Mediating claims to artistry: Social stratification in a local visual arts community

Participant observation was employed to analyze the stratification of artists in the visual art world around a small northeastern American city. Reflecting their art world reputation, artists' strata included naifs, hobbyists, serious amateurs, aspiring preprofessionals, and professionals. The local careers of some artists moved progressively from lower to higher reaches of the system; as they moved upward, their level of professional commitment, art world involvement, knowledge of art, skill, and artistic style tended to change also. Except among professionals, the great majority were women. Overall, certain art styles were selectively favored. The most important selective mechanisms were formal art education, professionalization, artistic style, network centrality, jurying, and sales. With a few recent exceptions, truly naive and imitative traditional styles were excluded from the upper levels in favor of modernist abstraction, innovative figuration, or sophisticated forms ofart brut.An earlier version of this paper was presented to the 12th World Congress of Sociology, International Sociological Association, Madrid, July 1990.     

Promoting social equality values to improve judgement of a woman reporting sexism / El fomento de valores relacionados con la igualdad social para mejorar la opinión sobre las mujeres que denuncian discriminación por sexismo

Previous research has shown that discriminated women blame themselves more than they blame discrimination when meritocracy values are salient. In two studies, we examined whether meritocracy values also influence female observers when they judge a female victim of sexism. Such values were expected to lead them to judge more positively a victim incriminating herself than a victim claiming discrimination. Conversely, social equality values should lead them to judge more positively a victim claiming discrimination. Women who were either feminists or non-feminists (Study 1) or who were exposed to either social equality values or personal merit values (Study 2) had to judge a female victim of sexism who ascribed what happened to discrimination or to her ability. Feminist women and women exposed to social equality judged the female victim more positively when she reported discrimination than when she incriminated herself. The reverse pattern of judgement was observed for non-feminist women and women exposed to meritocracy values. The importance of values is discussed to improve the image of women claiming sexism.     

Why Did Adorno 'Hate' Jazz?

Adorno's jazz essays have attracted considerable notoriety not only for their negative and dismissive evaluation of jazz as music but for their outright dismissal of all the claims made on behalf of jazz by its exponents and admirers, even of claims concerning the black origins of jazz music. This paper offers a critical exposition of Adorno's views on jazz and outlines an alternative theory of the culture industry as the basis of a critique of Adorno's critical theory. Adorno's arguments are discussed in the context of his wider theoretical commitment to a model of structuration—in both musical and social relations—that establishes a dividing line between a moral aesthetic praxis that can be approved as having 'truth-value' and one that betrays and subverts the truth. In Adorno's analysis, jazz finds itself positioned on the wrong side of that line and, accordingly, is condemned. It is argued that it is Adorno's commitment to a formalist model of art works that has been superseded by modern aesthetic practice in both so-called 'serious' art as well as in the works of the culture industries that binds him to a regressive model of aesthetic praxis. An alternative theory of the culture industry is outlined that explores its positive functions in enhancing the resources available for culture creation through its transmission of aesthetic codes, and in mediating relations between so-called high and low art.     

Creativity and Learning Jazz: The Practice of “Listening”

This article is about interaction, culture, and creativity. The ethnographic setting is a set of jazz performance classes at a California university. Although I write about jazz music, the reader need not have a background in studying or performing jazz (or music in general) to understand this article. In the title of the article, the term “practice” refers to (1) “listening” as a culturally specific communicative practice, and (2) the practice (a.k.a. rehearsal) of that culturally specific version of “listening”. I document and analyze how jazz instructors communicate with students about group interplay during musical performance. Extrapolating from this focus, I suggest some ways that contemporary linguistic anthropology can contribute to theories of creativity, focusing on the role that cultural norms of interaction defined by a particular activity play in constraining or shaping creative processes.     

Changing informal institutions via mimesis: Gender equality in marriage proposals

Marriage equality has exposed how the institution of marriage is changing, but less attention has been given to how informal institutions around heterosexual marriage rituals are affected by a growing demand for gender equality. By applying institutional theory and feminist institutionalism to the context of women proposing to their male partners, this paper observes how shifts in gender norms change heteronormative institutions. Drawing from interviews with women who proposed to men and a virtual ethnography, we describe how reverse proposals can set precedence for emulation of practices or mimetic isomorphism. We therewith contribute to institutional theory in threefold ways. First, we describe how mimetic isomorphism introduces new standards and norms into a highly traditional institution. Second, we show how this integration of new standards and norms serves this patriarchal institution to remain relevant and appear progressive. Finally, we contend that this tension of joining a patriarchal institution but doing so in a subversive manner represents a double bind for women who are encouraged by society to formalize their heteronormative relationships through marriage and yet chastised for initiating this themselves.     

