FROM PRINTS TO POSTERS: THE PRODUCTION OF ARTISTIC VALUE IN A POPULAR ART WORLD

The activity of a gallery in an art world is centered not only on the distribution of works, but also on the development of a clientele. This involves convincing potential customers that works have both artistic and economic value. The traditional path of valuation of works is through the gatekeepers of the high art world. There are, however, art worlds whose works have not passed through these high art gatekeepers, but which are nevertheless successful in maintaining a clientele. This article examines the process by which this popular art world establishes a positive value for its art when it has no access to the legitimating institutions of the high art world. Data were gathered primarily through interviews with gallery directors, employees, and artists, both from the popular and high-art worlds. The sample includes 18 popular galleries and 10 high art galleries in the Chicago area. “Popular galleries” are defined as those galleries located in the shopping districts of cities or in suburban shopping malls. Many are part of larger chains, and all carry prints by well-known artists, works of lesser known artists, and some posters.     

永恒之爱:《简·爱》的神话原型解读

英国维多利亚时代的知名女作家夏洛蒂·勃朗特,为我们留下了她的传世之作——《简·爱》。本文运用弗莱的神话原型理论,从灰姑娘原型、基督原型、撒旦原型、失乐园原型这四方面对作品中的人物、情节进行分析,不仅丰富了小说的文化价值,更增添了作品的感染力和艺术魅力。     

THE LAOCOON: SYSTEMIC CONCEPTS IN A WORK OF ART

One of the most important ways of examining artistic works, and of explicating psychotherapeutic theories, has been the application of psychotherapy's ideas to works of art. In this paper I've explored the Roman sculpture, the Laocoon , from a systems point of view, discussing ways in which this work embodies family therapy concepts and how in turn those concepts help explain this masterpiece.     

花开敦煌

以敦煌壁画为代表的敦煌艺术距今已有上千年的历史,很多人因而认为敦煌艺术离我们的生活很远。然而,著名艺术教育家和艺术设计家常沙娜所描绘的敦煌画作笔触细腻、当代而活泼。她一生致力于将敦煌艺术符号与生活应用设计相结合,让独特的敦煌之美“花开遍地”。     

PRODUCING ARTISTIC VALUE:

Cultural forms gain artistic recognition when their producers of meaning "prove" that they (a) contain "serious" meanings and aesthetic genuineness; (b) they are produced by a definable creative entity and (c) the creative entity is autonomous, producing its works for their own sake. Since the 1960's, critics have claimed artistic recognition for rock music. They have done so by stressing the "subversive" meaning of rock, by identifying the rock-group and the rock individual-musician as autonomous creative entities, by consecrating a body of albums as the "masterpieces" of rock and by defining several sonic components as rock's genuine aesthetic language. Although the realization of this claim remains partial, it demonstrates that the belief in artistic cultural hierarchies is a structuring force in contemporary culture.     

Kunst und Preise

How are prices established in the market for contemporary art? Buyers in this market are confronted with fundamental uncertainty since “quality” is only difficult to determine and the development of prices is non-predictable. Since the emergence of a market for contemporary art presupposes at least the possibility for intentional rational decision-making, this uncertainty must be reduced. We argue that the value of a piece of art or an artist is established in an intersubjective process of granting reputation by experts and institutions in the field of art. This is achieved primarily through the institutions of the art market and the training of artists, i.e. through galleries, curators, critics, art dealers, journalists, collectors, and art schools. They participate jointly in the making of artistic reputation of the artist’s work that provides, in turn, the basis for the determination of its economic value. For testing this hypothesis we assembled and analyzed two datasets with data on the biographies of artists and prices for their works.     

Selling art to the world in Chelsea

This paper explores the dynamic interaction that occurs between large-scale social processes, urban development and the production of artistic expression and meaning through an analysis of art and urban change in the West Chelsea district of New York City. I begin my analysis with a discussion of specific works of art and expand to the local and global context to which these works respond and help to construct. Both urban space and artistic production, consumption and the social meaning attached to art by artists, critics, audiences and other art world actors have felt the impact of the turn to free market policies and ideology that have attended global economic restructuring and the rapid pace of globalisation. At the same time, art's new role as an engine of urban commerce and the accompanying expansion of the art market have helped to shape city districts like West Chelsea and have left their mark on the work that is exhibited and sold there. My analysis integrates a close study of two works of art exhibited in West Chelsea, interviews and other ethnographic data and recent literature on the arts and urban restructuring and the perspective of critical theory. I also provide photographic documentation of social interaction and the built environment of West Chelsea as it evolved in response to the expansion of the art worlds there. A secondary aim of this research is to contribute to a larger discussion about the social role and critical capacities of art in today's social, economic and political climate.     

