Week 5 : Who Belongs in Art Worlds?Arts Occupations, Institutions, Networks (continued) & Mediation (Gatekeepers, Facilitators)

Week 5 : Who Belongs in Art Worlds?Arts Occupations, Institutions, Networks (continued) & Mediation (Gatekeepers, Facilitators)

Note: Week 4 cancelled due to snowstorm.Note: Week 4 cancelled due to snowstorm.

Source: V. Alexander Sociology of the Arts…(2003), p. 63.

Plan for Class TodayPlan for Class Today

Lecture : Lecture : Review : Artists as a Social “Category”, Types of Art Review : Artists as a Social “Category”, Types of Art

WorldsWorlds ‘‘production of culture’ theory of art worldsproduction of culture’ theory of art worlds Mediation and recognition processesMediation and recognition processes

Presentations of First Short Case StudiesPresentations of First Short Case Studies IF TIME: Videoclip from “Off the Canvas. A IF TIME: Videoclip from “Off the Canvas. A

documentary Profilng 9 Maverick New York documentary Profilng 9 Maverick New York Women Art Dealers:Women Art Dealers:

Last Lecture: Participants in art worlds --

Last Lecture: Participants in art worlds --

Mediators

Creators/artists

Audiences/publics/consumers

art

Relation to Communication TheoriesRelation to Communication Theories

Unique artists, unique art works (individual) vs. social construction of art/artists (Zolberg)

Unique artists, unique art works (individual) vs. social construction of art/artists (Zolberg)

Example: Problem of Example: Problem of Multiples Multiples negotiating artistic values in negotiating artistic values in

context of new technologies context of new technologies new ways of thinking about new ways of thinking about

connections between the artwork connections between the artwork and the “aura” of the artistand the “aura” of the artist

Walter Benjamin-- “work of art Walter Benjamin-- “work of art in the age of mechanical in the age of mechanical reproduction”reproduction”

Changing views about values of art can lead to changes in the status of the artist, artwork & the social institutions & publics that support them

Changing views about values of art can lead to changes in the status of the artist, artwork & the social institutions & publics that support them

Beaune Beaune AltarpieceAltarpiece

PBS jazz series by Ken BurnsPBS jazz series by Ken Burns

Examples of establishing Examples of establishing “cannons” through testimony “cannons” through testimony of “experts” (ex. critics, “of “experts” (ex. critics, “starsstars”, ”, fans) and changing shape of fans) and changing shape of artformsartforms

Recall: Ways of Studying Artists & Arts professionalsRecall: Ways of Studying Artists & Arts professionals

““Are Artists Born or made?”Are Artists Born or made?”

Theories about artists’ motives for career choiceTheories about artists’ motives for career choice1.1.labor of lovelabor of love (art for art’s sake) argument (Elliot Freidson) (art for art’s sake) argument (Elliot Freidson)

de-emphasizes income de-emphasizes income Arendt’s notions of labour (alienating but necessary) vs. work (creative vocation)Arendt’s notions of labour (alienating but necessary) vs. work (creative vocation)

2.2.artists & arts professionals as risk-lovers, gamblersartists & arts professionals as risk-lovers, gamblers satisfaction proportionate to degree of uncertainty of successsatisfaction proportionate to degree of uncertainty of success

3. 3. Dual reward systemDual reward systemmonetary & non-monetary (psychic) gratificationmonetary & non-monetary (psychic) gratification

4. Other—couldn’t do anything else4. Other—couldn’t do anything else

Review : Different types of artists (Becker)Review : Different types of artists (Becker) TypesTypes

Integrated professionals (ex. concert Integrated professionals (ex. concert violinist)violinist)

MavericksMavericks Folk artistsFolk artists Naïve artistsNaïve artists

Classification according to how they fit in Classification according to how they fit in art worlds (degree of integration, consensus art worlds (degree of integration, consensus about the ‘rules of the game’, degree of about the ‘rules of the game’, degree of standardization)standardization)

Van Laar and Diepeveen on “The function of Artists in Society”Van Laar and Diepeveen on “The function of Artists in Society”

Another typologyAnother typology Five roles:Five roles:

Skilled workerSkilled worker IntellectualIntellectual EntrepreneurEntrepreneur Social criticSocial critic Social healerSocial healer