'Sobre Las Olas': A Mexican Genesis in Borderlands Jazz and the Legacy for Ethnic Studies

Abstract

In 1884 the Mexican government sent a national military band to the Cotton Exposition in New Orleans. When the Fair ended in 1885, several of these musicians remained in the city. By the 1890s, many of New Orleans' and Texas' most promising Black jazz and blues artists were acquiring musical instruction from Mexicano musicians. The evidence presented in this article recalls the centuries-long parallels and meeting points between Black and Mexicano histories of subjugation and resilience, of political suppression and cultural expression, and of the inevitable exchanges that occur through migration and culture among marginalized communities. I argue that the presence of Mexico and Mexicans in the jazz and blues history of the borderlands inspires a reconsideration of relational identities and cultural productions that lie outside the bounds of traditional racial and historical discourses.     

Fabricating Japaneseness? The Identity Politics of Young Designers and Artists in Global Cities

The present study explores the identity politics of young Japanese designers and artists working across national boundaries today. It addresses the following research questions: (i) Do young designers and artists aim to produce works with “universal” appeal or strategically make use of “Japaneseness”? (ii) Do they develop new transnational identities or regard themselves as “Japanese”? and (iii) Who do they think has the power to label their works as “Japanese” in the art worlds? For this purpose, I conducted in‐depth interviews with professional designers and artists who have migrated from Japan to London, New York, or Paris. The results show that most designers and artists who were interviewed indeed aim to produce works with “universal” appeal, while only a few respondents attempt to strategically express “Japaneseness” in their works. However, regardless of whether they make use of “Japaneseness” or not, all respondents regard themselves as “Japanese” without developing new transnational identities. Even so, they do not search for or hold onto Japaneseness; but rather the media, as well as a certain part of the art world, persistently attempt to emphasize “Japaneseness,” due to the structure of the art world, where whiteness continues to be the “norm.” While designers and artists are increasingly oriented toward creating works with new forms and values through the transnational production system, gatekeepers and legitimators of the art world continue to fabricate “the nation” and reinforce boundaries of national culture.     

What Does a Man Want? Reflections on “Surrealism Desire Unbound”

This paper is a critical review of the exhibition “Surrealism: Desire Unbound” at the Tate and Metropolitan Museums of Art. The author argues that the majority of the art represents a variety of perverse solutions to male gender anxiety, solutions that most often take the form of viewing the female body as a fetish object or as an object for sadistic drives. She interprets such aggression toward females as being a consequence of the era in which these works were created: Europe between two world wars. Female self-representation is juxtaposed with male-generated art and demonstrates how women artists reclaimed their gaze and desire.     

Market logics: how locality and mobility make artistic livelihoods in Dakar

This essay addresses two questions linking artists and market spaces in Dakar. First, what do access, proximity, and the representation of locality have to do with the art market? And, secondly, how do markets, networks, and mobility produce and structure artists as a professional category in Dakar? The analysis and theorisation proposed here aligns Dakar’s art market with the city’s other markets as a transactive and productive space. In doing so, this essay also contends with dismissive assessments about the art market in Dakar as inadequate or fledgling. The practices of two artists, Fally Sene Sow and Douts Ndoye, orient discussion of the relationship between artists and markets by focusing specifically on how artists gain mobility and access to multiple networks and opportunities by way of market logics.     

RACIALIZED AUTHENTICATION: Constructing Representations of the Florida Highwaymen

This article explores how art world professionals and cultural publicists construct representations of a group of “rediscovered” black artists, who painted from the end of the Jim Crow era to the present. Examining their writings, statements from interviews, and their interactions with audiences at public events, I show how they represented the artists as both exotic self‐taught artists and achievers of the American Dream. I introduce the term “racialized authentication” to frame a branch of racial rhetoric through which the various actors draw from both traditional racial stereotypes and new racism ideology to construct authentic artists. In conclusion, I address how these findings have implications for the integration of contemporary research on race and sociological studies of art worlds.     