Repossessing Border Space: Security Practice in North American Border Art

Abstract

This paper discusses how the visual arts engage in representing border crossing experiences and, more specifically, how art interrupts border security practices and their rituals. After introducing the history of North American border art and different approaches to issues of border crossing, the paper will concentrate on specific works. It argues that the selected works of art perform interventions that confront the public with the borderlands as a place of violence and death. At the same time, artists are shown to employ different artistic strategies of symbolically re-possessing the borderlands for undocumented migrants who – when crossing it – experienced it as an existential obstacle.     

Social forces and decision‐making by gatekeepers in arts organizations

Gatekeepers in arts organizations have an important role to play in determining which artistic works the public gets to experience. Performing arts organizations provide a good example of how these decisions made by gatekeepers necessarily delimit the art that the audiences will experience. This article catalogs the social forces that influence individual decision‐makers. Individual level forces like social background, embeddedness in social networks, and perceptions of the organization and organizational level forces like organizational structure, funding, and size all affect what they ultimately produce. This, in turn, allows us to better understand the work these companies produce form a sociological perspective.     

Friedrich Nietzsche,Dmitrii Merezhkovskii,and the Russian Renaissance

The artistic, poetic, and literary movement in the years between 1890 and 1917 has long been known as the “Silver Age,” a name that does not convey the movement’s essence and one that was mostly used retrospectively. The artists, philosophers, and writers of the day gave their own name to this cultural flourishing, the “Russian Renaissance,” because they believed they were embarking on a rebirth of literature, culture, art, and religion similar to that of the European Renaissance. In their search for a new aesthetic vision, the Russian Renaissance turned to the classical world, especially ancient Greece. But their view of that culture was distinctly shaped by works of the German philosopher Friedrich Nietzsche. This article will highlight the particular, crucial role of Dmitrii Merezhkovskii in bringing a Nietzschean view of Greece into the Russian Renaissance. Merezhkovskii’s Nietzschean celebration of the classical world, and his belief that this world could reinvigorate Christianity and Russian culture, proved greatly influential for the artists, poets, and philosophers that followed him.     

Can ‘art Professions’ Be Bourdieuean Fields Of Cultural Production? The Case Of The Architecture Competition

The difference between ‘artistic and literary fields’ and universes such as architecture usually recognized as ‘art professions’ but which enjoy a far lesser ‘degree of autonomy’ than such fields seemingly constitutes an obstacle to the broader application of the notion of a ‘field of cultural production’ sought by Bourdieu in his Rules of Art. The author of this paper overcomes this obstacle by employing his notion of the ‘field effect’, with the architecture competition serving as the test case. Following Bourdieu, the author replaces the notion of profession with that of the field, for the former is a representation fostered by professional groups themselves. Architecture is a field, but, because architects require clients to construct and realize their works, one unlike the artistic and literary fields, which are markets of symbolic goods where ‘distinterest’ reigns and an autonomy unthinkable elsewhere is enjoyed. However, much like artists and unlike any other ‘professionals’, architects enter competitions, suggesting that this practice is an analytically relevant indicator of the field effect. After defining several of the elements of Bourdieu's relational conceptual matrix (field, illusio, collusion, doxa and space of possibles) and demonstrating that the Baptistery competition in Florence (1401) conforms to Bourdieu's historical beginning point for the process of 'autonomization' of artistic production, I examine a number of competitions from 1401 to 1989 (Berlin Jewish Museum) along with the general properties of competitions (structure and organization, publication and exhibition of results, competitors' economically irrational behaviour, practices of designers and jurors and the associated universe of beliefs), analysing them as those of an artistic field. It is concluded that when architects enter competitions, architecture, at least provisionally resembles an artistic field, for there is a field effect shown by a high degree autonomy, disinterest and the creation of an upside-down world.     

Fighting the Opposition: Lack and Excess in Cuban and Cuban-American Narratives of Selfhood

This essay presents a comparative discussion of two novels — one Cuban, one Cuban-American and both by women writers — that examines the roles played by the oppositional tropes of lack and excess in their respective portrayals of post-revolutionary Cuban female identities. Zoé Valdés’ La nada cotidiana (1995) and Dreaming in Cuban by are examined here via three shared thematic concerns — food, the female gendered body, and artistic expression — in which portrayals of lack and excess serve as vehicles for revealing and negotiating the oppositions often identified as inherent to the ‘Cuban condition’. Ultimately, I argue, these two literary works challenge the simplistic dualisms often used as paradigms for demarcating female Cuban identities in the post-1959 context, both within the national border and throughout the Cuban-American diaspora.     