Other dimensionsOther dimensions Ex. Wittkower “Under the Sign of Ex. Wittkower “Under the Sign of

Saturn”Saturn”• Transformation from craftsperson to Transformation from craftsperson to

brooding geniuss brooding geniuss • Later to status of intellectual in Later to status of intellectual in

humanistic professionhumanistic profession

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F. De Goya. Saturn devouring his son, c. 1821

Formal training IssuesFormal training Issues

qualifications—non-routine qualifications—non-routine activities depend on skills not activities depend on skills not easily transmitted or certified by easily transmitted or certified by a training systema training system

impact of schooling on impact of schooling on earnings smaller than other earnings smaller than other professional groupsprofessional groups

mentoring/apprenticeshipsmentoring/apprenticeships job matching (leaning-by-doing job matching (leaning-by-doing

process)process) occupational risk diversificationoccupational risk diversification

Problems using “income” as a way of identifying for artists & arts professionalsProblems using “income” as a way of identifying for artists & arts professionals

Irregular incomes, seasonal Irregular incomes, seasonal variations, self-emplomentvariations, self-emploment public sources (subsidies, commissions, public sources (subsidies, commissions,

sponsorship)sponsorship) ““privatization” (sales of services or works)privatization” (sales of services or works) transfer income from other employment transfer income from other employment

(multiple job holding)(multiple job holding) personal (family, friends)personal (family, friends)

Recall: Multiple roles--paintmakers who were collectors and paintersRecall: Multiple roles--paintmakers who were collectors and painters

Life Drawing Class, Bocour Paintmaking Studio NYC, c. 1942

c.

Careers in the arts and rationality of risk management (Menger)Careers in the arts and rationality of risk management (Menger)

““rational behaviour model” rational behaviour model” but artistic careers are riskybut artistic careers are risky

high level of income inequalityhigh level of income inequality high chance of “failure” high chance of “failure” impermanence of artistic work, self-employmentimpermanence of artistic work, self-employment amibiguity of transition from training to work (skills)amibiguity of transition from training to work (skills) careers advance through recurrent & nonrecurrent work (non-careers advance through recurrent & nonrecurrent work (non-

routine work)routine work)

Criteria used in classifying art & artistsCriteria used in classifying art & artists

““aura” of the artist aura” of the artist Characteristics of Characteristics of

the art form and genrethe art form and genre audience/public (notion of audience/public (notion of

consecrationconsecration)) Publics or audiences Publics or audiences

“highbrow/lowbrow” “highbrow/lowbrow” tastestastes

arts organizations, arts organizations, networks associated with networks associated with different art worldsdifferent art worlds

Mediation & “Support Structures” & Publics as factors in recognition & art-making

Mediation & “Support Structures” & Publics as factors in recognition & art-making

Recall: Howard Becker’s Recall: Howard Becker’s Art WorldsArt Worlds Arts worlds Arts worlds include all the people involved in art-include all the people involved in art-

makingmaking Cooperative links through shared conventionsCooperative links through shared conventions Study how participants “draw lines” and what art Study how participants “draw lines” and what art

worlds doworlds do Mobilize resources (material resources, training Mobilize resources (material resources, training

personnel, networks, organizations)personnel, networks, organizations) Develop Distribution SystemsDevelop Distribution Systems

Production of Culture Perspective (Peterson, Anand)Production of Culture Perspective (Peterson, Anand)

How culture “shaped by systems in which it is created, How culture “shaped by systems in which it is created, distributed, evaluated, taught, preserved”distributed, evaluated, taught, preserved”

Culture not a mirror of societyCulture not a mirror of society Focus onFocus on

Expressive aspects of cultureExpressive aspects of culture Processes of symbol productionProcesses of symbol production Analysis of organizations, occupations, networks, Analysis of organizations, occupations, networks,

communitiescommunities ComparisonsComparisons

In situated studies of specific cultural forms and changes In situated studies of specific cultural forms and changes in themin them

Six Facet Model of Production Six Facet Model of Production

TechnologyTechnology Law and regulationLaw and regulation Industry structure or fieldIndustry structure or field Organizational structure of dominating Organizational structure of dominating

organizatinsorganizatins Occupational careersOccupational careers MarketsMarkets

Uses of the “Production Perspective”Uses of the “Production Perspective”

