, in Media, Culture & Society, 2, Academic Press Inc. Limited, London, 1980, p.261.

[2] Daniel Allington, Intrinsically cultural value: a sociological perspective, The #culturalvalue Initiative, 5th December 2013,

[3] Ibid.

[4] Ibid.

[5] Ibid.

[6] Ibid.

[7] Pierre Bourdieu, trans. Richard Nice, ‘The production of belief: contribution to an economy of symbolic goods’, in Media, Culture & Society, 2, Academic Press Inc. Limited, London, 1980, p.266.

[8] Ibid., pp.261-262.

[9] Ibid., p.262.

[10] Ibid., p.263-264.

[11] Ibid., p.291.

[12] Daniel Allington, Op. Cit., describes this process as: ‘the value of (say) a visual artist’s work (essentially produced through interactions among cultural producers) flows out into the wider social world through the disseminating agency of (say) a retrospective exhibition in a major public gallery, which plays a direct role in reproducing belief in that value among members of the public who attend the exhibition, as well as an indirect role in reproducing belief among those who hear about it from acquaintances and/or read about it in (say) a newspaper critic’s review (and which in turn impacts back upon the field by cementing the artist’s reputation , though this closure of the feedback loop is left out of the diagram for simplicity’s sake).’

[13] Pierre Bourdieu, Outline of a theory of practice, Cambridge University Press, Cambridge, 1977 [1972], p.197.

[14] Brigit Fowler, ‘Pierre Bourdieu’s sociological theory of culture’, in Variant, Volume 2, Number 8, Summer 1999, pp.1-4.


Allington, Daniel, Intrinsically cultural value: a sociological perspective, The #culturalvalue Initiative, 5th December 2013,

Bourdieu, Pierre, Outline of a theory of practice, Cambridge University Press, Cambridge, 1977 [1972]

Bourdieu, Pierre, trans. Richard Nice, ‘The production of belief: contribution to an economy of symbolic goods’, in Media, Culture & Society, 2, Academic Press Inc. Limited, London, 1980

Fowler, Brigit, ‘Pierre Bourdieu’s sociological theory of culture’, in Variant, Volume 2, Number 8, Summer 1999

Hurrah, the Culture is Finished!

This mini-essay was first published on the #culturalvalue initiative website on 5th January 2014.  I’m reblogging it here with their introduction.

Stephen’s witty and well researched mini-essay contribution to The #culturalvalue Initiative originated in a lively twitter conversation that followed the publication of Daniel Allington’s guest post, Intrinsically cultural value: a sociological perspective in early December 2013. The conversation started off as a debate on the merits of Bourdieu’s work in pushing forward the cultural value debate and soon broadened to the relative merits of different disciplinary approaches. I was fascinated by the exchange between Stephen and Daniel, but it soon became apparent that it was more complex than a twitter debate could cope with. So, I invited Stephen to write a short guest post response to Daniel’s piece so that interesting conversation could continue on this site. This would allow to keep a permanent record of it and to facilitate a wider participation in the discussion. As it is often the case when reflecting on complex matters, Stephen’s rejoinder to Daniel’s post has developed into a free-standing and rich longer piece of writing in its own right, and the result is the latest offering in our mini-essays series! In the dialogical spirit in which this piece was conceived, I hope readers will enage in the debate via the comments facility, but, if you need more room for your thoughts, just get in touch!


John Heartfield, Hurrah, the Butter is Finished!, cover for AIZ, Photomontage, December 19th 1935.

Reproduction, appropriation, new narratives, and opposition to hegemonies: techniques art has used to challenge the mass-produced cultural propaganda of fascism, late imperialistic capitalism and outmoded intrinsically conservative, individualistic and modernist beliefs about autonomy. This type of avant-garde approach had real cultural importance and it was dangerous. Mass-produced counterpropaganda threatens governments by challenging policy; by using the very tools of mass-marketing, it challenges the markets, exposing the shallow reproduction of consumerist messages.

