art worlds as communication networks
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Art Worlds as Communication Networks. Marcel Duchamp, Fountain, original (left) and recreations of lost 1917 “Original” Who decides what is art ?– the artist, experts, publics??. Art & Society example. Videoclip: Excerpt from Cai Guo-Qiang interview: Art:21(Art in the 21st Century) PBS - PowerPoint PPT PresentationTRANSCRIPT
Art Worlds as Communication NetworksArt Worlds as Communication Networks
Marcel Duchamp, Fountain, original (left) and recreations of lost 1917 “Original”
Who decides what is art?– the artist, experts, publics??
Art & Society exampleArt & Society example
Videoclip: Excerpt from Cai Guo-Qiang interview: Videoclip: Excerpt from Cai Guo-Qiang interview: Art:21(Art in the 21st Art:21(Art in the 21st Century) Century) PBSPBS
Olympic Ceremony Controversy (enhancement of Guo-Qiangs’s Olympic Ceremony Controversy (enhancement of Guo-Qiangs’s Footprints of Footprints of History” History” firework performance firework performance
http://blog.art21.org/2008/08/22/cai-guo-qiang-responds-to-olympics-fireworks-controversy/
Today’s Class Session ScheduleToday’s Class Session Schedule
Continue introduction to theories of Art worlds—Continue introduction to theories of Art worlds—art & artists in relation to notions of reality, truth, art & artists in relation to notions of reality, truth, knowledge, ‘types’ of artists & art worldsknowledge, ‘types’ of artists & art worlds
Presentation : Summary of Readings by Helma Presentation : Summary of Readings by Helma Sawatsky & video screeningSawatsky & video screening
http://www.uitzendinggemist.nl/index.php/aflevering?aflID=9617172&md5=33dbb0feedaad5c2854a52624b8000e5
Recall Overview: Internal vs. External ApproachesRecall Overview: Internal vs. External Approaches
Internal (Humanist--Internal (Humanist--aesthetics, history of the arts, aesthetics, history of the arts, critics, etc.)critics, etc.)
art=mystery, spontaneous art=mystery, spontaneous creation of isolated geniuscreation of isolated genius
importance of “aura” of importance of “aura” of individual artist for value individual artist for value of art workof art work
timeless, enduring quality timeless, enduring quality of beauty, perfectionof beauty, perfection
External (Sociological--External (Sociological--& cultural studies)& cultural studies)
Art=social production Art=social production (and reproduction)(and reproduction)
importance of social importance of social networks for creation of networks for creation of belief in the artsbelief in the arts
values change in different values change in different social & historic contexts social & historic contexts
Theories about changes in ideas about what art represents over time (J. Jurt)Theories about changes in ideas about what art represents over time (J. Jurt)
rendering of “reality” (nature), rendering of “reality” (nature), mimesis, imitatiomimesis, imitatio as world view in a specific place & timeas world view in a specific place & time as product of solitary genius (Renaissance)as product of solitary genius (Renaissance) Artists’ vision (19th romanticism)Artists’ vision (19th romanticism) made by “system” of production & receptionmade by “system” of production & reception Socio-political processes (symbolic & material)Socio-political processes (symbolic & material)
Who creates the ‘creator’? (Bourdieu)Who creates the ‘creator’? (Bourdieu) ““Unit of analysis” in art studies often wrong--Unit of analysis” in art studies often wrong--
should not study “apparent” producers (painter, writer, should not study “apparent” producers (painter, writer, actors etc.) but processes (art, artist part of broader field actors etc.) but processes (art, artist part of broader field of relationships)of relationships)
ideology of creation conceals exploitation by ideology of creation conceals exploitation by market forcesmarket forces
art trader or impressario =symbolic banker who art trader or impressario =symbolic banker who creates belief in the arts by creating belief in the creates belief in the arts by creating belief in the economic (and moral?) value of arteconomic (and moral?) value of art
Various criteria used in classifying art & artists, including:Various criteria used in classifying art & artists, including:
Position of artist in “field of production”Position of artist in “field of production” Socio-political, economic positionSocio-political, economic position ““aura” of the artist (aura” of the artist (authenticity)authenticity) -School of Frankfort, Walter -School of Frankfort, Walter
Benjamin-- “Work of Art in the Age of Mechanical Reproduction”)Benjamin-- “Work of Art in the Age of Mechanical Reproduction”)
Features of the specific ‘field’Features of the specific ‘field’ Qualities/characteristics of the artworkQualities/characteristics of the artwork
artistic category (genre, style etc.)artistic category (genre, style etc.) characteristics of the audience/public (notion of characteristics of the audience/public (notion of
consecrationconsecration)) ““highbrow/lowbrow” tastes (Levine--The emergence of a cultural highbrow/lowbrow” tastes (Levine--The emergence of a cultural
hierarchy in America)hierarchy in America) SESSES sizesize
Howard Becker’s Art WorldsHoward Becker’s Art Worlds
Arts worlds Arts worlds include all the people involved include all the people involved in art-makingin art-making
Cooperative links through shared Cooperative links through shared conventionsconventions
Study how participants “draw lines” and Study how participants “draw lines” and what art worlds dowhat art worlds do
http://home.earthlink.net/~hsbecker/
What do art worlds do together?What do art worlds do together?