Shifting visibilities: the social implications of a Roma aesthetic

ABSTRACT

This paper is a personal reflection by a Roma artist upon the mutual influence of Roma social relations and Roma visual culture. Strategies of art making are considered via analyses of contemporary Roma art works. It is suggested that historic marginalisation and continuing discrimination have determined the contingent nature of the Roma aesthetic resulting in keen facilities for adaptation and obscured visibility. Roma artefacts are shown to employ these resistant characteristics of Roma visuality to convey social, cultural, artistic and political agency via visual and performative means. The conclusion calls for a reconceptualisation of Roma visibilities so that we as Roma might forge new political unities and new forms of politics to more effectively challenge embedded Romaphobia.     

Augmenting Bowen Family of Origin Work: Using the Genogram and Therapeutic Art‐based Activity

This article explores the use of creative artistic activity and metaphor to augment Bowen family of origin work. It draws on the case study of a couple engaging in premarital counselling to illustrate several ways that art making can be used to enhance Bowen systemic processes. It illustrates the value of collaborative genograms and related creative products to offer a supplementary voice for salient, verbally inexpressible content while supporting clients in externalising and processing difficult emotions with reduced reactivity.     

Banishing the past: The German avant-garde and Nazi art

How do radical changes in cultural policy affect artistic reputations? Nazi policy to control memory—through the stigmatization of artists and the confiscation of their art—was less than fully successful for two main reasons: (1) Refugees and the German need for foreign exchange carried many pieces into the international market, where they escaped destruction from bombing raids; and (2) in post-war Germany a considerable effort was made not only to connect with a “broken” tradition but also to locate victims and to salvage as much of their work and reputations as possible. Allied efforts to banish Nazi-approved art from the collective memory have been far more successful. Many works that survive still rest in repositories not open to the public and, while work by a few Nazi favorites are still in demand, public commemoration remains politically controversial. Whether the reputation of an artist survives such sharp breaks in the political culture depends not only on the physical preservation of prior work but also on decisions as to who merits a place in the archives accessible to posterity.     

The post-Soviet “Orient” in stories by Vladimir Makanin and Liudmila Petrushevskaia

This article analyzes a paradoxical feature in post-Soviet Russian literature and film, where an anti-imperial message coexists with colonial tropes. It focuses on two short stories: “Slabye kosti” (“Weak Bones,” 1988) by Liudmila Petrushevskaia and “Kavkazskii plennyi” (“Prisoner of the Caucasus,” 1995) by Vladimir Makanin. Set respectively in Central Asia and the Caucasus, these stories reflect on the troubled Russian and Soviet relationship with these regions. Despite their artistic complexity and anti-imperial messages, these works are trapped by the literary tropes and cultural stereotypes of the past. These stories relate to a broader cultural trend characteristic of post-Soviet Russian culture. On the one hand, Russian culture has remained unreceptive to post-colonial discourses adopted by Western intellectuals. On the other hand, the resurgence of imperial preoccupations in contemporary Russia, as well as the anxiety surrounding Russia’s territorial integrity, preclude the development of Russia’s own discourses on ethnically distinct peripheries and identities. As a result of this discursive silence, even nuanced writers, such as Makanin and Petrushevskaia, rely on the traditional models of representing the Caucasus and Central Asia.     

Gender and the Artist Archetype: Understanding Gender Inequality in Artistic Careers

Women artists are systematically disadvantaged across cultural fields. Although some of these disadvantages resemble gender inequalities in non‐artistic work, such as lower pay, underrepresentation, work–family conflict, and symbolic devaluation, others are unique to artistic careers. In this essay, I extend Acker's work on the implicit gendering of the ideal‐typical worker to show how gender implicitly organizes social expectations around artists and artistic work. I highlight themes emerging from past research on gender relations in artistic careers, which suggest that the ideal‐typical artist builds on a masculine model in at least three ways. First, collective understandings of creative genius center a masculine subject. Second, bias in aesthetic evaluations systematically favors men over women. Third, the structure of artistic careers, particularly the need for entrepreneurial labor and self‐promotion, requires artists to engage in behaviors that are more socially acceptable in men than in women.