This type of art is one example that may offer a different way to think about artistic practice and aesthetics, production and distribution, etc.; that may lead to alternative notions of “cultural value” – however that slippery term might be defined[1]. This essay is not about reviving modernist debates about “art-for-art’s sake”[2], misreading and decontextualising Bourdieu’s structuralism[3], heroic artists apparently driven to create work to earn ‘the esteem of fellow producers’ by ‘deeply believing’ in “cultural value”, network analyses and diagrams, or circular arguments about the “intrinsically cultural” value of “culture”.[4] Rather, this essay attempts to re-situate contemporary arts practices, particularly those that acknowledge art’s role as ‘a social product’ that ‘always encodes values and ideology’,[5] at the heart of current debate about “cultural value”.[6]

The arts are about audiences but also about participation through social engaging activities; about artists who, on the whole, struggle to make a living and often care greatly about the communities they are part of; about arts organisations (big and small) and their eternal struggle to convince politicians and economists of their multifarious values that extend well beyond financial return on investment, evidencing impact, missions, models, evaluation, etc.; but they are also about the production of radical anti-hegemonic thinking and challenging, rather than conforming to, state sponsored social agendas. Twenty-first century art is, like every aspect of our societies, in turmoil. Postmodernism makes it difficult for art to avoid negating itself and find meaning in many of its practices; political and economic interventions (including “instrumentalism” – defensive or otherwise)[7] encourage the arts to conform to policies that are predominantly not about art or participants or artists or social change or communities; in-vogue (yet, from many business perspectives, out-dated) “governance” models that aim to minimise risk and support “resilience” are effectively imposed upon arts organisations and even artists by funders and policy makers; we are all encouraged to become “self-sustaining” and market-oriented; not to mention philanthropy, austerity, consumerism, popularism, etc. etc. And whilst fairness is desperately needed across every area of arts and culture, now is definitely not the time to argue reductively that we should conceive solely of ‘culture as an economic activity’.[8]


Michel Ell, Des Kaisers neue Kleider, Woodcut, 1923.

The current dominant economic-driven narrative for the arts is a lot like ‘The Emperor’s New Clothes’ and we must avoid a situation where “cultural value” (indeed all elements of arts and culture) becomes ‘the most exquisite cloth imaginable’ and those who cannot see it are either ‘unfit for post’ or ‘inadmissibly stupid’.[9] We all know that arts experiences cut from an unravelling economic cloth will be divisive and limp and that value-based investment policy may even lead to our measuring ourselves out of existence. But we can’t pretend to embrace this state imposed fallacy. We must play the innocent child and shout, ‘He doesn’t have anything on!’[10] The Emperor (state) will still, no doubt, continue his procession, prouder than ever, but will probably wear a different suit next time. If everyone stands quiet, it is quite possible that arts and culture will finally be subsumed by aesthetic and commodity production in a “return of the aesthetic” that, when ‘the aesthetic (and even culture as such) is necessarily blurred or lost altogether’, will also signal its end.[11]

All is not lost for the arts and culture. The arts market is flourishing like Ragwort on overgrazed pasture, fertilised by shallow aesthetic surplus value, it has ‘attained complete autonomy, completely cut off from the real economy of value’.[12] The arts market is the epitome of cynical postmodern consumerism and the cult of celebrity; it reviles “popularism” because populist art is unpretentious, encourages participation, is not a commodity and does not deify “experts”.[13] And herein lies three challenges to “cultural value” debates, future policy decisions and the ways many existing arts organisations work:

· Pay full attention to socially engaged art practice, artists and the importance of participation. At present, these are barely mentioned. Perhaps because this practice may be ‘too useful and therefore too much of a departure from the art-for-art’s-sake norm’, it is not considered as “art” by some.[14] But the ‘lens of validation’ is opening to participatory practices that previously ‘were tolerated on the margins or held outside the narratives of power in the art process.’[15]

· Understand the important role for “critical postmodernism” from the perspectives of both practice and theory. Bürger’s notion of the antiaesthetic is inherently participatory and challenges ‘the autonomous “institution of art”… to reverse the bourgeois hierarchy of aesthetic exchange-value and use-value… [by replacing] originality with technical reproduction’. This approach does not purport to transmit exceptional knowledge. It is utilitarian, contextualising art as ‘social’.[16] We need a postmodernism of resistance that heightens ‘the productive tension between the political and the aesthetic, between history and the text, between engagement and the mission of art’.[17]

