Art Without A Market: Creating Artistic Value In A Provincial Art World

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.     

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.     

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.     

Using words to network images: indexing and interaction strategies in a digital archive

Visual access to the content in digital archives extends the classical text search and list view of graphical user interfaces. Currently, there are several strategies employed to correlate images in the user interface of digital archives for semantic purposes. Some of the most useful strategies explore innovative techniques used to gain and execute metadata in a suitable manner. These approaches are elaborated on primarily in the context of scientific questions. Amidst these models, this article proposes a very simple strategy of networking images using only words. At present, this concept is realised at Zurich University of the Arts (ZHdK) through utilisation of the ‘Media Archive of the Arts’, an in-house, open source software product. It responds to user heterogeneity, the variety of intellectual genres and the multiplicity of media formats that are distinctive of an art academy such as ZHdK.     

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.     

Power,capital, and artistic freedom: contemporary Chinese art communities and the city

This paper offers a critical review of the proliferation of the contemporary art colony in China since the beginning of the twenty-first century in the context of China's promotion of cultural creative industries as one of the strategies for urban development and economic growth. Through analyzing cases in Beijing, Xi’an, and Sanya, cities ranging from ‘first-tier’ to ‘third-tier’ in their size and status, the paper explores the challenges and opportunities many contemporary Chinese art professionals find themselves face amid the competitive city image building campaign, a top-down movement led by local state and private investors in cities across China. It is evident that contemporary art and alternative art spaces associated with it have been drawn into the process of commodification, inadvertently recruited to play an ancillary role in the reproduction of the hegemonic collusion between political power and capitalism in a rapidly urbanizing China. Nonetheless, I argue that the inclusion of contemporary art communities as a player in the production and reproduction of the urban space has provided critical-minded artists, critics, and curators opportunities to participate in the reconfiguration of the physical and cultural landscape of Chinese cities, albeit not always with positive outcomes. As such, some art professionals are able to appropriate the process of capitalist urbanization to create their own ‘infrastructures of resonance’ [Thompson 2015. Seeing Power: Art and Activism in the Twenty-first Century. Brooklyn: Melville House], which support artistic freedom and facilitate the growth of diverse forms of cultural creation and exchange despite the coming dominance of ‘power plus capital’ [X. Wang 2003. A Manifesto for Cultural Studies. In: C. Wang, ed. One China, many paths. London: Verso, 274–291].     

The acknowledgment of literary influence: A structural analysis of a German literary network

This paper analyzes a characteristic syndrome of modern literature identified as anxiety of influence by literary critics and as mania for originality by art historians. Based on a sociological reformulation of the syndrome as it relates to the structure of acknowledged influence, the paper develops and tests several hypotheses. Data are based on a survey of West German writers and are analyzed by using clustering techniques and correspondence analysis. First, the analysis demonstrates the fragmented and non-hierarchical structure of acknowledged literary influence. Second, the different types of influence (absence distinctiveness, and clusterability) correspond to different professional and literary characteristics of writers. Results highlight one of the contradictions between the cultural code and the professional structure of modern art: at the level of ideology, greatness and genius are equated with the absence of influence and artistic uniqueness. The analysis shows, however, that the denial/absence of acknowledged influence is found among writers who are excluded from the professional networks where reputations are made in the world of literature.     

Identifying blues: an interview with lesbian blues musician and lyricist Gaye Adegbalola. Interview by Carmen Phelps

In this interview, blues lyricist and musician Gaye Adegbalola shares with audiences how various political, social, and artistic influences have inspired her work since her activist years during the Black Arts Movement leading up to the present day. As a lesbian blues artist, Adegbalola's personal and artistic development implicates the often inextricable and intimate relationships between artistic production, political involvement, and individual fulfillment.     

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.     

