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ART WORLDS
Who makes an art world? Why do we need them?
OUTLINE
• 1. THEORIES OF ART WORLDS
• 2. CRITICISMS OF ART WORLDS
• 3. ART AND SOCIETY
• 4. ART WORLDS REVISITED
• 5. A SOCIOLOGICAL THING CALLED ‘ART’??
THEORIES OF ART WORLDS I
• HOWARD BECKER• Art as collective
activity• Social networks
• Conventions• Mobilizing resources• Art critics• ‘Making distinctions’
THEORIES OF ART WORLDS I
• The making of exhibitions
• Ways of looking at art
• Public perception of value
• Art as an aesthetic object
THEORIES OF ART WORLDS I
• Art collections
• Guggenheim
• Tate, Britain, Modern…
• Museum of Modern Art
THEORIES OF ART WORLDS I
• Making distinctions• The Turner Prize
• A jury
• Public: nominates artists
• Art critics
THEORIES OF ART WORLDS II
• PIERRE BOURDIEU• Fields
• Symbolic struggles• Belief in the value of the
work
• Economic capital
• Symbolic capital
The art market as an art world
• Price is a collective activity
• Galleries, auction houses, dealers
• e.g. Australian art world/New York market
CRITICISMS OF ART WORLDS I
• Effects on the art object
• Externalist approach
• Rejecting intrinsic greatness!
• Intrinsic value?
• Experience, emotion, embodiment? •
CRITICISMS OF ART WORLDS II
• Effects on the artist
• Bourdieu, maximising their chances for success
• Becker, artists are passive
• Why some individuals choose to be artists?
CRITICISMS OF ART WORLDS III
• The art world as context
• Applicable to any social process, organisation, structure
• Changes in art worlds? • e.g. postmodernity
CRITICISMS OF ART WORLDS IV
• Defending sociology
• Sociological prudence?
• Disciplinary strategy?
• Homo Academicus, Bourdieu
• Tia DeNora• Music in Everyday Life
• Musicology• Art worlds
• Music’s properties • Music’s role in agency
formation
ART AND SOCIETY I
ART WORLDS REVISITED• Becker et al• Art from Start to Finish
• Finished?• Arbitrariness• A point in time…
QUESTIONS
• Art worlds? How useful?
• Value: external or internal?
• Social actors: manipulating, passive?
• Audiences: role? Embodiment, experience…
THINK TASK: RE-ASSESSING ART WORLDS
• Think of a specific example, a form of artistic production: opera performance, art exhibition, life music concert…
• Apply to it the analytical framework: artworlds/field
• List the advantages and disadvantages of this model
• Argument: how useful would it be as an arts manager?