Organizational ResearchOrganizational Research theories of management theories of management institutional decision-making institutional decision-making

processes/logicsprocesses/logics Networks of productionNetworks of production Resource partitioning patternsResource partitioning patterns

Studies of Informal RelationsStudies of Informal Relations Links between Class and Culture (ex. Links between Class and Culture (ex.

univore/omnivore)univore/omnivore) Resistance & appropriationResistance & appropriation Fabricating authenticityFabricating authenticity

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Critiques of Peterson’s Production of Culture PerspectiveCritiques of Peterson’s Production of Culture Perspective

Ignores or de-emphasizesIgnores or de-emphasizes ““uniqueness” of art to research constructed nature uniqueness” of art to research constructed nature

of collective representations, valuesof collective representations, values roles of fans and consumers in shaping cultural roles of fans and consumers in shaping cultural

products products meanings of cultural productionmeanings of cultural production power relationspower relations

Participants in Mediation ProcessesParticipants in Mediation Processes

Gatekeepers vs. facilitators : types vary with art Gatekeepers vs. facilitators : types vary with art form and genres form and genres Ex. Diana Crane on proponents of Avant-Garde ArtEx. Diana Crane on proponents of Avant-Garde Art

Examples of types of “mediators” (between creators and publics): Examples of types of “mediators” (between creators and publics): book publishers, record companies, film distribution networks, art book publishers, record companies, film distribution networks, art gallery owners, booking agents, critics, reviewers for media, museum gallery owners, booking agents, critics, reviewers for media, museum curators, sometimes even fans or fan clubs, etc…curators, sometimes even fans or fan clubs, etc…

Characteristics of the Mediators & Artistic ValuesCharacteristics of the Mediators & Artistic Values

MediationMediation as a way of conferring as a way of conferring statusstatus The role of critics and other The role of critics and other

gatekeepers in recognition gatekeepers in recognition processes, examples:processes, examples:

Shrum– emergence of Fringe Shrum– emergence of Fringe Festivals as a performing arts Festivals as a performing arts genregenre when critics begin to review itwhen critics begin to review it

Change in status ofChange in status of Graffiti Graffiti and and recognition by artistsrecognition by artists

Institutional forms & legitimation Institutional forms & legitimation practicespractices

Status of “Venues”, status of artistsStatus of “Venues”, status of artists Not-for-profit and for-profit models Not-for-profit and for-profit models

& differences in socio-cultural & differences in socio-cultural status (DiMaggio)status (DiMaggio)

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Super Bowl XXXVIII, Halftime show, 2004

L. Levine: The emergence of Cultural Hierarchy in AmericaL. Levine: The emergence of Cultural Hierarchy in America

Starting question: why can’t you compare high Starting question: why can’t you compare high culture & popular culture?culture & popular culture?

Why do people distinguish between highbrow and Why do people distinguish between highbrow and lowbrow audiences & their understanding of the lowbrow audiences & their understanding of the arts?arts?

Art forms not ‘cosmic truths’ but result from Art forms not ‘cosmic truths’ but result from ‘peculiarities in the way culture operates‘peculiarities in the way culture operates

Levine’s Case study of the reception of ShakespeareLevine’s Case study of the reception of Shakespeare

To study problem of equating notion of culture to idea of hierarchy To study problem of equating notion of culture to idea of hierarchy Believes primary categories of culture are determined by Believes primary categories of culture are determined by

IDEOLOGIES not grounded in actual observation of cultural IDEOLOGIES not grounded in actual observation of cultural practices & tastespractices & tastes

Believes there was less hierarchical divisions in the pastBelieves there was less hierarchical divisions in the past But set in mid 20But set in mid 20thth c. c.

Do same hierarchical distinctions apply today? Or have we again Do same hierarchical distinctions apply today? Or have we again entered an era in which high-brow & low-brow distinctions are less entered an era in which high-brow & low-brow distinctions are less meaningful?meaningful?