MIXING ART AND LIFE: The Conundrum of the Avant-Garde's Autonomous Status in the Performance Art World of Los Angeles

Performance art, the quintessential avant-garde art form, flourished and gained national renown in Los Angeles during the last three decades of the twentieth century. In 1989, however, pivotal changes occurred within the performance art world and in the national attitude toward art, as seen in upheavals in the National Endowment for the Arts, that drastically altered not only the form and content of performance art but also its means of production and its status as an autonomous avantgarde art world. An historical analysis of the transformation of this performance art world from the mid-1970s to its manifestation in the 1990s is presented by analyzing ethnographic and archival data and by noting the circumstances affecting the autonomy of this art world and its relationship to external social and cultural spheres.
Minerva's owl only begins its flight as dusk emerges.G. W. F. Hegel, Philosophy of Law     

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.     

ART WORLD CULTURE AND INSTITUTIONAL CHOICES:

This article is based on an ethnographic study of the North American experimental film art world, which established an affiliation with academic institutions in the 1970s. Participant interviews, field observations, and primary written sources are used to examine how the material and cultural characteristics of experimental film influence what art world practices have and have not been institutionalized within the academy. The art world is materially characterized by small size, unprofitability, and lack of prestige in larger culture markets and culturally characterized by the importance it attaches to innovation, expression, and active engagement with art, values associated with its avant-garde identity. Its institutions thus emphasize the fostering of innovation and interactive participation (cf. Gilmore 1988), while de-emphasizing the roles of gatekeepers and critics as arbiters of legitimacy and meaning. Rather than promoting standardization and integration uniformly across art world functions of production, distribution, and evaluation, material and cultural factors interact to differentially support various institutional functions.     

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.     

SCHOOLS OF ACTIVITY AND INNOVATION

Explanations of artistic innovation have generally focused on political or psychological factors influencing individual socialization. This article suggests an alternative approach focusing on the organizational processes in an art world, specifically the production of concert music. Concerts are produced through the collective activity of musical specialists. Compatible collaborators identify each other by constructing "schools of activity" that group conventional concert practices and practitioners. Different schools, however, do not simply represent alternative conventions, rather they represent degrees of convention that correspond to varying aesthetic interests in innovation and virtuosity. The first part of this article examines the organization of artistic activity and the formation of schools. The second part presents data from the concert world illustrating the organization of alternative types of artistic practice.     

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.     

The iemoto system and the avant-gardes in the Japanese artistic field: Bourdieu's field theory in comparative perspective

The conceptual framework of ‘field’ proposed by Pierre Bourdieu and his model of the literary and artistic fields in nineteenth‐century France are widely applied to studies of the development of the literary and artistic fields in other regions and the fields of other cultural practices. These researches, while showing similarities to Bourdieu’s model, reveal the distinct forms of nomos which those different fields developed through localised contingencies. In other words, their findings highlight the cultural specificity of the cases on which Bourdieu’s field theory is based. The main purpose of this paper is to argue that the field theory can be beneficially applied to cross‐cultural cases provided that its culturally specific elements are clearly identified. For this purpose, I focus on one particular aspect associated with the nomos of Bourdieu’s model – the orientation toward autonomy – to argue for its cultural specificity, which becomes clearer when it is compared to a distinct case of the artistic field in early‐twentieth‐century Japan. My case study shows that the Japanese artistic field did not develop the same form of autonomy as Bourdieu’s model, but it also discloses the processes in which a certain form of nomos was shaped through the struggles between the artistic field and other fields.     

Bridge Arts Education Centre ‘A Real Chance for the Arts’

SUMMARY: Bridge Arts Education is a centre for troubled children, part of Warwickshire Education Support Service. In this article, I explore its history and some of the strategies employed to work effectively with what can be a highly stressed group of children. At Bridge, the education department employs artists to work with children who have serious emotional and behavioural problems. I explain our use of creative themes and mention some of the practicalities of getting disillusioned children down to work. I discuss the value of this arts approach in meeting our National Curriculum and GCSE obligations. I also mention our approach to behavioural problems. We attracted the interest of West Midlands Arts and the article ends with a look at a Trainee Artist Placement which they funded at Bridge.     

“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.     

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.