Paul Mattick: A Very Brief Summary

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Paul Mattick explains in this article the development of arts in the nineteenth century and the National Endowment for the Arts (NEA) role. Mattick begins his article referring to the NEA, “On June 25, 1998 the U.S. Supreme Court ruled against the so-called NEA Four... The high court’s decision was for all practical purposes the last act of a drama that had begun in 1989 with Congressional agitation against the NEA in response to complaints orchestrated by right-wing Christian outfits, notably Rev. Donald Wildmon’s American Family Association, against supposedly blasphemous and indecent artworks by Andres Serrano and Robert Mapplethorpe which had been exhibited in NEA-supported institutions.” (Mattick, 521) “How has this happened, and what does it tell us about the place of arts in society at the present time?” (Mattick, 521) With this question Mattick begins to analyze the nineteenth century of arts. Mattick enforced the relation of art with economic and politics, essential to the survival of art. “The producer and the consumer of art need to be brought together for the fine arts to exist as a social reality... In the United States, the institutionalization of art was largely the work of private citizens... Characteristically, it was not until 1939 that the United States acquired a national gallery, and even this came to begin with as a massive gift…show more content…
Either way is fascinating to see how politics affect so much art. I hate the relation of art and politics. Art for me depicts freedom; on the other hand, politics depicts oppression and limitation. I didn’t know about the NEA until now, reinforcing the Mattick’s theory about the low concern about the defeat of the NEA. I strongly believe that the government has to be more concerned about culture than war. Art isn’t just a way of expression, is a way of teaching and a
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