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Cultural Capital: The Rise and Fall of Creative Britain

How money, politics and managerialism turned a golden age for culture into lead

Britain began the twenty-first century convinced of its creativity. Throughout the New Labour era, the visual and performing arts, museums and galleries, were ceaselessly promoted as a stimulus to national economic revival, a post-industrial revolution where spending on culture would solve everything, from national decline to crime. Tony Blair heralded it a “golden age.” Yet despite huge investment, the audience for the arts remained a privileged minority. So what went wrong?

In Cultural Capital, leading historian Robert Hewison gives an in-depth account of how creative Britain lost its way. From Cool Britannia and the Millennium Dome to the Olympics and beyond, he shows how culture became a commodity, and how target-obsessed managerialism stifled creativity. In response to the failures of New Labour and the austerity measures of the Coalition government, Hewison argues for a new relationship between politics and the arts.

Reviews

  • “A brilliant analysis of the way that the intrinsic value of art was undermined by a Blair-led government’s attempts to control creative production and turn it into an instrument of social engineering. It is a timely warning about the dangers of political interference and a rallying cry for art to both be publicly supported and maintain a hard won independence. Art needs this independence from power in order to show us to ourselves in ways that the media and politics never do and never can.”
  • “Long Britain’s best chronicler of culture and political policy, Robert Hewison turns his unflinching gaze on the New Labour era, a time of targets, access and excellence for all, complete with the National Lottery, Cool Britannia, the Millennium Dome and the 2012 Olympics. It’s not a pretty sight, and his findings of folly, incompetence and vanity will entertain and disturb readers in equal measure. They should also embarrass any politicians and arts administrators who retain a degree of self-awareness.”
  • “This is essential reading for anyone who has the slightest interest in the funding of the arts in this country.”
  • “Hewison’s analysis of how a golden age turned to lead is highly authoritative, well argued & conceptually robust.”
  • “I could hardly put it down: so forceful, lucid, objective, blackly funny, deeply depressing and URGENTLY NECESSARY.”

Blog

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    In this exclusive extract from Corbyn: The Strange Rebirth of Radical Politics, Richard Seymour analyses the media campaign to discredit Corbyn's leadership bid and the reasons for its failure.



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  • Verso's Summer Reads 2015

    No matter which body of water you'll be sluicing your speedos in this summer, Verso's got your back.  From forty proud years of radical publishing, we've cherry-picked an eclectic mix of fiction, travel, politics, philosophy, feminism, art, graphic novels and more for your delectation this summer.

    Whether you're reacquainting yourself with an old classic or taking a chance with one of our latest titles, all books on this list will be 50% off on our website for this week (July 9-July 17), with free worldwide shipping, and free ebook where available.  Just be careful around the pool with your e-reader eh?


    A lovely picture of Theodor Adorno in his swimwear, with a copy Narcoland presumably tucked away out of shot.

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  • David Edgar and others on Robert Hewison's Cultural Capital and the state of the arts in Britain today



    Robert Hewison’s
    latest book Cultural Capital: The Rise and Fall of Creative Britain is an analysis of how economic and political engagement has adversely transformed the cultural arts. In the run-up to the UK General Elections the book’s message is more pertinent than ever; in response to the failings of New Labour as well as the current austerity measures of the Coalition government, Hewison looks at how culture has become a commodity, and how managerialism has come to stifle creativity. In light of these facts, he argues for a less target-obsessed, new relationship between politics and the arts.

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