The administration of the arts in Great Britain, the United States of America and Italy
The following discourse takes three countries, each well known in its for its artistic treasury and arts, looks at the way each handles the administration of its arts, and tries to draw lines of similitude as well as disparity between each and the other two. Reference has been made to as many works of research as available to the writer, but a considerable amount of field work has also been undertaken to find facts and examples at first hand. In the case of each country, specific attention has been paid - in the area of supporting, maintaining and providing for the arts - to the public sector with its various tentacles and the private sector in its different forms and with itsdifferent motives. This has been done in such a manner as to make an overall comparison possible and, where applicable, to show where one country could benefit from a practice prevalent in another or how one country's meat could turn out to be another's poison. The ultimate purpose behind the study is not, however, merely to document statistical facts and figures or to look at the business of administering the arts as a rigid set of rules, regulations or even requirements, but to use the facts and figures obtained in the study and the practical applications observed in the three countries studied to investigate the nature of the quandary in which many seem to find the arts, and to examine the possibility of yet another attempt at resolving it. History is for others to write after the fact; any one generation's contribution to - it can at best be the notation of instances and a description of influences brought to bear upon them. The present work is not trying even to do that. To the writer, the arts are a world unto themselves and even though they have to be made to face. Economic reality and suffer administrative discipline, this should be done in such a manner as not to curb the artist himself; for as Keynes said, the true artist 'walks where the breath of the spirit blows him: he cannot be told his direction.' It is with that attitude that the writer looks at the subject of arts administration and tries to assess its possibilities, and impossibilities.