Cultural Aspects
Many art museums throughout history have been designed with a cultural purpose or been subject to political intervention. In particular National Art Galleries have been thought to incite feelings of nationalism. This has occurred in both democratic and non-democratic countries, although authoritarian regimes have historically exercised more control over administration of art museums. Ludwig Justi was for example dismissed as director of The Alte Nationalgalerie (Old National Gallery) in Berlin in 1933 by the new Nazi authorities for not being politically suitable.
Since the 1970s a number of political theorists and social commentators have pointed to the political implications of art museums and social relations. Pierre Bourdieu, for instance, argued that in spite the apparent freedom of choice in the arts, people's artistic preferences (such as classical music, rock, traditional music) strongly tie in with their social position. So called Cultural capital is a major factor in social mobility (for example, getting a higher-paid, higher-status job). The argument states that certain art museums are aimed at perpetuating aristocratic and upper class ideals of taste and excludes segments of society without the social opportunities to develop such interest. The fine arts thus perpetuate social inequality by creating divisions between different social groups. This argument also ties in with the Marxist theory of mystification and elite culture.
Furthermore, certain art gallerias, such as the National Gallery in London and the Louvre in Paris are situated in buildings of considerable emotional impact. The Louvre in Paris is for instance located in the former Royal Castle of the ancient regime, and is thus clearly designed with a political agenda. It has been argued that such buildings create feelings of subjugation and adds to the mystification of fine arts.
Read more about this topic: Art Museum
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