· Reimagine “sustainability” of arts and cultural practice and institutions. There are many who see sustainability as maintaining the status quo and preserving the big organisations at the expense of the small; big exhibitions, shows, events instead of small, grassroots initiatives that develop creative self-expression of people in communities most in need. As Diane Ragsdale recently said, ‘The arts are here to say, “We see you. We see this community. We see that for every one person that’s doing OK one person in this community is suffering. We do not exist exclusively for those that are doing OK. We exist for everyone. We exist for you.”’[18] All parts of the arts “ecosystem” must be sustained but sometimes this involves an ‘unnatural perpetuation of what might otherwise die’.[19] We must decide whether public funding should be redirected towards those who need it most, perhaps at the expense of the elitist institutions.

Hopefully, this essay offers something to the “cultural value” debate. It is a polemic. It is meant that way. It seeks to try and explain why artists and some arts organisations feel a bit detached from discussions about policy. It aims to show that there are areas and, more importantly, people and communities that we must not neglect when “valuing” the arts and culture and deciding how and what we “invest” in.

We must support and value art that is truly useful and engaging; encouraging “non-artists” to participate in and lead future arts projects that add new value to the lives of people and communities; and artists who are also able to fulfil the roles of mentors, activists and educators.[20] We must ‘reconnect art and lived experience as social process’,[21] ensuring that ‘[s]ocial concerns are addressed through the creative process, rather than art being an instrument of social policy and a solution to deep-rooted social problems.’[22] This way of perceiving participation in socially engaged arts ‘involves a significant shift from objects to relationships’;[23] it creates a radical space separate from consumerism and the arts market ‘in which the paradigm of social consciousness replaces that of individual genius.’[24] This is socially engaged practice inspired by critical postmodernist resistance that, as Dick Hebdige explains, ‘can help us rediscover the power that resides in little things, in disregarded details, in aphorism (miniaturised truths), in metaphor, allusion, in images and image-streams’.[25] We must sustain the “arts ecosystem” by allowing some old wood to burn in small fires; a process of renewal. We must be wary of economic arguments about growth and instead proudly sing songs about our role as socially engaged artists and keeping helping people write new stories – their stories – because as Diane Ragsdale honestly said: ‘We are here to foster empathy, understanding of self, and understanding of other. We are here to gently, or not-so-gently, open people’s eyes to truths they cannot see or choose not to see: suffering and ugliness and their opposites love and beauty.’[26]

This essay was supposed to be 800 words long. It isn’t. But, sometimes, you must expand boundaries to enable participation in open debate.


Allington, Daniel, Intrinsically cultural value: a sociological perspective, The #culturalvalue Initiative, 5th December 2013,

Andersen, Hans Christian, ‘The Emperor’s New Clothes’, in Hans Christian Andersen, Fairy Tales, Penguin Popular Classics, 1994 [1837]

Baudrillard, Jean, ‘Art between Utopia and Anticipation’, 1996, in Sylvère Lotringer, ed., The Conspiracy of Art, Semiotext(e), New York, 2005

Beasley-Murray, Jon, ‘Value and Capital in Bourdieu and Marx’, in Nicholas Brown and Imre Szeman, eds., Pierre Bourdieu: Fieldwork in Culture, Rowman & Littlefield, Oxford, 2000

Belfiore, Eleonora, “Defensive instrumentalism” and the legacy of New Labour’s cultural policies, 2012,

Benjamin, Walter, The Work of Art in the Age of Mechanical Reproduction, trans. J.A. Underwood, Penguin Books, London, 2008 [1936]

Buchloh, Benjamin H.D., ‘The social history of art: models and concepts’, in Hal Foster, Rosalind Krauss, Yve-Alain Bois, Benjamin H.D. Buchloh, David Joselit, Art Since 1900: Modernism, Antimodernism, Postmodernism – Second Edition, Thames and Hudson, London, 2011

