Art in the Heartland, Traditional and Idiosyncratic

America has a vibrant and richly varied visual-arts scene. While New York is without doubt the art world’s capital, it does not drive American museum culture. Paris, for instance, dominates the French museum system, if for no other reason than the fact that almost all museums in France are owned by the central government. Most European museums are government-owned, which means they’re sodden with bureaucracy.

Many museums in America beyond the Acela corridor are strong in regional art, but wealth in this country is broadly distributed, so dozens have internationally famous collections built by smart local people. Americans often look at their local museums as sources of intense city pride. Almost all are privately funded and run, too. This in itself fosters difference, idiosyncrasy, and daring.

About the Author

Brian T. Allen

Brian T. Allen is National Review’s art critic.

America has a vibrant and richly varied visual-arts scene. While New York is without doubt the art world’s capital, it does not drive American museum culture. Paris, for instance, dominates the French museum system, if for no other reason than the fact that almost all museums in France are owned by the central government. Most European museums are government-owned, which means they’re sodden with bureaucracy.

Many museums in America beyond the Acela corridor are strong in regional art, but wealth in this country is broadly distributed, so dozens have internationally famous collections built by smart local people. Americans often look at their local museums as sources of intense city pride. Almost all are privately funded and run, too. This in itself fosters difference, idiosyncrasy, and daring.