Uri McMillan
- Published in print:
- 2012
- Published Online:
- May 2016
- ISBN:
- 9781479802111
- eISBN:
- 9781479865451
- Item type:
- chapter
- Publisher:
- NYU Press
- DOI:
- 10.18574/nyu/9781479802111.003.0004
- Subject:
- Society and Culture, Cultural Studies
This chapter focuses on abstract painter Howardena Pindell and her controversial Free, White, and 21 (1980), a video art piece in which Pindell—playing all parts—staged a dialogue between ...
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This chapter focuses on abstract painter Howardena Pindell and her controversial Free, White, and 21 (1980), a video art piece in which Pindell—playing all parts—staged a dialogue between reincarnations of herself and a caricature of a white feminist who callously debunks the veracity of her experiences. The chapter interprets the video as a black feminist counterpublic that is not simply about critique, but also racism-as-trauma; furthermore, it detail Pindell’s performative engagements with cross-racial embodiment and avatar-play. Yet, in efforts to contextualize both the video’s content and Pindell’s career, the chapter begins with an examination of the various political and artistic communities Pindell participated in, or was denied access to, in the late 1960s and 1970s. In doing so, the chapter’s aim is to render visible not only the manifold tensions that arose from the merging of art and politics in this period, but more explicitly the difficulties in being a black woman artist excluded from avant-garde circles (both black and white), partly for making abstract work that was deemed not sufficiently “black.” The last part of the chapter discusses Pindell’s vociferous rebuke of “art world racism” through her involvement in PESTS, an anonymous arts organization. It turns to PESTS’s remains—a flyer, poster replicas, and two obscure newsletters—that serve as public engagements with the invisibility, exclusion, and tokenism faced by artists of color.Less
This chapter focuses on abstract painter Howardena Pindell and her controversial Free, White, and 21 (1980), a video art piece in which Pindell—playing all parts—staged a dialogue between reincarnations of herself and a caricature of a white feminist who callously debunks the veracity of her experiences. The chapter interprets the video as a black feminist counterpublic that is not simply about critique, but also racism-as-trauma; furthermore, it detail Pindell’s performative engagements with cross-racial embodiment and avatar-play. Yet, in efforts to contextualize both the video’s content and Pindell’s career, the chapter begins with an examination of the various political and artistic communities Pindell participated in, or was denied access to, in the late 1960s and 1970s. In doing so, the chapter’s aim is to render visible not only the manifold tensions that arose from the merging of art and politics in this period, but more explicitly the difficulties in being a black woman artist excluded from avant-garde circles (both black and white), partly for making abstract work that was deemed not sufficiently “black.” The last part of the chapter discusses Pindell’s vociferous rebuke of “art world racism” through her involvement in PESTS, an anonymous arts organization. It turns to PESTS’s remains—a flyer, poster replicas, and two obscure newsletters—that serve as public engagements with the invisibility, exclusion, and tokenism faced by artists of color.
Claire Roberts
- Published in print:
- 2010
- Published Online:
- September 2011
- ISBN:
- 9789888028405
- eISBN:
- 9789882207738
- Item type:
- chapter
- Publisher:
- Hong Kong University Press
- DOI:
- 10.5790/hongkong/9789888028405.003.0003
- Subject:
- Society and Culture, Asian Studies
This chapter discusses the first writings of Fou Lei, which were essays that praised and presented Liu Haisu as a heroic but misunderstood figure. One of his first essays was published in L'Art, and ...
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This chapter discusses the first writings of Fou Lei, which were essays that praised and presented Liu Haisu as a heroic but misunderstood figure. One of his first essays was published in L'Art, and also appeared in Masterpieces in World Art. Soon, Fou Lei began writing translations and essays on international literary and art-world news, and began teaching art history and theory at the Shanghai Art College. However, after the death of his mother, Fou Lei resigned from the art college and began his role as a translator of French literature. It is noted that Lei approached the craft of translation with the eye of an artist, and was sensitive to voice and narrative.Less
This chapter discusses the first writings of Fou Lei, which were essays that praised and presented Liu Haisu as a heroic but misunderstood figure. One of his first essays was published in L'Art, and also appeared in Masterpieces in World Art. Soon, Fou Lei began writing translations and essays on international literary and art-world news, and began teaching art history and theory at the Shanghai Art College. However, after the death of his mother, Fou Lei resigned from the art college and began his role as a translator of French literature. It is noted that Lei approached the craft of translation with the eye of an artist, and was sensitive to voice and narrative.