Gablik, Suzi, Has Modernism Failed?, Thames and Hudson, New York, 1984

Gablik, Suzi, The Reenchantment of Art, Thames and Hudson, New York, 1992

Hebdige, Dick, ‘A report on the Western Front: Postmodernism and the “Politics” of Style’, 1986-7, in Francis Frascina and Jonathan Harris, eds., Art in Modern Culture: An Anthology of Critical Ideas, Phaidon, London, 1992

Huyssen, Andreas, ‘Mapping the Postmodern’, 1984, in Donald Preziosi, ed., The Art of Art History: A Critical Anthology, Oxford University Press, Oxford, 1998

Jameson, Fredric, ‘Transformations of the Image in Postmodernity,’ in The Cultural Turn: Selected Writings on the Postmodern: 1983-1998, Verso, London, 1998

Matarasso, Francois, On ‘The very idea of measuring cultural value’, 20th January 2012,

McGonagle, Declan, ‘Foreward’, in David Butler and Vivienne Reiss, eds., Art of Negotiation, Cornerhouse, Manchester, 2007

O’Brien, Dave, Is ‘creativity’ arts policy’s big mistake?, The Guardian Culture Professionals Network blog, 30th October 2013,

Ragsdale, Diane, Holding Up the Arts: Can we sustain what we’ve created? Should we? Version 2.0, Keynote speech at ‘State of the (Arts) Nation’, Belfast, 12th March 2013

Reiss, Vivienne, ‘Introduction’, in David Butler and Vivienne Reiss, eds., Art of Negotiation, Cornerhouse, Manchester, 2007

Stallabrass, Julian, ‘Elite Art in an Age of Populism’, in Alexander Dumbadze/ Suzanne Hudson, eds., Contemporary Art: 1989 to the Present, John Wiley & Sons, Oxford, 2013,

Wolff, Janet, The Social Production of Art – Second Edition, Macmillan, London, 1993

[1] For more on the difficulty of defining “cultural value”, see Francois Matarasso, On ‘The very idea of measuring cultural value’, 20th January 2012,

[2] “Art-for-art’s-sake” claims “true” (or “high”) art should only be valued for its intrinsic qualities and be completely separate from any moral, utilitarian and educational functions: a modernist and elitist perspective that typifies the discourse of white, middle-class men, notions of beauty, class, superiority, etc. and culminates, as Walter Benjamin suggested, in the ‘aestheticisation of politics’ of fascism – see Walter Benjamin, The Work of Art in the Age of Mechanical Reproduction, trans. J.A. Underwood, Penguin Books, London, 2008 [1936], p.38.

[3] For more on Bourdieu’s problematic term “cultural capital” and its inadequate account of the accumulation of surplus and therefore themes relating to wealth, profit and exploitation, see Jon Beasley-Murray, ‘Value and Capital in Bourdieu and Marx’, in Nicholas Brown and Imre Szeman, eds., Pierre Bourdieu: Fieldwork in Culture, Rowman & Littlefield, Oxford, 2000, pp.100-116

[4] Daniel Allington, Intrinsically cultural value: a sociological perspective, The #culturalvalue Initiative, 5th December 2013,

[5] Janet Wolff, The Social Production of Art – Second Edition, Macmillan, London, 1993, p.1.

[6] There are three prominent platforms for discussion and research about “cultural value” in the UK at the moment. They all have different definitions of the term and claim to have (slightly?) different agendas. The AHRC Cultural Value Project ( aims to investigate and evaluate cultural experience and engagement; The #culturalvalue Initiative ( seeks, through open debate, to reinstate the voices and values of the humanities and social sciences in the face of overwhelming drives towards discourses of economic value; and the recently instigated Warwick Commission on the Future of Cultural Value ( will investigate culture’s “DNA”, using “ecosystem” as a metaphor, so they suggest how best to “invest” in all forms of culture. Artists to not tend to often play significant roles in these discussions. “Policy”, with all its many heads, usually dominates.

