Thesis (Ph. D.)--Florida State University, 2003. / Advisor: Dr. Charles M. Dorn, Florida State University, School of Visual Arts and Dance, Dept. of Art Education. Title and description from dissertation home page (viewed Sept. 08, 2004). Includes bibliographical references.

Thesis (M.A.)--Ohio State University, 2008. / Title from first page of PDF file. Includes bibliographical references (p. 124-128).

Thesis (Ed.D.) -- Teachers College, Columbia University, 1989. / Typescript; issued also on microfilm. Sponsor: Robert O. McClintock. Dissertation Committee: Ellen Condliffe Lagemann. Bibliography: leaves 197-210.

Thesis (D.M.A.)--University of North Texas, 2005. / System requirements: Adobe Acrobat Reader. Accompanied by 4 recitals, recorded Apr. 14, 2003, Sept. 15, 2003, Apr. 19, 2004, and Apr. 18, 2005 (missing). Includes bibliographical references (p. 62-66).

No description available.

Thesis (Ph. D.)--University of Missouri-Columbia, 2000. / Typescript. Vita. Includes bibliographical references (leaves 484-407). Also available on the Internet.

Thesis (Ph. D.)--University of Missouri-Columbia, 2000. / Typescript. Vita. Includes bibliographical references (leaves 484-407). Also available on the Internet.

No description available.

This thesis studies the determinants of grants from the National Endowment for the Arts and identifies the key factors that can account for their variation across communities. The analysis examines the target audience for NEA grants, how the NEA chooses to distribute its funds, and whether the grants aimed at low-income communities are effective in targeting communities that do not otherwise have access to the arts. This study concludes that grants from the National Endowment for the Arts tend to be allocated to communities with higher college graduation rates, but not necessarily higher income levels.

abstract: 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. The first case is the successful implementation of congressional aesthetics in the instrumentalization of the arts in Sino-American cultural diplomacy during the Cold War. The kind of American art in the 1950s enabled the successful implementation of congressional aesthetics. The opposite case is then investigated: the failed implementation of congressional aesthetics in the operation of the NEA in the 1980s. Specifically, the NEA controversies of the 1990s can be traced to the agency's failure to conform to congressional aesthetics. Failed congressional aesthetics also results largely from the type of American art being produced in the 1980s. / Dissertation/Thesis / Masters Thesis Art 2015