The need for conservative and libertarian arts funding

If conservatives and libertarians hope to make advances in the culture war, they need to devote more private resources to arts funding; to establish a grant-making infrastructure to fund and connect like-minded writers, actors, musicians, and filmmakers.

Conservatives ignore the arts at their peril. No matter who is elected to steer the ship of state, a captain can only push so far against the cultural currents, which flow in the direction of whoever writes our shared stories. Popular prejudices, shaped by culture, circumscribe an elected official's policies. A politician can only cut taxes so much if the beneficiaries are perceived as snotty bluebloods. Popular entertainment spins our hopes and dreams and nightmares, our heroes and villains. It is the prism through which the populace interprets all it sees.

In 2000, without knowing anything about him, many voters recoiled upon seeing Bush. In their subconscious lurked thousands of film & TV images of drunken fratboy, Southern- accented, Bible-thumping, country-club Republican bigots. Stereotypes as false as any other -- but dry facts and statistics are a poor defense against the vague "gut feelings" created by media stereotypes. (For more on the subject of TV stereotypes, see Ben Stein's excellent 1979 book, The View From Sunset Boulevard.)

Conservatives have long complained about their portrayal in the media and the lack of conservative artists, but their only solution seems to be to initiate boycotts. They don't realize that Hollywood largely regards conservative consumers as a nonviable market, irrelevant to their business plans. (The Dixie Chicks remained unscathed.) Even were it otherwise, Hollywood won't relent to boycotts by "bigots," which is how conservatives are perceived.

Besides which, boycotts are a loser's game. Americans demand entertainment, and you can't fight something with nothing. The best way to get someone to stop buying X is not to boycott X, but to offer a more attractive Y.

Conservatives and libertarians expect their artists to be supported by the market, but that attitude ill serves the creation of a conservative or libertarian culture. Artists must be nurtured as they master their craft. Supporting artists before they create something marketable isn't necessary, but it helps. Money is the mothers milk of both politics and future artists. Liberals understand this, and have built an arts funding infrastructure composed of private foundations, government arts councils, the small press, and university presses. They provide a safety net to artists via teaching posts, fellowships, and nonprofit foundation jobs.

Conservatives and libertarians have influenced the culture via blogs, talk radio, and opinion journals, but they still fall short in the arts, especially in music and film. A privately-financed, arts funding infrastructure would help.

(1) Identify like-minded artists. Seek them via the internet. Place notices on film school bulletin boards, music clubs, organizational newsletters.

(2) Assist however possible. Ask every artist: "How can we help?" Networking and promotion is cheap. If a foundation can't fund an entire project, it might offer seed money, matching funds, completion funds, something to move projects to "the next level." Maybe a band has recorded a tape, but needs a $1000 to press some CDs. Or a play is set to go, but can use a $100 for advertising.

(3) No artist wants to remain in a political ghetto. The goal should be to integrate these artists into the mainstream (as is done with ethnic minorities), such as by promoting them on TV and radio, and at film festivals, etc. The goal should be to help artists create, build a career, and then, hopefully, they'll "give back" to those who helped.

Such a foundation should not be ideologically narrow (demanding a specific message for its grant money), nor look over the shoulders of artists like a Stalinist commissar. That would stifle individual creativity. Rather, once an artist has been approved for funding, the foundation must let go so that "a 100 flowers may bloom." Some disappointing work will result, but that is the nature of freedom, the nature of art. You must allow for some "bad investments" so the good ones will grow.

The money is there. William Bennett's gambling losses alone could have provided much conservative arts funding. Yes, yes, I agree, Bennett's private property is his to fritter away however he pleases. Even so, what a waste... (Ironically, while wealthier conservative groups largely ignore the arts -- apart from boycotting them -- I know one student filmmaker who received a small completion grant from the libertarian Institute for Humane Studies.)

Regrettably, the idea of offering grant money ("money for nothing") to artists, and afterward to allow artists to follow their own visions (no accountability) goes against the instincts of both conservatives and libertarians. Plus, boycotts, although creating nothing (and you can't fight something with nothing), are more fun for bloggers and webzines, and bring higher ratings for radio and cable TV pundits.

Years from now, I expect conservatives will still be organizing new boycotts, even as the Dixie Chicks and Susan Sarandon complete new projects.

Thomas M. Sipos's satirical novels include Manhattan Sharks and Vampire Nation. His website can be found at http://www.CommunistVampires.com.

At last, I have been looking for some kind of a literary discussion on FR for some time.
JaimeD, this is a very serious problem and I have been trying to think it through forever. I hope you're reading this and have not fallen asleep in front of the t.v. watchng the ballgame.
First, the problem is the distribution system. The big publishers "guard the gates" to the privelige of being published and will only allow through what they deem to be 'literature', and what is considered 'literary' at this point is self-absorbed narratives with a large dose of soft core child pornoraphy. And if not the latter certainly the former.
This goes for distribution not only in the publishing business but in film, theatre and so on. The guardians of the gates will keep out non-PC work even if it is written/filmed/painted by the ton.
Secondly, even if you are conservative in your political philosophy, what would entail conservative literature? I have an idea of what it would entail, but it is largely a technical matter and would require a hugh, series discussion of how a prose narrative that is non-PC is constructed. These are almost lost skills, like thatching.
PC art has long ago abandoned the concept of "skill" in any of the art forms and goes for self-expression, and even then, the self-expression of only certain attitudes, most of which are class-based. We need to get the skills back.
In fact, any kind of funding for conservative art should not go to indvidual artists but to conservative teachers of the arts, who would teach the skills of constructing the Quest novel, how to write action scenes (less is more)as opposed to the prevalent novel of psychological exploration. In poetry, they should teach the tools of the sort of poem called an anthem (see Cowboy Poetry Matters, Buck Ramsey's wonderful and sophisticated 'Anthem'), and of course in art conservative teachers would be reduced to going back to the color wheel (see kiddies, the purple is on this side and the orange on the other...)
Funding should go to teachers and forums and seminars who would give beginners the old-fashioned tools to construct real art which addresses the larger questions.
The larger questions cannot be addressed with the non-tools (attitudes, really)that kids are being urged to exhibit at present.
I pity you in your creative writing course. You will be rewarded for self-absorbed narratives in which very little happens.
I am so glad to see this discussion here.
I repeat ---- conservative funding for the arts should go to teachers, forums and seminars to bring back the old skills without which 'conservative' or at least Non-PC art can be created.
Can we get a special chat room on this? (*sigh*)

