Abstract

During the Cold War period, the scope of the “culture” presented in public diplomacy was vastly broad, and not all genres of arts, culture, and education were valued with the same weight. For each area, the political environments were different, and the policy tools were differentiated, which demands reviewing them in cultural diplomacy separately. Visual art was a small yet controversial area of US cultural diplomacy in the early and mid-20th century, but art diplomacy during the Cold War is still commonly misunderstood as having been a centralized effort with substantial government funding. It impedes precise insight into the governmental and nongovernmental efforts in not only art diplomacy, but also general US cultural diplomacy. This research studies the decentralization of art diplomacy in the early and mid-20th century and examines the political environment toward art diplomacy and the policy tools, such as the third-party government in overcoming challenges. It investigates the political dynamics and characteristics of art diplomacy during the period and acknowledges the contribution and growth of nongovernmental actors in the field.

摘要

在冷战时期，公共外交中提出的“文化”的范围非常广泛，并非所有艺术，文化和教育类型都被同样地重视。对于每个地区，政治环境都不同，政策工具也有所不同，这就要求在文化外交中分别对其进行审查。视觉艺术在20世纪初和20世纪中叶是美国文化外交中一个很小但有争议的领域，但是冷战期间的艺术外交仍被人们普遍误解，因为它是政府投入大量资金的集中努力。它阻碍了对政府和非政府不仅在艺术外交方面的努力，而且也阻碍了美国一般文化外交方面的准确见识。这项研究研究了20世纪初期和中期的艺术外交权力下放，并考察了艺术外交的政治环境和政策工具，例如克服挑战的第三方政府。它调查了这一时期的艺术外交的政治动态和特征，并认可了非政府组织在该领域的贡献和成长。