The Image of the City in Modern Arab Painting: Artists Recreate Their Own Cities

The subject of the city in Arab art, as far as I know, has never been studied by art critics and historians. This has apparently not happened because of the strong influence of western modernism and its theories. This article uncovers the importance of the city in early and later modern Arab painting. Examples from the late 1930s and 1940s reflect the less developed cities in terms of their social and structural aspects. This is very obvious in the two paintings by Said (Alexandria, Egyptian) and Nazar (Baghdad, Iraqi). The Arab paintings from the second half of the twentieth century present a different mode of expression as the political and social circumstances of Arab countries are reflected in them. Paintings from this period by Arab artists presenting images of their cities such as those of Haddad and Jabbour (Beirut, Lebanese), Idrees (Jeddah, Saudi), Shammout (Alled, Palestinian), Talib and Al‐Attar (Baghdad, Iraqis), and Alhamzah (Utopia, Jordanian), are very expressive and loaded with meaning. It appears that the relationship between the artist and the city is so intimate, that the artist’s life intersects with the city’s life. The paintings discussed show that the Arab artists’ cities in most cases are not realized as hoped so they tried alternative ones. The artist sees her/himself as a savior by criticizing the state of the beloved city calling for a better one. In this sense the image of the city becomes a representation of the painter’s own artistic reservoir as a form of offerings.     

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.     

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.     

Social complex contagion in music listenership: A natural experiment with 1.3 million participants

Can live music events generate complex contagion in music streaming? This paper finds evidence in the affirmative—but only for the most popular artists. We generate a novel dataset from a music tracking website to analyse the listenership history of 1.3 million users over a two-month time horizon. We show that attending a music artist’s live concert increases that artist’s listenership among the attendees of the concert by approximately 1 song per day per attendee (p-value < 0.001). Moreover, this effect is contagious and can spread to users who did not attend the event. However, whether or not contagion occurs depends on the type of artist. We only observe contagious increases in listenership for popular artists (∼0.06 more daily plays per friend of an attendee [p < 0.001]), while the effect is absent for emerging stars. The contagion effect size increases monotonically with the number of friends who have attended the live event.     

Professor Goes Gaga: Teaching Lady Gaga and the Sociology of Fame

This paper presents an account of the conditions and consequences of a university-level teaching experience in the sociology of fame centered on the case of Lady Gaga. When the course “Lady Gaga and the Sociology of the Fame” at the University of South Carolina was announced in the autumn of 2010, it became the number-one Lady Gaga news story, reported and discussed in a wide variety of internet sources and media outlets across the world. The unprecedented attention devoted to the course placed its instructor in an unexpected and unique position to experience various dimensions of contemporary celebrity culture while teaching on that very subject matter. This paper offers a sociological autobiography to discuss this experience as a manifestation of the reflexivity of social knowledge and the interplay between sociology and society.     

“See Media”: Coco Fusco’s Direct Address and the Performance of In/Security

Abstract

A Room of One’s Own: Women and Power in the New America (2006–2008) is a multi-media performance art piece by visual artist Coco Fusco. In a lecture style performance staged at the Museum of Modern Art (MoMA) as part of their 2007 symposium The Feminist Future: Theory and Practice in the Visual Arts, Fusco explores the use of women in US military interrogation efforts during the height of the War on Terror and – problematic and violent as it may be – mounts a parallel attack against the art world itself. Although invited to speak, Fusco speaks (performs) out of turn – and out of sync in order to level a critique at the very establishment in which the symposium was held. In doing so, Fusco directs our attention towards the interwoven workings of power, surveillance, silence, and the making and the performances of particular kinds of citizen/subjects/enemy combatants/art objects/interrogators/artists. This article seeks to address how visual culture and US military security discourses are inextricably linked through interwoven histories and unsettling relationships between race and national security, national security and feminism, as well as race and feminism.     

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.     

The Dark Side of Art’s Social Turn: Towards a Discourse on the Impact of Art’s Use of Social Forms Upon the Social

The recent “social turn” in art, in which art favours using forms from social life above its own, has been extensively discussed. Relational Aesthetics by Nicolas Bourriaud, Conversation Pieces and The One and the Many by Grant Kester, essays by Claire Bishop who supplies the term “the Social Turn,” and her recent publication Artificial Hells, are now as important to the field as the art they scrutinise. Ironically, however, when this discussion regards the implications of the “turn”, it habitually addresses the effects of this development from – and for – art’s point of view, overlooking the way in which artists’ inroads into social life may be differently regarded in the social realm. As much as this represents a failure to illuminate a particular area for knowledge, it also signifies a failure to take art’s revalorised commitment to the social to its ethical conclusion: such, from two perspectives, is the “dark side” of art’s social turn. This article seeks to mitigate these oversights. In particular, it looks at art in which an artist undertakes another person’s professional work. Considering the effects of this on those whose practices are appropriated, I propose a consultative approach, involving ethnographic and empathetic modes of address. Consequently, this article does not present an answer to the question it poses, “how do professionals in the social realm see art’s appropriations of their practices?” but rather, a framework for approaching that.     