Banu Karaca
- Published in print:
- 2021
- Published Online:
- September 2021
- ISBN:
- 9780823290208
- eISBN:
- 9780823297337
- Item type:
- chapter
- Publisher:
- Fordham University Press
- DOI:
- 10.5422/fordham/9780823290208.003.0003
- Subject:
- Anthropology, Social and Cultural Anthropology
Chapter 2 turns to contemporary configurations of the art world, its institutions, and actors. It maps how these actors relate to each other in Istanbul and Berlin and how they mobilize aesthetic ...
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Chapter 2 turns to contemporary configurations of the art world, its institutions, and actors. It maps how these actors relate to each other in Istanbul and Berlin and how they mobilize aesthetic theories in the form of pragmatic shorthand to describe their work. These vernacularized formulations of aesthetic theories also serve to reconcile conflicting understandings of art. In contrast to existing, if sparse, institutional studies of the art world that conceptualize art as a cooperative endeavor, the chapter details how structural dependencies, power differentials, and conflicting understandings of art permeate the daily workings of the art world. Showing that relationships between artists, audiences, critics, curators, and art dealers are frequently personalized through a friend/foe binary, it argues that motifs of amity and enmity serve to mediate structural dependencies and power differentials in the art world. A second mediating discourse, primarily employed by collectors and sponsors to deflect the periodic discomforts that arise around corporate sponsorship and the politics of collecting, reconciles divergent interests in art through the trope of art’s civilizing capacities. Within this trope, portrayals of art as a “greater good” that “serves the public” are framed in national terms despite the global connectedness of the art world.Less
Chapter 2 turns to contemporary configurations of the art world, its institutions, and actors. It maps how these actors relate to each other in Istanbul and Berlin and how they mobilize aesthetic theories in the form of pragmatic shorthand to describe their work. These vernacularized formulations of aesthetic theories also serve to reconcile conflicting understandings of art. In contrast to existing, if sparse, institutional studies of the art world that conceptualize art as a cooperative endeavor, the chapter details how structural dependencies, power differentials, and conflicting understandings of art permeate the daily workings of the art world. Showing that relationships between artists, audiences, critics, curators, and art dealers are frequently personalized through a friend/foe binary, it argues that motifs of amity and enmity serve to mediate structural dependencies and power differentials in the art world. A second mediating discourse, primarily employed by collectors and sponsors to deflect the periodic discomforts that arise around corporate sponsorship and the politics of collecting, reconciles divergent interests in art through the trope of art’s civilizing capacities. Within this trope, portrayals of art as a “greater good” that “serves the public” are framed in national terms despite the global connectedness of the art world.
Banu Karaca
- Published in print:
- 2021
- Published Online:
- September 2021
- ISBN:
- 9780823290208
- eISBN:
- 9780823297337
- Item type:
- book
- Publisher:
- Fordham University Press
- DOI:
- 10.5422/fordham/9780823290208.001.0001
- Subject:
- Anthropology, Social and Cultural Anthropology
Based on long-term ethnographic research in the art world of Istanbul and Berlin, The National Frame rethinks the role of art in state governance. It argues that artistic practices, arts patronage ...
