The National Arts Journalism Program in November 2002 convened "The New Gatekeepers: A Conference on Free Expression in the Arts" at Columbia University. The event explored a significant yet subtle shift in American culture, which has reconfigured the ranks of those who decide what the public gets to see, read and hear. Traditionally, debates about free expression in the arts have been political and legal in nature, brought on by government and special-interest groups wielding legislation, prosecution or other means to control artists output - with the First Amendment often coming to the rescue. Today many cases tend to be less stark, more nuanced and considerably more confusing for everyone involved. The essays in this volume - by artists, scholars, journalists, lawyers and art advocates, as well as foundation, museum and entertainment industry executives - expand upon the ideas introduced at the New Gatekeepers conference. They consider how recent social, political, legal, economic and technological developments are placing fresh constraints on the way art is created and distributed to the public.
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The National Arts Journalism Program in November 2002 convened "The New Gatekeepers: A Conference on Free Expression in the Arts" at Columbia University. The event explored a significant yet subtle shift in American culture, which has reconfigured the ranks of those who decide what the public gets to see, read and hear. Traditionally, debates about free expression in the arts have been political and legal in nature, brought on by government and special-interest groups wielding legislation, prosecution or other means to control artists output - with the First Amendment often coming to the rescue. Today many cases tend to be less stark, more nuanced and considerably more confusing for everyone involved. The essays in this volume - by artists, scholars, journalists, lawyers and art advocates, as well as foundation, museum and entertainment industry executives - expand upon the ideas introduced at the New Gatekeepers conference. They consider how recent social, political, legal, economic and technological developments are placing fresh constraints on the way art is created and distributed to the public.
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