Maintenance work: Interrogating the sociology of art

The following article explores the different ways art sociologists investigate art that is based in the participatory arts. The aim is to shift the empirical focus to the art practice, which speaks for itself, and to place the work of the artist and all who cooperate or collaborate in the making of the artwork at the center of sociological analysis. By allowing the artist to speak fully about their work, art sociologists can uncover new social and cultural phenomena and better understand the different motivations underlying art-making. The following literature highlights the recent tendencies in the sociology of art, explores the “social turn” in art and presents different sociologists who focus on the art practice and the art’s voice. For further development of the field, I suggest the sociology of art needs to catch-up with the recent tendencies in art by placing the empirical focus on participatory art practices that will not only give us a better understanding about the intricate actions taking place in the art making, but it will also illuminate new layers of social life that are hidden. To conclude, I suggest that sociologists engage with participatory-based artists to enhance sociology through a public sociology of art.     

From Maidens to Mugs: The Motif of the Mirror in the Works of Nikolai Gogol'

From Plato’s times to our contemporary age, theorists have spoken of art as being a mirror of life and sometimes argued against the notion. In his nonfiction essays on art and literature, Gogol' was also fond of the metaphor. Due to the frequency with which mirrors appear in his work, Gogol'’s oeuvre offers a unique opportunity for study of how the idiom of art-as-mirror transforms in the move from theoretical reflections to his fictional stories. Appealing to Meyer Abrams’s claim that the mirror has become a “constitutive” metaphor, this article assumes that: a) the potential problems the metaphor introduces are fair game in general theorizing, and b) the questions introduced into the texts by Gogol'’s fictional mirrors may also point toward problematic issues in his thought on art and development as an artist. The article surveys Gogol'’s use of mirrors in his fiction and relates them to their theoretical counterparts. Clear patterns emerge that parallel the geographical and meta-literary subject matter of his work. Ultimately, the article reveals how Gogol'’s evolving treatment of the mirror metaphor may offer insight into the sources of the author’s “creative decline.”     

For a sociology of committed professionals: “Art Worlds” in the United States and opposing the war in Iraq

This article analyzes American artists’ opposition to the war in Iraq, emphasizing the way it was determined by their professional situations. Regardless of the networks and political organizations involved, or the ideological dimensions of the anti-war cause, individual professional identities and relationships persisted and influenced their public practices and positioning. In a first section, we compare different artistic subfields and labor configurations, to grasp what, in the participants’ own eyes, made the combination of artistic and militant identities - and, sometimes, the production of a form of “political art” - tenable. The second section concentrates on how political commitment emerged in fields of professional activity, how the functioning of artistic milieus today – that have become more autonomous, specialized and professional – tends to discourage “mixing registers”, i.e. combining aesthetic motives and political logics.     

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.     

Art Criticism and its Power Over Women Artists - An Inquiry into the Sources of Gender Discrimination in Jewish Palestine/Israel, 1920-1960

Discrimination against women in the Western field of Visual Arts persists, even today. In this article I reflect upon the formative years of the field of Visual Arts in Jewish Palestine/Israel. I examine what role art critics took in the emergence of the systematic forms of artistic malestream domination. I also analyze which strategies allowed art critics to develop their position as the "knowers" of high art. While artistic malestream practices have not only held back female artists in the past, they also still affect women's artistic careers. Thus, the exposure of these concealed mechanisms can inform both academic scholarship and the artistic discourse.     

Investigating the organizational everyday: a critical feminist approach

ABSTRACT

This article considers the possibilities and limits of applying institutional ethnography, a feminist theoretical and methodological approach that contributes to collective projects of investigating and transforming social life. Elaborating on the approach, the article reports on an ethnographic exploration of visual artists’ experiences and struggles in Canada's art world – a project that started from the standpoint of practising visual artists, examined their work and relations, and explicated practices and logics of art and valued work conditioning their lives. Speaking back to formal or text-based investigations of particular institutions, the article grapples with how to engage in research that more fully reveals the ‘social,’ attending to everyday life, to the ‘life work’ that people do, and to social forms that are threaded through intersecting, localized intimate and institutional spheres.     