Breaking Patterns? How Female Scientists Negotiate their Token Role in their Life Stories

Building upon token theory, this paper analyses coping behaviours of women in Science, Engineering and Technology (SET) through a professional identity perspective. It proposes that female scientists need to negotiate and balance conflicting aspects of their professional and gender identities throughout their career. A reconstructive biography analysis of Leitmotif and Gestalt of 15 life stories reveals that gender is the structuring element of the female scientists' self‐presentation. The paper presents two key cases which exemplify two alternative coping strategies: the women either use a similarity strategy, relying on full assimilation to the masculine norms in SET, or a difference strategy, highlighting their otherness and their struggle for equality. The in‐depth analysis reveals that both strategies cannot ‘break patterns', but instead leave the dominance of masculine norms in SET unchallenged. Implications of these findings are discussed.     

Notes on contributors

This article focuses on the organizational practices of the music industry to contribute a neglected dimension to our understanding of rap as a commercial activity and cultural form. It initially situates the production of rap within the context of the corporate strategies and business practices of musical entertainment companies, stressing how rap production is located within the context of corporate ‘black music divisions’ and the major labels' relationships to smaller companies. At the same time, the study considers how musical production is shaped by broader culture processes and practices that are not directly within the control or understanding of the company. As corporate organization intersects with and attempts to make sense of surrounding culture, I argue that the actions of recording companies are a direct intervention into and contribution to the way in which the social world is rationalized and fragmented and through which different cultural experiences are separated and treated unequally. This argument is focused on the theme of ‘the street’ and ‘executive suite’ through which I suggest that, while it is important to acknowledge the struggles of rap artists and entrepreneurs for both recognition and independence from the corporate world, it is also important to highlight deliberate attempts to maintain a distance between the corporate world and the genre culture of rap. This article seeks to contribute to our understanding of the articulations between musical genre, occupational practices and broader cultural formations, highlighting a significant series of connections and relational practices which connect production and consumption and the articulations through which corporate organization is linked to broader cultural formations.     

Art dealers as competitors and community builders: Understanding the overlapping social logics of the contemporary art world

Art dealers are often described as gatekeepers who are focused on their own position as well as the status of their artists and collectors. We argue that this is an incomplete account of art dealing. The goal of this article is to explain how art dealing is a “toolkit” that does not exclusively focus on status building and social capital, but also includes behavior associated with accessing the visual arts field and community development. First, art dealers often have a background that has strong social ties to art, which provides them with intimate knowledge of the art world and social connections with artists, collectors, and other art world actors. For that reason, entry into art dealing reflects intimate knowledge of art practices, what we call “proximate connoisseurship.” Second, art dealerships reflect both competitive and communal factors. Art dealers may choose to work with artists based on their ability to generate income, social capital, and prestige (“competitive logic”), but art dealers may also employ a “communal logic” focused on friendships and creating community. This theory of art dealers is illustrated with excerpts from interviews with 34 dealers randomly selected from the rosters of international art fairs such as Art Basel Miami, EXPO Chicago, Aqua, and the New Art Dealers Alliance show.     

Living Maoist gender ideology: experiences of women ex-combatants in Nepal

Studies of women’s participation in civil conflict as armed combatants have attributed diverse motivations to such participation and examined the implications of participation for women’s empowerment in the aftermath. The authors contribute to these studies through an in-depth analysis of female combatants’ struggles for equality and empowerment during and after Nepal’s decade-long Maoist conflict. Scholars have argued that the emphasis of Maoist ideology in Nepal on the emancipation of women and on ending gender discrimination attracted a large number of women to the cause. Based on narratives of Maoist female ex-combatants, the authors investigate women’s engagement with Maoist ideology during and after the conflict. These narratives reveal that despite discourses of gender equality in Nepal’s Maoist struggle, promises around gender equality remain unkept in the period after the war. A reintegration program has offered women ex-combatants few options and has pushed women back into traditional gender roles. Struggles continue in this terrain. Incorporating intersectionality, the paper highlights how women ex-combatants’ gender identities intersect with caste and other social locations to produce diverse challenges for their lives.     

