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1.
Annual art fairs are a crucial element of the contemporary art market. Art galleries represent artists and exhibit their work at fairs all over the world. These fairs expose the gallery and its artists and create and maintain relationships with key actors in the global art market. Using data recording artists and galleries presenting at art fairs alongside qualitative interviews with different actors operating in the art market, we study the development of the art fair network over three years, 2005–2007. Our findings suggest significant network and homophily effects regarding the status and age of artists at fairs. However, the internationality of fairs and geographic distances between them do not seem to have any effect.  相似文献   

2.
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.  相似文献   

3.
Symbolic interactionism is defined as the study of social acts and social objects. Paintings are social objects whose value is almost entirely created in the social acts called art worlds. Important art worlds are currently organized as art markets, in which art is created, exhibited, bought, sold and discussed by artists, museums, dealers, collectors, and critics. In St. Louis, where fieldwork was done, the art market is marginal; art schools and faculty artists replace dealers, collectors, museums, galleries, and critics in the local production of art, the creation of art value, and the determination of artistic status.  相似文献   

4.
This paper focuses on the contemporary phenomenon of artists who, because of institutional changes in the social organization of the visual arts, become their own gatekeepers by running their own galleries, managing their own exposure and re-establishing direct contact with their audiences and communities. The author contends that the ways in which artists have pursued and organized their own galleries shed light on both the functioning of the established social organization of art and the circumstances that bring about its change. The paper explores the organization, operations and viability of visual artist-managed galleries in the San Francisco and Santa Cruz areas of California as an alternative to the established organization of the art market. An earlier version of this paper was presented at the Pacific Sociological Association Meetings in Sacramento, California (April, 1977). This study was made possible by a grant from the Research Committee of the University of California, Santa Cruz. My warmest thanks to Judith Balfe and Gerald Platt for their substantive and editorial assistance and to Jenny Debouzek for her assistance throughout this research.  相似文献   

5.
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.  相似文献   

6.
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.  相似文献   

7.
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.  相似文献   

8.
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.  相似文献   

9.
This study posits that current cultural diplomacy practice in UK museums and galleries could be significantly improved. Indeed, cultural diplomacy is commonly viewed as nationalist propaganda. An attempt to theoretically debunk this proposition indicates that greater understanding between peoples can be engendered by unifying the ideologies of internationalism and liberalism in the cultural sector. Liberalism is viewed as the present ideology operating in Museums and Galleries whilst internationalism is considered as a nascent force. Working in symbiosis, liberalism allows for a multiplicity of discourse whilst internationalism allows for a critical reappraisal of the status quo and nation-state hegemony. Indeed, a multiplicity of dialogic discourse is essential for cultural institutions to maintain a non-hegemonic stance. This is, of course, particularly apparent in contemporary art work which can often be subversive of national governments and the very idea of a nation-state. Further to this, a form of localised cultural diplomacy can reach the public at large and question the cultural capital of world centres. Empirically speaking, the exhibition format is used as a means to render cultural diplomacy palatable for public consumption. Hence, the UK case study Art from Elsewhere will be introduced which has rendered the international a normative presence in local art galleries. This 2014–2016 exhibition comprised a tour of recent contemporary art acquisitions in regional permanent collections which were funded by a £5 million pound grant from the UK charitable organisation, Art Fund. Instead of monophonic exhibitions emanating from one nation, Art from Elsewhere engenders a multilateral dialogue catalysed by the polyphonic nature of artists from several different nations whose works are juxtaposed both in conflict, symmetry and contrast to one another.  相似文献   

10.
Participation in many cultural activity systems, such as art worlds or scientific communities, is highly skewed toward an elite creating a pattern of activity that emphasizes rationality and repeated events. At the same time, the introduction of new works and participants in these systems promotes the opposite, that is, innovation. Rationality and innovative interests are usually approached and analyzed separately, but this article examines a social context in which they are jointly produced—concert music programming. To analyze the dominance of repertory, this paper documents concert programming over a single season and describes a model to illustrate the observed distribution of events. The skewed distribution of programming is then explained through reference to the aesthetic interests of concert artists, that is, composers and performers, and the congruence of a rationalized aesthetic to the recruitment of audiences and administrative rationality.An earlier version was presented at the Social Theory, Politics, and the Arts conference in New York, October 1990.  相似文献   

11.
《Immigrants & Minorities》2012,30(2-3):211-238
This essay takes a case-study approach to examine how culture may be transferred from immigrant cultures to a so-called host culture. Considering the work of three visual artists who came to the UK as refugees but who are now considered ‘British artists’, it examines the effect this curatorial definition may have on gallery viewers. The author proposes that looking at work that previously might have been viewed as ‘exotic’ or ‘foreign’ but that is now classed as British forces viewers to reassess and renegotiate their understanding of the nature of ‘Britishness’ and indeed of place-Britain. Drawing on the ideas of Edouard Glissant and also of contemporary geographers about the nature of place, the study proposes that place-Britain, like all places, is in a constant and never ending state of production. The work of artists from refugee populations, shown now as ‘British art’, becomes a dynamic part of this process and a means by which new elements are transferred and added to an ever-changing British cultural fabric  相似文献   

