By Douglas McLennan

“When we talk about culture models, we separate non- and for-profit culture for a number of reasons, both obvious and not. And those on either side often eye one another warily, even though many artists cross back and forth across the line wherever the work happens to be. But it’s impossible to think about commercial culture — design, movies, video, music, dance, broadcast, writing, fashion, publishing, entertainment, etc — without the significant contributions of the non-profit side.

Europe and Canada have very different models, dependent primarily on government funding, with much less philanthropic and individual giving. But those models too have significant limitations (which could be a topic for a whole different post). The funding models have created very different cultural production aesthetics and expectations but each is also suffering.”

Source: diacritical