The death of sculptor Frederick Hart was one of the art world's greatest losses. Hart, who created some of the most lovely and moving solid-form images of the twentieth century, was a lonely voice for the role of pure beauty in art and the restoration of the classical artistic ideals that the modern world has abandoned. For years he maintained a sort of salon of conservative writers, artists, poets, and sculptors at his amazing, baroque house in Hume, Virginia.

Here is an article about him. I don't know where it came from so can't offer attribution.

Let the dream continue

Frederick Hart wouldn’t want his dream for a saner, stabler world filled with timeless images of classic beauty, to end with his sculptures or his life. He’d want struggling artists and masters alike to pick up where he left off. Considered by many as the greatest sculptor of this century, Hart said in his biography, “I believe that art has a moral responsibility, that it must pursue something higher than itself. Art must be a part of life. It must exist in the domain of the common man. It must be an enriching, ennobling and vital partner in the public pursuit of civilization. It should be a majestic presence in everyday life just as it was in the past.” The late Hume artist’s philosophy can be summed up in his own words: “Art must touch our lives ... our fears and cares; evoke our dreams and give hope to the darkness.” At his home on Route 635, across from Oasis Winery, Hart hosted gatherings of the “Centerists,” a group of artists, poets, philosophers and others who shared his vision and sought to exchange ideas. It was his way of teaching, of inspiring, of leaving this world knowing that at least he got to spread a little bit of his message to a few who would listen.

In the art world he was something of a rogue — a rugged, bearded man who could pass for a hiker with the soul of a poet, who held a deep affinity for classical art, classical music, and beauty in nature.

There is a snootiness that permeates the art world, which turns off the regular American guy or gal. Hart, who grew up in a humble environment in South Carolina, knew that. He wasn’t afraid to talk about it. He sought to break barriers through his work and through his life.

At hoity-toity arts galas and receptions, where he was often a guest speaker, major benefactor or the major attraction, period, he reached out to talk to average people. In the cafeteria at Lord Fairfax Community College, he allowed the display of one of his famous ice-clear Lucite sculptures at an arts gala to promote a proposed community cultural arts center.

Here was the man who created the famous “Three Soldiers” sculpture at the Vietnam Veterans Memorial, who sculpted the entranceway at Washington National Cathedral, who entertained at his home the likes of Jimmy Carter and the Prince of Wales. And yet, you could catch him picking up Chinese carry-out at the Hong Kong restaurant in Front Royal.

He constantly reached out to the ordinary man by appearing at the Blue Ridge Arts Council Gallery and at Royal Oak Bookstore to do book signings of his biography, “Frederick Hart, Sculptor” by Hudson Hills Press, with a commentary by Tom Wolfe. He also held slide shows and lectures for rapt audiences at tiny Samuels Public Library.

But he never gave the impression of trying to promote himself; instead, he sought to promote his vision and to remind you not to forget about it. To help raise funds for the arts, the school and other causes, the Harts often hosted elegant fundraisers in their large but inviting home. Lindy was a tireless entertainer and constant supporter of her husband.

Appreciation of heritage and culture has become “atrophied,” Hart said in an interview in May 1995. Modern zest for “change” and experimentation has wound up with unfortunate parallels in art. Consequently, artists who still try to create a Renaissance out of the early Roman and Greek artistic styles are a struggling minority.

But his work has always evoked the sense that, at least for him, divine inspiration and earthly fortune had touched him — as if God was trying to thank him for keeping the classic torch burning. “Two thousand years ago, there was a common sense of beauty,” he said at the time. “People who think they can improve on it are fools.”

He sought to recreate beauty in the classical tradition, and in his interviews wasn’t reluctant to show his deep disdain for the abstract art. “My work isn’t art for art’s sake; it’s about life. I have no patience with obscure or unintelligible art—I want to be understood.”

Here, too, was a man who could have pulled the finest caterers from Washington for the parties for celebrities at his home. Instead, he used a Front Royal caterer who said Hart believed in her creativity. She said he always inspired people to do their best and to never give up. Even if you didn’t believe in yourself enough, he did, and it made you want to live up to the expectation, she said.

Hart taught others that the way to get your dream was through lots of raw, gritty work. “He was a real McCoy,” another friend said. Even after his stroke a year and a half ago, he kept working despite the fact his left arm was paralyzed.

While his college years were spent studying philosophy, Hart found himself determined to sculpt with stone, having been inspired by Italian artisans. At the Washington National Cathedral, he agreed to haul rocks and be a go-fer, for free, just to get his foot in the door. Gradually, artists took him under his wing and taught him the skills he would use later in creating the primordial “Ex Nihilo,” (“Out of Nothing”) the entranceway there. The sculpture shows eight larger-than-life-size figures emerging into existence from a 21-by-15 -foot primordial cloud, as if from a dream.

Hart dedicated his biography to “all artists who have faithfully honed their craft in reverence for the beauty and value of Creation. This commitment of their work to the inherent mystery and beauty of life has been the hallmark of the great ages of art—and will be again.”

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