Abstract
A few years back in an article on cultural funding, I speculated about the long-term implications of patterns of restructuring designed to force culture away from a welfare state model toward a market model (DiCenzo 253-64). This trend towards privatization was by no means new by the late 1990s, but a series of changes at the federal, provincial and municipal levels (particularly in Ontario) pointed to a significant redefinition of the financing, structure and function of arts funding bodies in Canada. Most disturbing was the growing move away from funding artists directly. Subsidies to creators were displaced by policies designed to encourage relationships between the private sector and arts organizations through measures such as tax incentives and matching schemes, effectively shifting the role of funding bodies to that of facilitators and high-profile fundraisers. What I wondered at the time was, to what extent can these kinds of developments make arts councils increasingly redundant in the long run, and would “new money” in the future be enough to restore and rebuild the cultural infrastructure?
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