Develop conventions & Develop conventions & shared practices related to shared practices related to creation (ex. musical creation (ex. musical notation systems) notation systems)
Mobilize resources Mobilize resources (material resources, (material resources, training personnel, training personnel, networks, organizations)networks, organizations)
Develop Distribution Develop Distribution SystemsSystems
Different types of artists/artworlds (Becker)Different types of artists/artworlds (Becker) TypesTypes
Integrated professionalsIntegrated professionals 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, and in some cases– like standardization, and in some cases– like folk art-- «uses»)folk art-- «uses»)
Ranking Artists/Art Worlds (Becker’s 4 types)Ranking Artists/Art Worlds (Becker’s 4 types) according to different ways according to different ways
of working & career patternsof working & career patterns
1. 1. integrated professionalsintegrated professionals fit with accepted fit with accepted
conventions & canons conventions & canons held by organizationsheld by organizations
well-trained --technical well-trained --technical skills, shared traditionsskills, shared traditions
2.Mavericks2.Mavericks
innovative rebels against innovative rebels against “system”“system”
begin as conventional begin as conventional “novices” but “novices” but deliberatelydeliberately violate norms of art worldviolate norms of art world
techniques for success-- techniques for success-- develop alternate systems for develop alternate systems for distributiondistribution
do not totally lose touch with do not totally lose touch with world of their mediumworld of their medium Kopyright Liberation Front’sKopyright Liberation Front’s
Bill Drummond at the “Brit Bill Drummond at the “Brit Awards”, 1993Awards”, 1993
3. Folk Art3. Folk Art
link with community practiceslink with community practices ex. Duck decoys, ex. Duck decoys, quilts, chain-gang songs, , chain-gang songs,
Christmas pagentsChristmas pagents
art serves needs, part of daily activitiesart serves needs, part of daily activities follows aesthetic conventions, using follows aesthetic conventions, using
established procedures (ex. Sorting established procedures (ex. Sorting scraps by colour)scraps by colour)
often part of well-organized community, often part of well-organized community, with informal trainingwith informal training
4. Naïve Art4. Naïve Art
aka. “primitive” naïve, grassrootsaka. “primitive” naïve, grassroots indiosynmcratic indiosynmcratic
ex. James Hampton, Throne of the ex. James Hampton, Throne of the Third Heaven of the national Millenium Third Heaven of the national Millenium General AssemblyGeneral Assembly
ex. Art of children and the insaneex. Art of children and the insane
outsidersoutsiders N.S. artist Maud Lewis, Henri Rousseau, N.S. artist Maud Lewis, Henri Rousseau,
Grandma MosesGrandma Moses
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
F. De Goya. Saturn devouring his son, c. 1821
Conceptual & practical problems in studying artists & artistic careersConceptual & practical problems in studying artists & artistic careers
Establishing criteria for locating, identifiying artistsEstablishing criteria for locating, identifiying artists ““Irrationality” of choices (P-M. Menger)Irrationality” of choices (P-M. Menger)
Ex. Choosing poorer pay for more prestigious roles as an actorEx. Choosing poorer pay for more prestigious roles as an actor In modern times -- clash between notions ofIn modern times -- clash between notions of
career (regularities, patterns ) career (regularities, patterns ) artistic recognition (singularities, unique, break with past)artistic recognition (singularities, unique, break with past) The ‘triple game’ of contemporary art (transgressions of The ‘triple game’ of contemporary art (transgressions of
boundaries of what is art , rejection by public, integration by arts boundaries of what is art , rejection by public, integration by arts professionals)—(Nathalie Heinicprofessionals)—(Nathalie Heinich)h)
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 Altarpiece
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, “stars”, ”, fans) and changing shape of fans) and changing shape of artformsartforms
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”
Ways of Studying Artists & Arts professionalsWays of Studying Artists & Arts professionals
““Are Artists Born or made?”Are Artists Born or made?”
Theories about artists’ careersTheories about artists’ careers1.1.labor of lovelabor of love (art for art’s sake) argument (Elliot Friedson) (art for art’s sake) argument (Elliot Friedson)
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
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)
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
Arts worlds Arts worlds include all the people involved in art-include all the people involved in art-making ?????making ?????
Cooperative links through shared conventions ???Cooperative links through shared conventions ??? how participants how participants
““draw lines” and what art worlds dodraw lines” and what art worlds do Mobilize resources (material resources, training Mobilize resources (material resources, training
personnel, networks, organizations)personnel, networks, organizations) Develop Distribution Systems and distinctionsDevelop Distribution Systems and distinctions
Who Belongs in Art Worlds?Arts Occupations, Institutions, Networks (continued) & Mediation (Gatekeepers, Facilitators)
Who Belongs in Art Worlds?Arts Occupations, Institutions, Networks (continued) & Mediation (Gatekeepers, Facilitators)
Source: V. Alexander Sociology of the Arts…(2003), p. 63.
Participants in art worlds --Participants in art worlds --
Mediators
Creators/artists
Audiences/publics/consumers
art
Who Belongs to Art Worlds?Who Belongs to Art Worlds?
Life Drawing Class, Bocour Paintmaking Studio NYC, c. 1942
c.
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
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)
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 & HierarchyMediators & 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.)
Planning Short Assignments and Class PresentationsPlanning Short Assignments and Class Presentations Discussion of reading assignments and Discussion of reading assignments and
ideas for topics for case studiesideas for topics for case studies
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.