Mediators &Cultural HierarchyMediators &Cultural Hierarchy social meaning(s) of performance art social meaning(s) of performance art control and social “reproduction”control and social “reproduction”

Social origins and established formulas or genresSocial origins and established formulas or genres Hegemony & cultural industriesHegemony & cultural industries Cultural things as mirrors of underlying structures Cultural things as mirrors of underlying structures

(functionalism, Marxism)(functionalism, Marxism)

New theories– more dynamicNew theories– more dynamic Symbolic exchange, interactionSymbolic exchange, interaction -”production of culture approach” (Peterson, -”production of culture approach” (Peterson,

DiMaggio)DiMaggio)

Peterson on Country MusicPeterson on Country Music

How do mediators (record producers) How do mediators (record producers) choose artists to promote?choose artists to promote? Authenticity, originality, distinctivenessAuthenticity, originality, distinctiveness Transformation of field of country music from Transformation of field of country music from

1923-19531923-1953 Process of Process of institutionalizationinstitutionalization Identified audienceIdentified audience

AuthenticityAuthenticity

Paradox of creating authenticity artificially?Paradox of creating authenticity artificially? Socially-agreed upon idea (social construction of Socially-agreed upon idea (social construction of

reality– through shared values & practices)reality– through shared values & practices) History of country music (a revolt that became a History of country music (a revolt that became a

style)style) Artificial notion of the ‘unchanged’ past– Artificial notion of the ‘unchanged’ past– hillbilly hillbilly

musicmusic (poor rural white Southerners) (poor rural white Southerners) Early distain of this type of music because of its Early distain of this type of music because of its

association with hillbilly cultureassociation with hillbilly culture Evolution of terminology (to country and western)Evolution of terminology (to country and western)

Mediation in the Production of Culture PerspectiveMediation in the Production of Culture Perspective

How law, technology, careers, markets, How law, technology, careers, markets, organizational structure shape culture (in this organizational structure shape culture (in this case a form of cultural expression called case a form of cultural expression called ‘country music’)‘country music’)

notion of social production of culture (shared notion of social production of culture (shared values, practices etc.)values, practices etc.)

Emergence of differentiated roles in the Emergence of differentiated roles in the field of field of cultural productioncultural production (manager, talent agent etc.) (manager, talent agent etc.)

Next Day: Publics as Participants in Artmaking: Theories of ReceptionNext Day: Publics as Participants in Artmaking: Theories of Reception

Required Readings (Weeks 3-4)Required Readings (Weeks 3-4) Zolberg, Vera. “The Art Object as Social Process”. Zolberg, Vera. “The Art Object as Social Process”.

Constructing a Sociology of the Arts. Cambridge University Constructing a Sociology of the Arts. Cambridge University Press, 1990, pp. 79-102.Press, 1990, pp. 79-102.

Becker, H. "Integrated Professionals, Mavericks, Folk Becker, H. "Integrated Professionals, Mavericks, Folk Artists and Naive Artists" Art Worlds. Berkley: U. Calif. Artists and Naive Artists" Art Worlds. Berkley: U. Calif. Press. 1992, pp. 226-272.Press. 1992, pp. 226-272.

Peterson, R. and A. Anand. “The Production of Culture Peterson, R. and A. Anand. “The Production of Culture Perspective” Annual Review of Sociology 2004. 30:311–34 Perspective” Annual Review of Sociology 2004. 30:311–34 (especially pp. 311-318).(especially pp. 311-318).

Recommended (Weeks 3-4)Recommended (Weeks 3-4) Van Laar, T. and L. Diepeveen, "The Function of Artists in Society: Starving Van Laar, T. and L. Diepeveen, "The Function of Artists in Society: Starving

Celebrities and Other Myths", Active Sights. Art as social interaction., Celebrities and Other Myths", Active Sights. Art as social interaction., London, Mayfield, 1997, pp.51-69.London, Mayfield, 1997, pp.51-69.

Menger, Pierre-Michel, “Artists as Workers: Theoretical and Methodological Menger, Pierre-Michel, “Artists as Workers: Theoretical and Methodological Challenges” Poetics, Vol. 28 (4) pp. 241-254.Challenges” Poetics, Vol. 28 (4) pp. 241-254.

