The 1954 Hague Convention on the Protection of Cultural Property in the Event of Armed Conflict was written in response to the large-scale intentional destruction and damage to cultural property perpetrated by Nazi Germany during World War II. Following the Balkan Wars, the Convention was updated in its Second Protocol of 1999. Despite this updating, the 2003 war and subsequent occupation of Iraq have demonstrated additional shortcomings of the Convention and its Protocols.
The 1954 Hague Convention for the Protection of Cultural Property in the Event of Armed Conflict and its 1999 Second Protocol
The presentation will focus on the comparisons between and contributions of provisions related to safeguarding of and respect for generally protected cultural property under the 1954 Hague Convention and its Second Protocol.
Seeing Barnum’s entertainments as a context for America’s response to the avant-garde requires us to reconsider both modernists’ dismissal of this response as simple philistinism and subsequent interpretations of public dismay as evidence of avant-garde art’s political impact.
This study of executive compensation to arts leaders in Illinois summarizes key employment statistics and presents results from a factor analysis showing four models of compensation environments found within arts organizations. The story told by this study is first, one of small nonprofit businesses, and second, how these small businesses balance resources to compensate their staffs. The study is based on results of a custom survey sent to 655 Illinois nonprofit arts organizations.
We see a shift in elite status group politics from those highbrows who snobbishly disdain all base, vulgar, or mass popular culture, (here called snobs or univores) to those highbrows who omnivorously consume a wide range of popular as well as highbrow art forms (here called omnivores). It is important for arts policy leaders to understand this general process so they can better interpret all the specific changes they see going on in the contemporary arts worlds and consider how best to take advantages of these changes in promoting the arts.