This thesis is an art-historical inquiry into the National Endowment for the Arts (NEA) and its controversies in the 1990s. A socio-economic model of instrumentalization of the arts based on Pierre Bourdieu's and David Throsby's conceptualizations of cultural capital is first developed. The model is then used to explore the notion of "congressional aesthetics," or a particular brand of arts-instrumentalization adopted by the U.S. Congress for post-WWII federal projects involving art, and two cases of its implementation.
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- Partial requirement for: M.A., Arizona State University, 2015Note typethesis
- Includes bibliographical references (pages 90-105)Note typebibliography
- Field of study: Art