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...Paris art scene, birthplace of Impressionism, Surrealism and other major -isms, has been supplanted, at least in commercial terms, by New York City and London. Auction houses in France today account for only about 8% of all public sales of contemporary art, calculates Alain Quemin, a researcher at France's University of Marne-La-Vallée, compared with 50% in the U.S. and 30% in Britain. In an annual calculation by the German magazine Capital, the U.S. and Germany each have four of the world's 10 most widely exposed artists; France has none. An ArtPrice study...
...relegated to the middle of the night. The government provides special tax breaks for freelance workers in the performing arts. Painters and sculptors can get subsidized studio space. The state also runs a shadow program out of the Foreign Ministry that goes far beyond the cultural efforts of other major countries. France sends planeloads of artists, performers and their works abroad, and it subsidizes 148 cultural groups, 26 research centers and 176 archaeological digs overseas...
With all those advantages, why don't French cultural offerings fare better abroad? One problem is that many of them are in French, now merely the world's 12th most widely spoken language (Chinese is first, English second). Worse still, the major organs of cultural criticism and publicity - the global buzz machine - are increasingly based in the U.S. and Britain. "In the '40s and '50s, everybody knew France was the center of the art scene, and you had to come here to get noticed," says Quemin. "Now you have to go to New York...
...donate a painting to a museum and take a full deduction," says art expert Boïcos. "Here it's limited. Here the government makes the important decisions. But if the private sector got more involved and cultural institutions got more autonomy, France could undergo a major artistic revival." Sarkozy's appointment of Christine Albanel as Culture Minister looks like a vote for individual initiative: as director of Versailles, she has cultivated private donations and partnerships with businesses. The Louvre has gone one step further by effectively licensing its name to offshoots in Atlanta and Abu Dhabi...
...always a little tricky negotiating the road from Broadway musical to major motion picture, strewn as it is with the burned-out hulks of vehicles like 2005's The Producers and Rent. Viewers currently like their cinematic fantasy fairly realistic, the better to suspend disbelief. But in reality, only crazy people break into song in the course of regular conversation. Conversely, the weirder the movie musical is, the better it appears to work (see Moulin Rouge! or Chicago). This would seem to play to Burton's and Depp's strengths...