[7] For more on instrumentalism in the arts see, for example, Eleonora Belfiore, “Defensive instrumentalism” and the legacy of New Labour’s cultural policies, 2012,

[8] Dave O’Brien, Is ‘creativity’ arts policy’s big mistake?, The Guardian Culture Professionals Network blog, 30th October 2013,

[9] Hans Christian Andersen, ‘The Emperor’s New Clothes’, in Hans Christian Andersen, Fairy Tales, Penguin Popular Classics, 1994 [1837], p.65.

[10] Ibid., p.71.

[11] Fredric Jameson, ‘Transformations of the Image in Postmodernity,’ in The Cultural Turn: Selected Writings on the Postmodern: 1983-1998, Verso, London, 1998, p.111.

[12] Jean Baudrillard, ‘Art between Utopia and Anticipation’, 1996, in Sylvère Lotringer, ed., The Conspiracy of Art, Semiotext(e), New York, 2005, p.57.

[13] Julian Stallabrass, ‘Elite Art in an Age of Populism’, in Alexander Dumbadze/ Suzanne Hudson, eds., Contemporary Art: 1989 to the Present, John Wiley & Sons, Oxford, 2013, p.9.

[14] Suzi Gablik, Has Modernism Failed?, Thames and Hudson, New York, 1984, p.29.

[15] Declan McGonagle, ‘Foreward’, in David Butler and Vivienne Reiss, eds., Art of Negotiation, Cornerhouse, Manchester, 2007, p.6.

[16] Benjamin H.D. Buchloh, ‘The social history of art: models and concepts’, in Hal Foster, Rosalind Krauss, Yve-Alain Bois, Benjamin H.D. Buchloh, David Joselit, Art Since 1900: Modernism, Antimodernism, Postmodernism – Second Edition, Thames and Hudson, London, 2011, p.25.

[17] Andreas Huyssen, ‘Mapping the Postmodern’, 1984, in Donald Preziosi, ed., The Art of Art History: A Critical Anthology, Oxford University Press, Oxford, 1998, pp.336-337.

[18] Diane Ragsdale, Holding Up the Arts: Can we sustain what we’ve created? Should we? Version 2.0, Keynote speech at ‘State of the (Arts) Nation’, Belfast, 12th March 2013, p.14.

[19] Ibid., p.7.

[20] Vivienne Reiss, ‘Introduction’, in David Butler and Vivienne Reiss, eds., Art of Negotiation, Cornerhouse, Manchester, 2007, pp.10-13.

[21] Declan McGonagle, Op. Cit., p.6.

[22] Vivienne Reiss, Op. Cit., p.17.

[23] Suzi Gablik, The Reenchantment of Art, Thames and Hudson, New York, 1992, p.7.

[24] Ibid., p.114.

[25] Dick Hebdige, ‘A report on the Western Front: Postmodernism and the “Politics” of Style’, 1986-7, in Francis Frascina and Jonathan Harris, eds., Art in Modern Culture: An Anthology of Critical Ideas, Phaidon, London, 1992, p.340.

[26] Diane Ragsdale, Op. Cit., p.14.

When I was a lad, libraries were where you went to lend books for free…

Libraries of the future

Image from ‘The Future of Libraries’: Interview with Thomas Frey

This post is a direct response to a recent contribution to the Cultural Value Initiative blog entitled ‘A view from one of them econocrats: Efficiency and public libraries in England’ and written by economist Doctor Javier Stanziola.

It was the best of times, it was the worst of times, it was the age of wisdom, it was the age of foolishness, it was the epoch of belief, it was the epoch of incredulity, it was the season of Light, it was the season of Darkness, it was the spring of hope, it was the winter of despair…

Dickens, Charles, ‘A Tale of Two Cities’, Chapter 1, 1859

There was a time when life seemed simpler, when public services were dull grey and reliably quiet. Our libraries epitomised this sense of safe social security. They were ubiquitous; full of books that were falling apart, impossible to find because they were often misfiled, not a computer in sight, and the silence was deafening. It was a case of ‘seek and ye shall find’ (or not) and that made going to the library, whether local or city central, like an expedition – one where you’d always leave with a sports bag full of brilliant books and a dog eared card stamped to within an inch of its literature-lending life. Intrepid days like this brought me into contact with Blake, Wilde, Huxley, Dostoyevsky, Marx, Jung and many, many more. I often kept the books too long. I got fined but even the penalties were manageable.

