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.     

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.     

From “Swinging Hard” to “Rocking Out”: Classification of Style and the Creation of Identity in the World of Drumming

This article takes a social constructionist approach to the study of a seldom considered subculture—the “world” of drumming. I describe this subculture from both the “etic” and “emic” perspectives, showing how drummers and drumming are perceived and experienced by the musicians themselves (insiders) as well as the “outside” public. The main focus is on the drummers' intersubjective “mental maps” of their world, specifically exploring how they create musical and personal identities by adhering to a rigid classification scheme surrounding “styles” of drumming. I demonstrate how drummers use drumming equipment, personal appearance, education, and “purist” attitudes to separate styles of drumming and to construct distinct social selves. Of special interest is how drummers are cognitively socialized into “thought communities” which teach and reinforce attitudinal and behavioral norms. I conclude with a discussion of the possibilities of applying my analytical framework to other worlds of music and art, as well as some forms of occupational and avocational specialization.     

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.     

Communication and medial frontier crossings in the Jewish underground culture

ABSTRACT

In this essay, the author examines Jewish art and literature in the context of the unofficial public sphere in the late Soviet Union. This Jewish cultural underground emerged within a specific communicative niche, which was the result of intensive private exchange, limited knowledge, and collectively discovered sources. The space in which artists and authors shared both their “work surface” and their coffee table, and in which the cultural production coincided with its own reception and analysis, constituted the cradle of very specific aesthetic features: particular forms of intertextual and intermedial links, self-reference, as well as a blend of the alternative lifeworld and art. Moreover, the close contact with “non-Jewish” artists in the same creative and often physical space brought about a synthetic form of culture. However, unlike with the Jewish vanguard artists of the first third of the twentieth century (such as the famous Kultur-lige), this synthesis was also caused by the largely non-Jewish socialization of “new Jews” in the late Soviet Union. This paper will focus on the following questions: How did the communicative context – the partial ban on Jewish topics and the alternative, semi-private public sphere of the Jewish unofficial culture in the late Soviet era – come about, and how did these aspects influence its artifacts?     

Racial Salience and the Consequences of Making White People Uncomfortable: Intra‐Racial Discrimination,Racial Screening,and the Maintenance of White Supremacy

Most sociological research on racial discrimination has had an “inter‐racial” focus. That is, researchers have been principally concerned with the disparate treatment that people of color receive relative to Whites in different social contexts. However, recent theoretical work emerging from legal studies suggests that an alternative conception of “intra‐racial” discrimination exists that extends beyond colorism. This theory of intra‐racial discrimination stipulates that many organizations in the “post‐racial” era desire some measure of racial diversity. Yet, in their efforts to achieve this racial diversity they screen people of color based on their degree of racial salience. Whether a given person of color is hired, promoted, or in the case of college admissions, accepted, is a function of whether or not Whites within the organization consider them racially palatable, or not overly concerned with race. This creates an incentive for people of color to work their identity to allay any concerns among Whites that they may be too racially salient. In this paper I critically review this work and attempt to further buttress its claims by highlighting how this process has clear historical precedent. I conclude by showing how the audit method can be used to empirically examine this practice contemporarily.     

Post-Soviet Nostalgia in Israel? Historical Revisionism and Artists of the 1.5 Generation

ABSTRACT

The article examines contemporary Israeli poetry and visual art by Russian-Jewish artists of the 1.5 generation, artists who were born in the Soviet Union but resettled in Israel during the 1990s. By focusing on the representation of the Soviet–Jewish past in their works, I show that in contrast to the largely negative view of the Soviet experience by the previous generations of Russian-Israeli authors, the historical understanding of the 1.5 generation is fundamentally different. This cohort of artists resists the lachrymose portrayal of Jewish life in the USSR and the “Happily Ever After” finale in Israel. Instead, they propose a counter-narrative that is hinged on a romanticized depiction of life in the USSR and disillusionment in Israel that followed. I argue that nostalgic representations of the Soviet–Jewish past by these artists derive from the suffering, humiliation, and rapid downwards social mobility that the Russian-speaking community experienced in Israel.     

Racial Authenticity and Familial Acceptance Among Transracial Adoptees: A Bothersome Bargain of Belonging

Transracial adoption in the United States has increased significantly in recent years. Crossing the color line within the intimate familial sphere has important implications for how institutions such as the family enable and constrain individuals' identity work. We explore how transracial family members utilize racial stereotypes and racialist understandings in everyday life, employing 30 in‐depth, life‐story interviews with both transracial adoptees and their white siblings. In attempts to accomplish a sense of belonging and authenticity, we argue that both transracial adoptees of color and their white siblings experience divergent and paradoxical expectations of familial and racial authenticity. We find that although they often utilized “color capital” in a quest for racial authenticity, in certain spaces and environments, they were expected to eschew their nonwhite identity and embrace “acting white” as purported by white family members and their “white debt” approach to racial socialization. This study adds nuance to the question of how families navigate the enduring power of the color line in relation to the reproduction of both material inequalities and racial discrimination.     