Kasfir, Sidney. “African Art and Authenticity”, in Oguibe, Olu and Okwui Kasfir, Sidney. “African Art and Authenticity”, in Oguibe, Olu and Okwui Enwezor (editors), Reading the Contemporary. African Art from Theory to Enwezor (editors), Reading the Contemporary. African Art from Theory to the Marketplace. Cambridge: M.I.T. Press, 1999, pp. 88-113the Marketplace. Cambridge: M.I.T. Press, 1999, pp. 88-113

Levine, Judith. "Art as social service: Theatre for the Forgotten", in Zolberg Levine, Judith. "Art as social service: Theatre for the Forgotten", in Zolberg and Cherbo, Outsider Art, Cambridge U. Press 1997, pp.131-145. and Cherbo, Outsider Art, Cambridge U. Press 1997, pp.131-145.

Required Readings (Week 5) Required Readings (Week 5)

Crane, Diana. “Epilogue” and “Unobtrusive Methods for Crane, Diana. “Epilogue” and “Unobtrusive Methods for Researching and Art Form” in Researching and Art Form” in The Transformation of the The Transformation of the Avant-Garde”Avant-Garde”, U. Chicago Press1987, pp. 137-148., U. Chicago Press1987, pp. 137-148.

Shrum, W. "Cultural Mediation and the Status Bargain" Shrum, W. "Cultural Mediation and the Status Bargain" and "Note on the Study of Mediation and Reception" in and "Note on the Study of Mediation and Reception" in Fringe and Fortune. The Role of Critics in High and Fringe and Fortune. The Role of Critics in High and Popular Art. Popular Art. Princeton: Princeton U. Press, 1998, Princeton: Princeton U. Press, 1998, pp.221-222 and pp.25-41.pp.221-222 and pp.25-41.

Marontate, J. “Museums and the constitution of collective Marontate, J. “Museums and the constitution of collective memory”, book chapter in memory”, book chapter in The Blackwell Companion to The Blackwell Companion to the Sociology of Culturethe Sociology of Culture (ed. Mark Jacobs and Nancy (ed. Mark Jacobs and Nancy Hanrahan), 2005, pp 286-302.Hanrahan), 2005, pp 286-302.

Recommended (Week 5)Recommended (Week 5) Bennett, Andy. "Music, Media and Urban Mythscapes: A Study of the Bennett, Andy. "Music, Media and Urban Mythscapes: A Study of the

'Canterbury Sound',. 'Canterbury Sound',. Media, Culture & SocietyMedia, Culture & Society, vol. 24(1) pp. 87-100, , vol. 24(1) pp. 87-100, 20022002

Lena, Jennifer.“Meaning and membership: samples in rap music, 1979–Lena, Jennifer.“Meaning and membership: samples in rap music, 1979–1995”, 1995”, Poetics. Journal of Empirical Research on Culture, the Media Poetics. Journal of Empirical Research on Culture, the Media and the Artsand the Arts. V. 32 (304), 2004. V. 32 (304), 2004. pp. . pp. 297-310.297-310.

Alexander, Victoria. “A Mediated View: The Cultural Diamond”, Alexander, Victoria. “A Mediated View: The Cultural Diamond”, Sociology of the Arts. Exploring Fine and Popular Forms. Sociology of the Arts. Exploring Fine and Popular Forms. Blackwell,Blackwell, 2003, pp. 60-63.2003, pp. 60-63.

Ostrower, Francie. Ostrower, Francie. Trustees of Culture. Power, Wealth and Status on Trustees of Culture. Power, Wealth and Status on Elite Arts Boards.Elite Arts Boards. U. Chicago Press. 2002. U. Chicago Press. 2002.

Peterson, Richard A. Peterson, Richard A. Creating Country Music. Fabricating AuthenticityCreating Country Music. Fabricating Authenticity. . U. Chicago Press 1997.U. Chicago Press 1997.

Zolberg, Vera and Joni Maya Cherbo (ed.) Zolberg, Vera and Joni Maya Cherbo (ed.) Outsider Art.Outsider Art. Cambridge U. Cambridge U. 1999.1999.

Note to Users of these Outlines--Note to Users of these Outlines--

not all material covered in class appears on these outlines-- not all material covered in class appears on these outlines-- important examples, demonstrations and discussions aren’t important examples, demonstrations and discussions aren’t written down here.written down here.

Classes are efficient ways communicating information and Classes are efficient ways communicating information and provide you will an opportunity for regular learning. provide you will an opportunity for regular learning. These outlines are provided as a study aid not a These outlines are provided as a study aid not a replacement for classes.replacement for classes.