Library life has changed. There are now two types of library: run-down local ones, staffed by well-meaning volunteers and open a couple of hours a day; and big, high-tech central ones, where computer space and coffee shop seems more important than books on shelves, where exhibitions and events and workshops attempt to lure ‘new customers’ who presumably aren’t just tempted by the prospect of ‘borrowing’ books for free. Twenty-first library life is remarkably similar to the beginning of Dickens’ seminal ‘A Tale of Two Cities’. Austerity is the name of the game. A game of two halves: the ‘haves’ and the ‘have nots’. Little libraries are closing in poor areas, being taken over by the ‘great and the good’ volunteers in well-off places, and being ‘enhanced’ in central mega-libraries where local councils seek to nestle all their literary eggs in one big, fancy glass-fronted basket – ‘learning zones’. In this time of austerity, economics has been crowned a new cultural king – a vestige perhaps more akin to ‘The Emperor’s New Clothes’. Libraries have a new mission: to maximise profit and efficiency and diversify sources of income. They are apparently privileged because, as Stanziola claims, ‘statutory funding allows local authority libraries to work outside the market’. But what if public libraries and indeed public services in general were not and should not be perceived as being part of ‘the market’? What if this drive for libraries to declare their value and, in so doing become part of ‘the market’, is a drive towards a homogeneous service that attempts to define itself in terms of ‘maximising provision’ and ‘distribution’? Perhaps then libraries are not really about lending books anymore?

These are challenging times for libraries, arts, culture, and indeed every aspect of our lives. We are still struggling to escape the gloom of a deep economic recession. To do so we are told we must make drastic financial savings wherever necessary. Only then might we usher in a shiny new economic future. Doctor Eleonora Belfiore is right to point out that we face ‘awkward questions’. The DCMS and Arts Council England are apparently looking for ‘sensible answers’. Where? In reports by economists. But don’t worry, says Stanziola, we’d be wrong to think ‘cultural policy making has been hijacked by economists’. Really? ‘Cultural policy’ in the UK was created by Keynes – an economist – and Arts Council England was created to deliver this policy. Indeed, it may be fair to suggest that every aspect of our lives has been ‘hijacked by economists’. So it is that we pray before the same alter of economics that created our current ‘season of Darkness’ in the hope that economics will breathe forth a new ‘season of Light’.

So, back to libraries. They’re not apparently places where you lend books or read books, they’re places of ‘co-production’. This is where their value lies: in the ‘provision of public services as a participatory process where users play the role of co-producers’. Indeed Stanziola assumes that the ‘social and educational outcomes libraries can produce are unlikely to happen without the active co-production of the intended users’, especially volunteers. Let me be clear, I do not doubt that involving people from all areas of our communities in developing and delivering publicly funded library services is key to ensuring we meet the needs of ‘service users’. I also know that the value of volunteering is immense and can always show positively in terms of economic efficiency – not least because volunteers don’t get paid and therefore offer real savings over staffing costs. I am just a little concerned that the coarse language of economics and its fetishisation of ‘measurement processes… courageous assumptions and disappointing datasets’ IS invading our cultural landscape, ‘remapping’ cultural activity to create a hyperreality so convincing that we all believe that economic data is our culture. Stanziola (living in ‘the epoch of belief’) suggests that ‘this should not stop us from engaging with different measurement techniques to explore the complex dynamics behind cultural provision and use.’ I live in ‘the epoch of incredulity’. I understand economics but I don’t believe such over simplistic and reductionist approaches will ever ‘play a key role in ensuring awkward questions about cultural provision could be finally tackled.’

Perhaps we should look for the answers in books, in libraries? Ask people, listen to protests about cuts, and provide adequate funding. Maybe public libraries are last bastions of ‘the best of times’? Places where we found ‘the age of Wisdom’. Let’s not lose them under the economic snow of another cultural ‘winter of despair’.