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019 _a(OCoLC)1013960833
019 _a(OCoLC)1029816715
019 _a(OCoLC)1032676106
019 _a(OCoLC)1037979718
019 _a(OCoLC)1041995960
019 _a(OCoLC)1046613524
019 _a(OCoLC)1047014956
019 _a(OCoLC)1049675816
019 _a(OCoLC)1054878726
020 _a9780674335745
_qprint
020 _a9780674335769
_qPDF
024 7 _a10.4159/harvard.9780674335769
_2doi
035 _a(DE-B1597)9780674335769
035 _a(DE-B1597)252060
035 _a(OCoLC)900843391
040 _aDE-B1597
_beng
_cDE-B1597
_erda
072 7 _aART000000
_2bisacsh
084 _aonline - DeGruyter
100 1 _aTaper, Bernard
_eautore
245 1 4 _aThe Arts in Boston :
_bAn Outsider's Inside View of the Cultural Estate /
_cBernard Taper.
250 _aReprint 2014
264 1 _aCambridge, MA :
_bHarvard University Press,
_c[2013]
264 4 _c©1970
300 _a1 online resource (170 p.) :
_b11 line illustrations, 17 tables
336 _atext
_btxt
_2rdacontent
337 _acomputer
_bc
_2rdamedia
338 _aonline resource
_bcr
_2rdacarrier
347 _atext file
_bPDF
_2rda
490 0 _aPublications of the Joint Center for Urban Studies of the Massachusetts Institute of Technology and Harvard University
505 0 0 _tFrontmatter --
_tAcknowledgments --
_tContents --
_t1. Introduction: The Adams Legacy --
_t2. Some Boston Voices in the Arts An Assemblage of interviews --
_t3. Walking the Tightrope --
_t4. Hold Fast! Help is on the Way Maybe --
_t5. The View from City Hall --
_t6. Sheltering the Troupes --
_t7. Things That Money Can't Buy --
_t8 Epilogue Etonne-Moi ! --
_tAppendix A: Corporate Contributions --
_tAppendix В: Proposed Layout of the Hinge Block Complex --
_tNotes. Index --
_tNotes --
_tIndex --
_tPublications of the Joint Center for Urban Studies
506 0 _arestricted access
_uhttp://purl.org/coar/access_right/c_16ec
_fonline access with authorization
_2star
520 _aIn this lively and informed book, Bernard Taper, a writer for the New Yorker, scrutinizes the social and economic characteristics of the arts in Boston, seeking specific answers to the questions: What might be done to foster, strengthen, enrich, and invigorate the arts? What can make them more meaningful to a larger segment of the community? “The arts,” he writes, “have been more honored in Boston than in most American cities, and by ‘the best people’; but they have possibly been enjoyed rather less than they have been honored.” Throughout his book Mr. Taper stresses that the arts, both visual and performing, “should be recognized as a human need, not a luxury; nor should they be something to which we pay solemn, periodic respect—like going to church on Sunday.Ideally, the whole city should serve the purpose of satisfying the need for beauty.” And he looks forward to the day when Boston—as well as other cities—will have a daily life in which the arts are intimately involved. Included in the book are a number of vivid and informal interviews with a variety of people in the arts. Here people like Sarah Caldwell of the Opera Company of Boston, E. Virginia Williams of the Boston Ballet Company, Perry Rathbone of the Museum of Fine Arts, Elma Lewis of the National Center of Afro-American Artists, David Wheeler of the Theatre Company of Boston, and mathematician-satirist Tom Lehrer speak their minds on the condition of the arts. “All of us in the arts have one problem in common,” says Miss Caldwell in her interview. “That problem is how to survive.” Financial problems plague nearly all of Boston's arts organizations and, for many of them, each new season is a tightrope walk over Niagara Falls. Mr. Taper examines the economic situation of the arts in Boston and estimates the sums needed to sustain them in less precarious fashion. Boston's arts, he finds, still have to rely on the noble but no longer practicable tradition of private contributions. He contends that the two potential sources of subsidy most inadequately represented are corporations and government—particularly local and state government. Indeed, the city of Boston contributes less subsidy to the arts than any other major city in the United States! Yet there are things that money can't buy. Mr. Taper points out many intangible ways in which the arts may be fostered or thwarted and, citing examples from various cities, particularly New York, San Francisco, and St. Louis, he shows how much difference is made simply by the attitude of a city's administration toward the arts. He discusses what he believes is the need for a radical reorientation of the role of education and includes as well a novel proposal that would enable Boston to obtain the physical facilities grievously needed for the arts. Mr. Taper was invited to Boston by the Permanent Charity Fund in collaboration with the Joint Center for Urban Studies of M.I.T. and Harvard to make this important study of the visual and performing arts. He succeeds in evoking and illuminating the special quality and atmosphere of Boston, and, although some aspects of his study are peculiar to that city, he clearly relates his analysis to the overall situation of the arts in America.
538 _aMode of access: Internet via World Wide Web.
546 _aIn English.
588 0 _aDescription based on online resource; title from PDF title page (publisher's Web site, viewed 30. Aug 2021)
650 0 _aMusea.
650 0 _aMuseum of Fine Arts (Boston).
650 0 _aMusik.
650 0 _aMuziekinstrumenten.
650 4 _aART / General.
650 4 _aArts -- Massachusetts -- Boston.
650 4 _aHISTORY / United States / State & Local / General.
650 7 _aART / General.
_2bisacsh
850 _aIT-RoAPU
856 4 0 _uhttps://doi.org/10.4159/harvard.9780674335769
856 4 0 _uhttps://www.degruyter.com/isbn/9780674335769
856 4 2 _3Cover
_uhttps://www.degruyter.com/cover/covers/9780674335769.jpg
942 _cEB
999 _c191672
_d191672