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Who & What Belongs in Art Worlds? (Cont’d)

Who & What Belongs in Art Worlds? (Cont’d). Manfred Eicher, Founder of ECM records. Music listeners. Guerrilla Gardeners at Hogan’s Alley site, c. 2008. Today’s Class Session Schedule. Other participants in ‘art worlds’—Mediation Processes Presentation of Selected Readings:

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Who & What Belongs in Art Worlds? (Cont’d)

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  1. Who & What Belongs in Art Worlds? (Cont’d) Manfred Eicher, Founder of ECM records Music listeners Guerrilla Gardeners at Hogan’s Alley site, c. 2008

  2. Today’s Class Session Schedule • Other participants in ‘art worlds’—Mediation Processes • Presentation of Selected Readings: • Ashenhurst,Erin (David Halle’s research on art in the American home and family photos) • Martin, Dylan (Tia DeNora’s “How does music channel emotion?)

  3. Recall: 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 Altarpiece • PBS jazz series by Ken Burns • Examples of establishing “cannons” through testimony of “experts” (ex. critics, “stars”, fans) and changing shape of artforms

  4. Who Belongs in Art Worlds?Arts Occupations, Institutions, Networks (continued) & Mediation (Gatekeepers, Facilitators) Source: V. Alexander Sociology of the Arts…(2003), p. 63.

  5. Participants in art worlds -- Creators/artists art Mediators Audiences/publics/consumers

  6. Who Belongs to Art Worlds? Life Drawing Class, Bocour Paintmaking Studio NYC, c. 1942 c.

  7. Production of Culture Perspective (Peterson, Anand) • How culture “shaped by systems in which it is created, distributed, evaluated, taught, preserved” • Culture not a mirror of society • Focus on • Expressive aspects of culture • Processes of symbol production • Analysis of organizations, occupations, networks, communities • Comparisons In situated studies of specific cultural forms and changes in them

  8. Six Facet Model of Production • Technology • Law and regulation • Industry structure or field • Organizational structure of dominating organizatins • Occupational careers • Markets

  9. Uses of the “Production Perspective” • Organizational Research • theories of management • institutional decision-making processes/logics • Networks of production • Resource partitioning patterns • Studies of Informal Relations • Links between Class and Culture (ex. univore/omnivore) • Resistance & appropriation • Fabricating authenticity

  10. Critiques of Peterson’s Production of Culture Perspective • Heavy emphasis on mediation processes and organizational structures or institutions • Ignores or de-emphasizes • “uniqueness” of art to research constructed nature of collective representations, values • Ignors roles of fans and consumers in shaping cultural products • meanings of cultural production • power relations

  11. Participants in Mediation Processes • Gatekeepers vs. facilitators : types vary with art form and genres • Ex. Diana Crane on proponents of Avant-Garde Art • Examples of types of “mediators” (between creators and publics): book publishers, record companies, film distribution networks, art gallery owners, booking agents, critics, reviewers for media, museum curators, sometimes even fans or fan clubs, etc…

  12. Characteristics of the Mediators & Artistic Values • Mediation as a way of conferring status • The role of critics and other gatekeepers in recognition processes, examples: • Shrum– emergence of Fringe Festivals as a performing arts genre when critics begin to review it • Change in status of Graffiti and recognition by artists • Institutional forms & legitimation practices • Status of “Venues”, status of artists • Not-for-profit and for-profit models & differences in socio-cultural status (DiMaggio) Super Bowl XXXVIII, Halftime show, 2004

  13. Mediators & Position in Field of Artistic “production” • Former emphasis on control, domination, social “reproduction” • Social origins and established formulas or genres • Hegemony & cultural industries • Cultural things as mirrors of underlying structures (functionalism, Marxism) • New theories– more dynamic • Symbolic exchange, interaction • Neo-institutionalism &”production of culture approach” (Peterson, DiMaggio) • Persistence of hierarchical models, commercial measures Barry Gordy in Hitsville recording studio, Detroit (Motown)

  14. Peterson on Country Music • How do mediators (record producers) choose artists to promote? • Authenticity, originality, distinctiveness • Transformation of field of country music from 1923-1953 • Process of institutionalization • Identified audience

  15. Authenticity • Paradox of creating authenticity artificially? • Socially-agreed upon idea (social construction of reality– through shared values & practices) • History of country music (a revolt that became a style) • Artificial notion of the ‘unchanged’ past– hillbilly music (poor rural white Southerners) • Early distain of this type of music because of its association with hillbilly culture • Evolution of terminology (to country and western)

  16. Mediation in the Production of Culture Perspective • How law, technology, careers, markets, organizational structure shape culture (in this case a form of cultural expression called ‘country music’) • notion of social production of culture (shared values, practices etc.) • Emergence of differentiated roles in the field of cultural production (manager, talent agent etc.)

  17. Video Screening “Off the Canvas. A Documentary Profiling 9 Maverick New York Women Art Dealers” produced and directed by Marcia Urbin Raymond and Joyce Zylberberg

  18. Planning Short Assignments and Class Presentations • Discussion of reading assignments and ideas for topics for case studies • Additional Reading Assignment: • Selections from Eiko Ikegami’s book Bonds of Civility… chapter 6 required, introduction and conclusion recommended

  19. Note to Users of these Outlines-- • not all material covered in class appears on these outlines-- important examples, demonstrations and discussions aren’t written down here. • Classes are efficient ways communicating information and provide you will an opportunity for regular learning. These outlines are provided as a study aid not a replacement for classes.

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