Towards sociology from the arts: An epistemological turn

Over the past two decades, Howard Becker's Art Worlds and Pierre Bourdieu's The Rules of Art were guidelines for the dominant paradigms in sociology of art. Nevertheless, according to Bourdieu, sociology and art do not make a good match. To overcome this dilemma, the French sociologist Nathalie Heinich proposed a “sociology from art,” based on the uniqueness of artists and their works, but she neglected artworks as sociological subject. A realistic and persistent criticism against sociology from the arts claims that artworks are fictions created by artists, therefore epistemologically unacceptable as social realities. Is it possible the making of sociology from artworks? Through theoretical review and using the example of literature, I will argue in this paper that artworks are important heuristic resources and a legitimate subject of sociological research.     

Participatory art within,against and beyond financialization: benign pessimism,tactical parasitics and the encrypted common

This essay examines three critical artists who orchestrate participatory spectacles and experiences as a means of challenging neoliberal financialization, an overarching paradigm and process that is reshaping economics, politics, society and culture. Critical art, I argue, can offer us a particularly insightful vantage point on these transformations. This is not, as it is usually supposed, because art has some lofty transcendental perspective above society; rather, it is precisely because art is already so deeply integrated into finance and financialization. Not coincidentally, “participation” appears as a keyword for the restructuring of both art and finance today, which I argue is key to understanding the challenges, limits and potentials of even avowedly critical participatory art, with lessons for cultural production more broadly. In order to analyse and draw broader lessons from the three artworks in question, I identify each with a strategic paradigm: benign pessimism, tactical parasitism and the encrypted common. These strategies, I argue, emerge within, against and beyond financialization and can help complicate our approach to its complex cultural politics.     

White Racial Socialization: Progressive Fathers on Raising “Antiracist” Children

For the past 30 years, the definition of racial socialization has referred to how parents prepare children of color to flourish within a society structured by white supremacy. Drawing on ethnographic interviews with eight white affluent fathers, this study explores fathers' participation in white racial socialization processes. The article focuses on fathers who identify as “progressive” and examines the relationship between fathers' understandings of what it means to raise an “antiracist” child, the explicit and implicit lessons of racial socialization that follow from these understandings, and hegemonic whiteness. Findings illustrate how these fathers understand their role as a white father, how their attempts to raise antiracist children both challenge and reinforce hegemonic whiteness, and what role race and class privilege play in this process.     

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.     

Making It in a Cover Music Scene: Negotiating Artistic Identities in a “Kmart‐Level Market”

This research examines how musicians understand art and commerce in a music scene dominated by cover bands. Drawing on thirty semi‐structured interviews and one hundred hours of ethnographic observation, I find that most musicians self‐identify as artists yet perceive social status to be rooted in commercial success. This research details what it means to “make it” in an art world that offers little institutional support or remunerative reward for artistry. Musicians employ three approaches to negotiate the disconnect between artistic identities and commercially defined status: segregating their artistic and commercial pursuits, locating artistry in their commercial work, and justifying their commercially viable activities as a means to attaining a comfortable lifestyle. This on‐the‐ground account of commercial influences’ effects on musicians informs post‐Bourdieusian research on fields of cultural production. I suggest that future research on culture producers must distinguish between social status—a position in a social hierarchy—and interpersonal respect. When esthetics are marginalized as a basis for status, musicians’ status becomes bound to employment opportunities and expansible relative to the extent of the scene.     

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.     

Needed Changes in the Course in World History

Using Lani Guinier's notion of “racial literacy” and the findings from a study that analyzed how recent K-12 social studies textbooks portray racial violence against African Americans, I argue in this article that students come to teacher education programs possessing a limited understanding of racism as a historically situated, institutionalized practice. I consider the implications this gap has on preservice teacher education and offer suggestions on how social education might assist K-12 students and later preservice teacher candidates develop critical racial literacy.     

When Bourgeois Utopias Meet Gentrification: Community and Diversity in a New Urbanist Neighborhood*

Abstract

Scholars have recently begun to explore how social and politically liberal gentrifiers make sense of the classed and racial inequalities linked to gentrification. In this article I ask how residents of one new urbanist “bourgeois utopia”—the Mueller Development in Austin, Texas—experience and give meaning to their neighborhood in a context of gentrification. Drawing on 31 in-depth interviews I explain how new urbanism has reimagined and marketed “diversity” and “community” to middle-class and wealthy consumers and provides these to affluent people as neighborhood amenities. I show how residents draw on diversity ideology and multicultural capital to neutralize what they see as their neighborhood’s role in gentrification. In doing so this article adds to our theoretical understanding of how contemporary urban development exploits pursuits for the social good as rhetorical tools to assuage privileged guilt while promoting profitable enterprises.