References
- Alexander, V. D. (2018). Heteronomy in the arts field: State funding and British arts organizations. The British Journal of Sociology, 69(1), 23–43. https://doi.org/10.1111/1468-4446.12283
- Bengelsdorf Browne, R. (1972). The American abstract artists and the WPA federal art project. In F. O’Connor (Ed.), The New Deal Art Projects: An Anthology of Memoirs (pp. 223–244). Smithsonian Institution Press.
- Binkiewicz, D. (2004). Federalizing the Muse: United States Arts Policy and the National Endowment for the Arts, 1965–1980. University of North Carolina Press.
- Blomgren, R. (2012, November). Autonomy or democratic cultural policy: That is the question. International Journal of Cultural Policy, 18(5), 519–529. https://doi.org/10.1080/10286632.2012.708861
- Bourdieu, P. (2013). Manet. Une revolution symbolique. Raisons d’agir / Seuil.
- Brenson, M. (2001). Visionaries and Outcasts: The NEA, Congress, and the Place of the Visual Artist in America. New Press.
- Bryan-Wilson, J. (2011). Art Workers: Radical Practice in the Vietnam War Era. University of California Press.
- Bürger’s, P. (1984). Theory of the Avant-Garde. University of Minnesota Press.
- Burns, S., & Davis, J. (Eds.). (2009). American Art to 1900. A Documentary History. University of California Press.
- Charle, C. (2015). La Dérégulation culturelle. Essai d'histoire des cultures en Europe au XIXe siècle. PUF.
- Cockcroft, E. (1974, June 10). Abstract expressionism, weapon of the Cold War. Artforum, 10(12), 39–41.
- Craven, D. (1999). Abstract Expressionism as Cultural Critique: Dissent During the McCarthy Period. CUP.
- Doss, E. (1995). Benton, Pollock, and the Politics of Modernism: From Regionalism to Abstract Expressionism. University of Chicago Press.
- Guilbaut, S. (1983). How New York Stole the Idea of Modern Art: Abstract Expressionism, Freedom, and the Cold War. University of Chicago Press.
- Harney, A. (1981). Art in Public Places: A Survey of Community-Sponsored Projects Supported by the National Endowment for the Arts. Partners for Livable Places.
- Harris, J. (1995). Federal Art and National Culture: The Politics of Identity in New Deal America. CUP.
- Harris, N. (1966). The Artist in American Society. The Formative Years 1790–1860. George Braziller. 28–53.
- Heimendinger, N. (2022). “Avant-garde and postmodernism: The Reception of Peter Bürger’s Theory of the Avant-Garde in American Art Criticism”, Symbolic Goods, 11, December 2022. Retrieved June 20, 2023, from https://journals.openedition.org/bssg/1222
- Huyssen, A. (1984). Mapping the postmodern. New German Review, 33(autumn-winter), 16–24.
- Jachec, N. (2000). The Philosophy and Politics of Abstract Expressionism. CUP.
- Kwon, M. (2002a). One Place After Another. Site-Specific Art and Locational Identity. MIT Press.
- Kwon, M. (2002b). Sitings of public art: Integration versus intervention. In J. Ault (Ed.), Alternative Art New York, 1965–1985 (pp. 298). University of Minnesota Press.
- Larkin, D. (Ed.). (2009). When Art Worked: The New Deal, Art, and Democracy. Rizzoli International Publications.
- Larson, G. (2017). The Reluctant Patron: The United States Government and the Arts, 1943–1965. University of Pennsylvania Press.
- Mainardi, P. (1993). The End of the Salon: Art and the State in the Early Third Republic. CUP.
- Martel, F. (2006). De la culture en Amérique. Gallimard.
- McCombie, M. (1992). Art and Policy: The National Endowment for the Art's Art in Public Places program, 1967–1980, PhD diss. Austin: University of Texas.
- Menger, P.-M. (2001). Art, politisation et action publique. Sociétés & Représentations (11), 179. https://www.cairn.info/revue-societes-et-representations-2001-1-page-167.htm
- Menger, P.-M. (2011). Les politiques culturelles. Modèles et évolutions. In P. Poirrier (Ed.), Pour une histoire des politiques culturelles dans le monde, 1945–2011 (pp. 465–477). La Documentation française.
- Moulin, R. (1992). L’Artiste, l’institution et le marché. Flammarion.
- O’Doherty, B. (1974, May-June). Public Art and the government: A progress report. Art in America, 62(3), 46.
- Passeron, J.-C. (2006). Figures et contestations de la culture. Légitimité et relativisme culturel. In Le Raisonment sociologique (pp. 445–508). Albin Michel.
- Sapiro, G. (2019). “Rethinking the Concept of Autonomy for the Sociology of Symbolic Goods.” Symbolic Goods, 4. Retrieved June 8, 2023, from http://journals.openedition.org/bssg/334
- Scott-Smith, G. (2016). The Politics of Apolitical Culture: The Congress for Cultural Freedom and the Political Economy of American Hegemony 1945–1955. Routledge.
- Selbach, G. (2007). An overview of the history of American museums, birth, growth, missions and federal and local policy. Lisa/LISA e-Journal, V(1), 58–91. Retrieved October 11, 2022, from http://journals.openedition.org/lisa/1593
- Smith, D. (2008). Money for Art: The Tangled Web of Art and Politics in American Democracy. Ivan R. Dee.
- Vestheim, G. (2012, November). Cultural policy-making: Negotiations in an overlapping zone between culture, politics and money. International Journal of Cultural Policy, 18(5), 536.
- Wyszomirski, M. (1982). Controversies in arts policymaking. In K. Mulcahy, & C. Richard Swaim (Eds.), Public Policy and the Arts (pp. 12–21). Boulder Westview Press.