Systems of Art Governance

Abstract

Irrespective of its perceived autonomy, the artistic field is positioned within the meta-field of power. According to Bourdieu, art and the producers do not exist independently of a complex institutional framework which authorises, enables, empowers and legitimises them. Thus, cultural policy is fundamental to the funding of domestic art systems, contributing to artists’ international recognition through exposure at international events and insertion into the global markets (Robertson 2018; Singh 2011). That is why in response to Japheth Alakam’s question in the Vanguard newspaper of September 30, 2012, on how art has fared in Nigeria during the last years, Frank Okonta said that “with the limited available resources, we have not done too badly, but we need to be encouraged by the government”. Cultural policy revolves around the specific institutional support mechanisms for culture, including grants, subsidies, financial incentives, legislation, advocacy and art institutions (Singh 2011). The global art markets are an arena of competition among nations, and despite the equal opportunities offered by globalisation, countries without the required infrastructure do not stand any chance of competing effectively (Bydler 2004). Alexander and Rueschemeyer (2005) showed that support systems, alliances and networks are critical for artists in navigating the contemporary art world. They also confirm that state policies create a social context for the production and reception of art. Quemin (2006) noted that despite Western dominance, peripheral countries that have established supportive environments for art through policies have increased their stakes in the centre of the art world.