The paper is based on available biographic sources on modern Serbian artists which illustrate characteristics of the art award culture. Attention is drawn to branching and multiplying of awards based on development of the visual arts. Also, growing complexity of the awarding procedures is noted, depending on the social circumstances.
The paper addresses the possibility of establishing connections between the procedure of awarding literary prizes on the one hand and the proper evaluation of a literary work on the other, focusing on The Man Booker Prize and The NIN Award for the Novel of the Year. Judging literary works is thought to influence both critical evaluation and achievement of media visibility, but the latter turns out to be more important in the new media environment, as the constant neglect for the elite art serves to move most respectable works to the margins of public interest.
In this paper prize is seen as a sign of distinction and point is made to its ephemeral quality and its connection with the cultural canon, which is reserved for the few cultural heroes and their deeds. Then, on the example of some of the most famous European and national awards, the paper has indicated their prestige and market role. Special attention is given to the media presentation of the awards and the fact that in the absence of media attention the winner and the awarded work are deprived of the presentation to the public. In the final part of the paper, the importance of award receiving is underlined as a social ceremony.
Richness, quality, diversity and availability of different forms of cultural activities as well as mediation of cultural contents is of vital importance for children, because their age is optimal for adopting cultural values contained in various activities. Thus, the offer of cultural institutions designed for children is important for building attitudes towards culture, cultural production and cultural consumption in their adult life. Following the research of the Center for Study in Cultural Development – “Cultural offer for the children of Belgrade” from 1983 – we initiated a project called “Cultural heritage and cultural participation”. This project started in 2014 and it has two goals. The first goal is to form a database of cultural institution projects aimed towards children that would be available to researchers of culture. The other also important goal is to contribute to innovations in creating programs that cultural institutions would offer in order to foster active cultural participation. Digitalization of documentation about the Studio for creative upbringing (Školigrica) allowed us to treat this project as a folklore legacy that in its core implies understanding of folklore as artistic communication in small groups that leaves significant trace among people of different generations.
The text is based on a research „Cultural policy of the City of Belgrade“ of the Centre for Study in Cultural Development carried out in 2011. During research, active stakeholders in the culture of the city of Belgrade were mapped and data were collected about their elementary resources in the period 2008 – 2010. The City of Belgrade consists of 17 municipalities which were entrusted with the culture-related competences in the Statute of the City of Belgrade adopted in 2008. The Statute has defined the cultural policy of the City of Belgrade from the perspective of its municipalities and the text deals with the question if and in which manner the provisions of this Statute are operational in practice. The situation is analyzed by examination of the cultural infrastucture, the key decision makers on the municipal level, financing of the cultural operations and planning and cooperation of the metropolitan municipalities with the City.
From Roger Fenton’s 15-second exposure to Instagram. The first war photographer took pictures of soldiers chatting at ease around trenches but avoided photographing death scenes. He wanted to show a less gruesome side of war. The famous Valley of the Shadow of Death, a photograph Fenton took during the Crimean War, represents more than an objective documentarist approach. There is no explicit death on this photograph, but it is in a way a portrait of death without the dead. Today, with Instagam app, we can upload death scenes to the web instantaneously, at the moment of exposure. The photographs of death we took in passing along the local road will immediately be uploaded to our FB profiles, Twitter, Foursquare, Tumblr, Flickr and Posterous. Hybrid forms of photo apps and social networks have made death scenes even less of a taboo by making them commonplace – a trend which had already started with the advent of digital photography. The first major change was introduction of a rolled photographic film by Kodak (“You press the button, we do the rest”). The phenomena which shed more light on the process of de-tabooing death and creating a phenomenon of popular culture include WEEGEE and other art photographers who build on their tradition.
Traditional approach to evaluating the contribution of museums to their environments only considered the social aspect of the benefits and the benefits were recognized only in the areas of heritage protection and educational and cultural missions. Modern approach, however, perceives contribution of museums from the standpoint of branding, as well as economic benefits that non-profit entities and profit entities in the community receive from museum visitors. In addition to secondary contributions to economic development, museums can also be primary instruments of economic revitalization and community development. The paradigm of this kind of development in the last decade of the 20th century was represented through Guggenheim Foundation in Bilbao (Spain), and at the beginning of the second decade of 21st century through Louvre II in Lens (France). Lens has based its previous economic development on mining and accompanying industries. However, the closing of the mines resulted in grave social problems. In addition to decentralization of culture, which has been a focus in France for the past several decades, the establishment of Louvre Lens had as its primary goal the revival of the town with an unemployment rate of 24% (French average is 9%). It was estimated that during the first year of its operations the new museum would have 700,000 visitors, and that after the “first wave”, the normal number of visitors would be 500,000 annually. The new museum was located in a town of 35,000 inhabitants with a hotel capacity of only 250 rooms. However, during the first year of operation (December 2012 – December 2013), it was visited by 900,000 guests. Due to the number of visitors, Lens has seen a 42-million-euro rise in additional income. After Bilbao, Lens has became another paradigm pointing to the economic and developmental benefits that communities can enjoy due to existence of attractive museums branded as cultural and tourist attractions.
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