12.
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.  相似文献   

13.
Virtual worlds are online graphical environments that are becoming an increasingly large part of the online experience of young people. Virtual worlds have the potential to become one additional environment, like school, home, and the playground, where youth can learn, play, and grow. The physical world is becoming interconnected with virtual worlds, and it is important for researchers to understand how this will affect children's development. Virtual worlds technologies provide a unique opportunity to allow youth to explore many types of content creation, including customizable avatars, media galleries, and virtual representations of personal spaces. This ability for youth to create content can be an important means by which to support and encourage adolescent identity development.  相似文献   

14.
This article examines how people successfully claim expert status in the art worlds of tattooing and opera by commodifying the time they have spent becoming experts in those art worlds. Temporal commodification happens along five dimensions: educational time, autodidactic time, consumption time, contiguous consumption time, and painful time. In essence, aesthetically-oriented individuals can successfully claim expert status in a given art world when they can convince others that they have learned about a particular kind of art, that they have learned from a legitimate source, that they have spent sufficient time consuming this art, that they have spent this time in contiguous chunks, and that they appreciate the pain (both physical and affective) that often accompanies such consumption.  相似文献   

15.
Advances in biotechnology include contemporary artists working in laboratories to create living and semi-living works of art. This paper offers an account of how bio art can be read as an emerging contemporary art practice of the early twenty-first century. This draws on the art-historical precedent of Marcel Duchamp, who transformed objects from commonplace existence into works of art, and contemporary theories of art. Empirical data, in the form of interviews with leading bio art practitioners Oron Catts, Eduardo Kac, Kira O'Reilly, Stelarc and Paul Vanouse, are used to study how artists navigate between disciplines. In doing so, we discuss bio art as a critical practice based on a communal ethos.  相似文献   

16.
This study explores the essence of disabled artists’ creative endeavours and investigates what constitutes the environmental barriers that hinder their creative activities. For the research 12 disabled artists were chosen from a list of renowned disabled artists. The study found that creativity is the same for both disabled people and non-disabled people, but for disabled people their surroundings often make it difficult for them to establish their identities. These findings clearly illustrate that the empowerment of disabled artists through art education is crucial. They also show that social attitudes toward disability need to change, since negative views regarding disability art are underpinned by negative views of disabled people. In addition, relevant policies to advance disability art should be instituted and supportive measures to solve the financial problems faced by disabled artists must be taken.  相似文献   

17.
This article undertakes an analysis of Ron Athey’s and Hermann Nitsch’s performance art and blood rituals to show how their radical artistic spectacles are necessary acts of defiance in contemporary art and society. They open up the possibilities for subjects to redefine their relationship to the big Other. The author argues that the use of blood is at the centre of both of these artists’ performances and has the potency to unsettle and attack the patriarchal system of social authorities. At the same time, the popularization of such artistic and bloody practices has led to the appropriation of blood in mainstream popular culture. By referring to popular artist Lady Gaga and her use of blood in recent performances, the article demonstrates that blood is divested of its symbolisms and becomes a mere commodified product. The comparison between performance artists and popular artists like Lady Gaga reveals how blood is used in different ways to facilitate each artist’s project. While Athey’s performances stress blood as the site of the reality of the body in pain, and Nitsch’s as a celebration of both Eros and Thanatos, Lady Gaga’s performances by using fake blood separate blood from the body and meaning.  相似文献   

18.
In this digital age, declarations surface of the death of the expert and the democratization of information. Crowd wisdom is seen as the new guide in constructing and evaluating knowledge. In the context of the art world, this tension between the amateurs and the experts becomes particularly pronounced as popular meets high culture. Questions arise such as: what is the role of the expert in the evaluation of art in contemporary times? Do social media dismantle age-old hierarchies and established priesthoods in the art world? And can we assume that mass participation in valuation results in better judgments? This article addresses such popular notions of participation and expertise concerning social media in the art world through a historical lens by re-examining and positioning art experts from past to present. Particularly, characteristics of intermediaries in the art market are examined closely regarding their strategies in knowledge production and the establishment of expertise. This historical situatedness enables us to move beyond the hype of new media expectations, generating more appropriate avenues of investigation to better grasp possible changes amongst actors within the contemporary art world. This examination is not just theoretically relevant but practically so, given current pressures on art institutions to embrace and reach out to new audiences online.  相似文献   

19.
Contemporary global issues can be examined through the lens of modern photographic art. In an effort to prepare global-ready graduates, this article explores the pressing problems of environmental degradation, urbanization, and homelessness through the work of three contemporary artists. Illustrative works, suggested approaches, and curriculum resources are provided.  相似文献   

20.
Abstract

This paper comprises interviews with five practising artists: Terry Atkinson, Torie Begg, Rebecca Fortnum, Lubaina Himid, and James Hugonin. The aim is to gauge the ways in which ‘the visual’ features in contemporary fine art practice, not only at the end of a century in which the visual ‐ at least for much of the first half of that century ‐ was often accorded special status, but also, more recently, after Conceptualism and radical egalitarian interventions have challenged the status of and assumptions about the value of the visual. All five artists were asked the same questions: What/who are the formative influences on your work?; What role does the visual play in your work ‐ to what extent do you value the visual?; Can you say something about (i) aesthetic and (ii) pleasure ‐ however you define them?; How does a work evolve?; How do you define quality ‐ what makes you think one of your works is better than another?; What is the spectator's relationship to your work? ‐ what role does the spectator have? The responses bear witness to significantly different ways in which contemporary artists value the visual.  相似文献   

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