Available Data and Existing Statistics - SFU.ca

Available Data and Existing Statistics - SFU.ca

Who & What Belongs in Art Worlds? (Contd) Manfred Eicher, Founder of ECM records Music listeners Guerrilla Gardeners at Hogans Alley site, c. 2008 Todays Class Session Schedule Other participants in art worldsMediation Processes Presentation of Selected Readings:

Ashenhurst,Erin (David Halles research on art in the American home and family photos) Martin, Dylan (Tia DeNoras How does music channel emotion?) Recall: Changing views about values of art can lead to changes in the status of the artist, artwork & the social institutions & publics that support them Beaune Altarpiece PBS jazz series by Ken Burns

Examples of establishing cannons through testimony of experts (ex. critics, stars, fans) and changing shape of artforms Who Belongs in Art Worlds? Arts Occupations, Institutions, Networks (continued) & Mediation (Gatekeepers, Facilitators) Source: V. Alexander Sociology of the Arts(2003), p. 63 . Participants in art worlds -- Creators/artists

art Audiences/publics/consumers Mediators Who Belongs to Art Worlds? c. Life Drawing Class, Bocour Paintmaking Studio NYC, c. 1942 Production of Culture Perspective (Peterson, Anand)

How culture shaped by systems in which it is created, distributed, evaluated, taught, preserved Culture not a mirror of society Focus on Expressive aspects of culture Processes of symbol production Analysis of organizations, occupations, networks, communities Comparisons In situated studies of specific cultural forms and changes in them Six Facet Model of Production

Technology Law and regulation Industry structure or field Organizational structure of dominating organizatins Occupational careers Markets Uses of the Production Perspective

Organizational Research theories of management institutional decision-making processes/logics Networks of production Resource partitioning patterns Studies of Informal Relations

Links between Class and Culture (ex. univore/omnivore) Resistance & appropriation Fabricating authenticity Critiques of Petersons Production of Culture Perspective Heavy emphasis on mediation processes and organizational structures or institutions Ignores or de-emphasizes

uniqueness of art to research constructed nature of collective representations, values Ignors roles of fans and consumers in shaping cultural products meanings of cultural production power relations Participants in Mediation Processes

Gatekeepers vs. facilitators : types vary with art form and genres Ex. Diana Crane on proponents of Avant-Garde Art Examples of types of mediators (between creators and publics): book publishers, record companies, film distribution networks, art gallery owners, booking agents, critics, reviewers for media, museum curators, sometimes even fans or fan clubs, etc Characteristics of the Mediators & Artistic Values Mediation as a way of conferring

status The role of critics and other gatekeepers in recognition processes, examples: Shrum emergence of Fringe Festivals as a performing arts genre when critics begin to review it Change in status of Graffiti and recognition by artists

Institutional forms & legitimation practices Status of Venues, status of artists Not-for-profit and for-profit models & differences in socio-cultural status (DiMaggio) Super Bowl XXXVIII, Halftime show, 2004 Mediators & Position in Field of Artistic production Former emphasis on control, domination, social reproduction

New theories more dynamic Social origins and established formulas or genres Hegemony & cultural industries Cultural things as mirrors of underlying structures (functionalism, Marxism)

Symbolic exchange, interaction Neo-institutionalism &production of culture approach (Peterson, DiMaggio) Persistence of hierarchical models, commercial measures Barry Gordy in Hitsville recording studio, Detroit (Motown) Peterson on Country Music How do mediators (record producers) choose artists to promote?

Authenticity, originality, distinctiveness Transformation of field of country music from 1923-1953 Process of institutionalization Identified audience Authenticity Paradox of creating authenticity artificially? Socially-agreed upon idea (social construction of

reality through shared values & practices) History of country music (a revolt that became a style) Artificial notion of the unchanged past hillbilly music (poor rural white Southerners) Early distain of this type of music because of its association with hillbilly culture Evolution of terminology (to country and western) Mediation in the Production of Culture Perspective How law, technology, careers, markets, organizational structure shape culture (in this

case a form of cultural expression called country music) notion of social production of culture (shared values, practices etc.) Emergence of differentiated roles in the field of cultural production (manager, talent agent etc.) Video Screening Off the Canvas. A Documentary Profiling 9 Maverick New York Women Art Dealers produced and directed by Marcia Urbin Raymond and Joyce Zylberberg Planning Short Assignments and Class Presentations

Discussion of reading assignments and ideas for topics for case studies Additional Reading Assignment: Selections from Eiko Ikegamis book Bonds of Civility chapter 6 required, introduction and conclusion recommended Note to Users of these Outlines- not all material covered in class appears on these outlines-important examples, demonstrations and discussions arent

written down here. Classes are efficient ways communicating information and provide you will an opportunity for regular learning. These outlines are provided as a study aid not a replacement for classes.

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