From starving artist to entrepreneur. Justificatory pluralism in visual artists' grant proposals

Inspired by French pragmatism and using Bourdieu's notion of “refraction” as an indication of a field's autonomy, we explore in-depth what kinds of justifications visual artists deploy to legitimate their requests for government money. Based on 494 government grant proposals from visual artists between 1965 and 2015 in Belgium, we find six such justifications. The reputational, esthetic, and romantic justifications are grounded in autonomous criteria of worth, such as artistic CVs, the work of art itself, and a compulsive desire to make art. Since the 90s, social, academic, and entrepreneurial justifications bring in heteronomous criteria, or refractions of field-external values. Artistic practices become increasingly legitimized through engagement with social/political issues, academic methods and terminology, and an entrepreneurial spirit. We empirically show how the refraction of governmental logics is multi-faceted, yet always related to or combined with artistic concerns, which we interpret as characteristic for the artistic field's persisting autonomy in the face of heteronomous pressures.     

The Standpoint of Art/Criticism: Cindy Sherman as Feminist Artist?*

Feminist Standpoint Theory identifies knowledge as a social product developed from a specific social position. We apply this theory to explore the dominant standpoint informing the social organization of Western art via an institution we call art/criticism. We find that the assumptions, values, and analytic strategies informing mainstream art and art criticism express the standpoint of privileged men. As a test of our argument, we consider the case of an artist who is often hailed as a feminist artist and yet is one of the most successful woman artists today: Cindy Sherman. We find that while Sherman is working with some fertile possibilities for feminist analysis, her work ends up re‐directing this potential into a disempowering play with images. We conclude that rather than countering our argument, the celebration of Sherman’s work as feminist reveals the workings, as well as the limits, of the privileged male standpoint in art.     

Poetry in motion: protest songwriting as strategic resource (Portugal,circa 1974)

In this article, we use protest songs written in Portugal in the periods surrounding the Carnations Revolution to suggest that artists have the capacity to use their artistic discourses as strategic resources, attempting to shape socio‐political reality. We identify three periods in the Portuguese revolution wherein this instrumental use of art becomes patent. We further suggest that organisational managers should take into account the subjective artistic reality, especially in periods when it can affect the organisational context.     

NANNY/MAMMY: COMPARING LADY GREGORY AND JESSIE FAUSET

The article constructs a framework for future inquiry about the role of the servant class in the works of Lady Augusta Gregory and Jessie Redmon Fauset. Irish writer Lady Gregory, like her African American counterpart, regarded the working classes with marked ambivalence. The elite of their respective societies, both artists patronized those of lesser social stature to varying degrees. At the same time, however, they both faced powerful adversaries and colleagues alike who sought to keep these female writers themselves ‘in their place.’ As a result of their complex identities, the servant figures perform deeply provocative roles in their writing. The nanny/mammy, with all of the attendant problems of race, class, and gender, embodies the sometimes similar and sometimes divergent battles waged by these two pioneering artists. Questioning notions of ownership and the labor of literary production, the essay also uses the nanny figure as a metaphor to probe Fauset's and Lady Gregory's remarkable trials of dispossession.     

Constructing citizenship at the margins: the case of young graffiti writers in Melbourne

Young people engaging in graffiti are often portrayed as the anti-thesis of the ‘good citizen’. As politicians and the media fight the ‘war on graffiti’, these young people are tagged as criminals and misfits, overlooking the ways this arts practice reclaims their ability to tell stories and unhinge traditional ways of practicing citizenship. Using ideas from Michelle Fine et al.’s social psychology of spatiality as a conceptual lens, this paper explores the tensions, contradictions and binaries these young people find themselves caught between, particularly; art or vandalism, professional or amateur, artist or criminal, and legitimate or illegitimate citizens as young people and transgressors of ‘normal behaviour’ in public spaces. Using multiple methods, including ‘hanging out’ and participatory visual methods, this study explores how young graffiti artists’ experiences in and out of a legal ‘street art’ programme, speak back to ‘normative’ conceptualisations of citizenship. Their experiences of differential belonging and contested citizenship, which are played out in public spaces (and beyond), highlight the importance of alterative arts programmes and the creation of sanctioned spaces in negotiating young people’s ‘right to the city’.     

People with sight impairment in the world of visual arts: does it make any sense?

Abstract

The article describes an educational and artistic project in Poland where individuals with sight impairments could learn more about visual arts through guided city tours around their greatest monuments, appreciation of art pieces and meetings with artists. During workshops, they could test their own artistic skills by creating tactile drawings, pottery sculptures, photographs and tactile picture book. The effects of their attempts were presented in a temporary exhibition in the contemporary art gallery (with an associated educational program). The exhibition was a significant experience both for the artists with visual impairments and the visitors. Through analysis of the structure and content of the artworks, the gallery visitors could understand more about the situation of people with sight impairments as they struggle with everyday tasks and how creative they are.