Conforming to and Resisting Dominant Gender Norms: How Male and Female Nursing Students Do and Undo Gender

Much existing research has shown that men are able to construct and enact masculine identities in female‐dominated occupational contexts. However, few studies have examined the experiences of both men and women in these occupations. Furthermore, few studies attend to how men and women in these occupations both conform to and resist gender norms. In this study, I draw on the undoing gender frameworks developed by Deutsch and Butler to address the limitations mentioned above. Most notably, this study attends to the ways in which male and female nursing students do gender by conforming to dominant gender norms, as well as undo gender by resisting these norms. The main contribution of this study is thus to show the multiple ways through which gender can be done and undone in the professional training of both male and female nurses. The results of this study demonstrate the importance of attending to both women and men in research on female‐dominated occupations and of examining both similarities and differences in the gender performances of men and women.     

Singers and Stereotypes: The Image of Female Recording Artists*

This study investigates the image of popular female singers in different musical styles as conveyed through their album cover photographs. Slides were made of ninety-one albums recorded by women between 1973 and 1981. They were shown in subgroups to panels of judges who rated them on thirty-one traits. These traits represent either (a) aspects of the “traditional” feminine stereotype, (b) qualities of sexual attractiveness, or (c) positive, but not specifically feminine, traits. The results indicate that female singers were rated positively, regardless of musical style. Country singers were rated relatively high on the traditional traits, while rhythm and blues artists were high on sex appeal and positive traits. Rock singers were rated as aloof and high on positive traits but low on traditionalism and sex appeal. Pop singers were not rated high or low on any dimension. Some differences in male and female raters’evaluations were found. It was concluded that female recording artists generally are not presented in the same stereotyped manner as women are usually portrayed in other forms of media advertising.     

Everyone deserves quiche: French school lunch programmes and national culture in a globalized world

Globalization poses many challenges for national cultural unity, especially in Europe. Some doubt whether national cultures will be able to survive, but there are many counter‐trends pushing to maintain national cultural unity. I analyse the dual trends of global diversity and maintaining unity through an everyday manifestation of French culture: elementary school lunches. French school lunch programmes are part of the nation‐building process because they are designed to teach students how to eat, which is especially important in France where the art of gastronomy is a key source of identity and pride. I analyse cultural influences on over 11,000 school lunch menu items from eight municipalities across two French regions. I also conduct in‐depth face‐to‐face interviews with the people who design and approve school lunch menus. My inquiry is guided by three key questions. First, to what extent are foreign influences included? Second, does openness to foreign influences vary across different parts of France? Finally, how are foreign cultures represented? My results suggest that foreign cultures are deployed to nationalize difference. The limited foreign influences that appear in school lunches are strategically chosen to appeal to and to educate students, but in a way that reinforces the centrality of traditional French cultural norms. This article contributes to our understanding of the tension between national culture and a globalizing world.     

Towards understanding the Nordic paradox: A review of qualitative interview studies on intimate partner violence against women (IPVAW) in Sweden

Intimate partner violence against women (IPVAW) is a major public health problem in countries around the world, including the Nordic region. Contrary to what would be expected, as the Nordic countries are rated among the most gender equal in the world, survey data suggests that the lifetime prevalence rates of IPVAW in Sweden and neighboring Nordic countries are among the highest in the EU. This phenomenon, which has been termed the Nordic paradox, requires elucidation. The aim of this review is to explore what previous qualitative studies, based on interviews with or field observations of victims, perpetrators, or professionals working in the area, primarily in Sweden, have to teach us about the nature of this paradox. Three interrelated themes are discussed. The first is how gender equality is perceived and addressed as linked, or not, to IPVAW in Swedish research and practice. The second is how violence tends to be othered, for example, through assumptions that violence is perpetrated by foreign rather than Swedish men. The third is how causal mechanisms of IPVAW have been described, typically with reference to norms and dynamics of masculinity, femininity, and heterosexual interaction.     

“The Spider Is Alive”: Reassessing Becker's Theory of Artistic Conventions through Southern Italian Music

Howard Becker wrote that art is constructed, and understood, according to conventions. However, Becker does not adequately explain how artists negotiate historical circumstances affecting their work. Using the southern Italian phenomenon of tarantism and its music, I address how contemporary musicians employ conventions to transform sounds with deviant connotations. The alteration of musical conventions reflects material social conditions in the Salento region and provides insight into the formation of a Salentinian cultural movement's ideology. By accounting for how social groups contend with history, I argue that sociologists must reconsider the theory of artistic conventions.