Robert Hewison
Born
June 02, 1943
|
Monty Python: The Case Against
—
published
1981
—
4 editions
|
|
|
Cultural Capital: The Rise and Fall of Creative Britain
—
published
2014
—
6 editions
|
|
|
The heritage industry: Britain in a climate of decline
—
published
1987
|
|
|
John Ruskin
—
published
1976
—
7 editions
|
|
|
The Cultural Leadership Handbook: How to Run a Creative Organization
by
—
published
2011
—
11 editions
|
|
|
Footlights!: A hundred years of Cambridge comedy
—
published
1983
—
3 editions
|
|
|
Under Siege: Literary Life in London, 1939-1945
—
published
1977
—
10 editions
|
|
|
John Byrne: Art and Life
—
published
2011
—
2 editions
|
|
|
In Anger: Culture in the Cold War, 1945-60
—
published
1981
—
3 editions
|
|
|
Ruskin, Turner, and the Pre-Raphaelites
by
—
published
2000
|
|
“Jowell fell back on the same justification for funding the arts that the first chairman of the Arts Council, John Maynard Keynes, had deployed in 1945. Art was something produced by people with special skills, who set their own standards of excellence; they needed to be supported to do this, and the audience needed to be encouraged to appreciate this excellence, by being given subsidised access to it. And for all of Jowell’s attempts to transcend instrumentalism, the purpose of culture continued to be to help the government ‘to transform our society into a place of justice, talent and ambition where individuals can fulfil their true potential’.22”
― Cultural Capital: The Rise and Fall of Creative Britain
― Cultural Capital: The Rise and Fall of Creative Britain
“After leaving the Arts Council in 2009, he pointed out that, in the official portraits of past Council chairmen, John Maynard Keynes was the only one smiling. That was because Keynes died before ever having to chair a Council meeting.25”
― Cultural Capital: The Rise and Fall of Creative Britain
― Cultural Capital: The Rise and Fall of Creative Britain
“Cultural capital is a form of wealth that is determined by its value in use, not its value in exchange. Its value increases in proportion to its abundance, not its scarcity. It is enjoyed by individuals, but it is a mutual creation that uses the resources of shared traditions and the collective imagination to generate a public, not a private, good. Cultural capitalism seeks to privatize this shared wealth, absorbing it into the circulation of commodities, and putting it to instrumental use. Contemporary”
― Cultural Capital: The Rise and Fall of Creative Britain
― Cultural Capital: The Rise and Fall of Creative Britain
Is this you? Let us know. If not, help out and invite Robert to Goodreads.

