In many countries the policy of international cultural co-operation is marked by conflicts between the worlds of foreign policy, cultural policy and artistic life. At the same time this field of policy calls for more public attention, because of the general internationalisation of the arts field. In this article I will analyze the international cultural co-operation between Norway and other countries, particularly the conflicts of values and interests that characterises this field of policy.

Predominantly used to describe the relationship of the Arts Council of Great Britain and Westminster, this principle is believed to characterize the relationship between arts councils and governments in the majority of liberal democracies. The government/arts council relationship is not uniform throughout Europe however.

The arts and cultural industries are in a dynamic mode: change is part of everyday practice. This change was captured in the Commonwealth government's long overdue cultural policy statement Creative Nation, released by the prime minister in October, 1994 which stated: There has probably never been a better time than the present to reassess our national cultural policy...At every level of society, Australians are engaged in cultural activities that are helping to re-invent the national identity, and most Australians would agree on the need to enhance and enrich our culture. To achieve this,

The conference theme was privatization, which was qualified by the French neologism, desetatisation. This qualification suggests the possibility that withdrawal of state control and perhaps even ownership does not necessarily mean privatization: something could still be public but no longer under the command of the state. Alternatively, the intention behind invoking desetatisation may have been to reduce controversy by providing a synonym for privatization that has less instantly alarming connotations in Western Europe. The synonym never really caught on, though, and the term privatization

A paper that reflexively considers the Euro-American reception of indigenous arts can also evaluate the Western attempt at defining art.

Since opening in 1988, the Powerhouse Museum has provided public programs aimed at culturally diverse audiences. Nonetheless, there were unanswered questions regarding the view of museums held by people from non-English speaking and Aboriginal and Torres Strait Islander backgrounds, their reasons for visits, their level of satisfaction with museum interpretation and services and the barriers that affect their participation. This study aimed to answer some of these questions. (from abstract)

The report examines issues such as employment, participation, household expenditure and time spent on cultural activities. It compares participation rates by overseas Australians from both English and non-English speaking countries, with that of the Australian born population. (from abstract)

This handbook explores how thoughtfully designed cultural exchanges, both international and local, can lead to a greater understanding and acceptance of diversity. Successful exchanges are energising and liberating. They can result in enjoyment by local populations and provide useful international contact for artists and audiences alike. (from abstract)

This is the fifth edition of the Australia Council's compendium of statistics about the arts. The first edition was published in 1982. The Council publishes a range of statistical reports about various aspects of the arts in Australia. It does this to inform cultural planning agencies, the arts community and the general public about the facts of arts life in Australia. The Council seeks to foster a strong artistic life throughout Australia by promoting excellence in and development of the arts, and actively encouraging involvement in the arts by all Australians.

This publication presents the results of a data collection from book publishers which employed staff and were predominantly engaged in book publishing in 1994. The survey was conducted by the Australian Bureau of Statistics with funding provided by the Department of Communications and the Arts. Financial and employment data were collected from organizations included in the collection as well as details on background information, growth and numbers of books published and sold by type.