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Based on long-term ethnographic research in the art world of Istanbul and Berlin, The National Frame rethinks the role of art in state governance. It argues that artistic practices, arts patronage and sponsorship, collecting and curating art, and the modalities of censorship, just like official cultural policies, continue to be refracted through the conceptual lens of the nation-state—despite the intensified and much-studied globalization of art. By examining discussions on the civilizing function of art in Germany and Turkey and moments in which art is seen to cede this function, the book reveals the histories of violence on which the production, circulation, and presentation—indeed our very understanding—of art are predicated. It is in the process of disavowing this violence that contemporary art as a global practice keeps being called back into the national frame. Turkey and Germany occupy different places in dominant geopolitical and civilizational imaginaries that have construed the world in terms of “East” and “West,” and, more recently, “Islam” and “Christianity” as incommensurable entities. Unlike German art, art from Turkey is often seen as merging “traditional” and modern motifs, and expressive of “Turkish culture.” Working against this asymmetric perception the book fosters a comparative perspective by showing that Germany and Turkey share a long, troubling history of cultural encounters and political affiliation and similar struggles in claiming modern nationhood. The joint analysis of both cases reveals how art is configured politically and socially and why art has been at once vital and unwieldy for national projects.Less
Based on long-term ethnographic research in the art world of Istanbul and Berlin, The National Frame rethinks the role of art in state governance. It argues that artistic practices, arts patronage and sponsorship, collecting and curating art, and the modalities of censorship, just like official cultural policies, continue to be refracted through the conceptual lens of the nation-state—despite the intensified and much-studied globalization of art. By examining discussions on the civilizing function of art in Germany and Turkey and moments in which art is seen to cede this function, the book reveals the histories of violence on which the production, circulation, and presentation—indeed our very understanding—of art are predicated. It is in the process of disavowing this violence that contemporary art as a global practice keeps being called back into the national frame. Turkey and Germany occupy different places in dominant geopolitical and civilizational imaginaries that have construed the world in terms of “East” and “West,” and, more recently, “Islam” and “Christianity” as incommensurable entities. Unlike German art, art from Turkey is often seen as merging “traditional” and modern motifs, and expressive of “Turkish culture.” Working against this asymmetric perception the book fosters a comparative perspective by showing that Germany and Turkey share a long, troubling history of cultural encounters and political affiliation and similar struggles in claiming modern nationhood. The joint analysis of both cases reveals how art is configured politically and socially and why art has been at once vital and unwieldy for national projects.
Karen Green and Kim A. Munson
- Published in print:
- 2020
- Published Online:
- May 2021
- ISBN:
- 9781496828118
- eISBN:
- 9781496828064
- Item type:
- chapter
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781496828118.003.0026
- Subject:
- Literature, Comics Studies
This chapter includes a 2018 essay by art historian Kim A. Munson and Karen Green, Curator for Comics and Cartoons at Columbia’s Butler Library, about the satirical cartoons of Jonah Kinigstein, a ...
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This chapter includes a 2018 essay by art historian Kim A. Munson and Karen Green, Curator for Comics and Cartoons at Columbia’s Butler Library, about the satirical cartoons of Jonah Kinigstein, a classically trained painter whose ambitions were frustrated by the New York art world’s obsession with Abstract Expressionism and the lucrative industry that grew up around it. This chapter discusses Kinigstein’s exhibition at the Society of Illustrators, his training and influences, and his protest of the art world by pasting up his bitingly critical cartoons on walls all over SoHo. This chapter includes an interview of his life and career conducted by Karen Green. Images: Kinigstein cartoon and studio photo, Society of Illustrators exterior.Less
This chapter includes a 2018 essay by art historian Kim A. Munson and Karen Green, Curator for Comics and Cartoons at Columbia’s Butler Library, about the satirical cartoons of Jonah Kinigstein, a classically trained painter whose ambitions were frustrated by the New York art world’s obsession with Abstract Expressionism and the lucrative industry that grew up around it. This chapter discusses Kinigstein’s exhibition at the Society of Illustrators, his training and influences, and his protest of the art world by pasting up his bitingly critical cartoons on walls all over SoHo. This chapter includes an interview of his life and career conducted by Karen Green. Images: Kinigstein cartoon and studio photo, Society of Illustrators exterior.
Samuel Gilmore
- Published in print:
- 1990
- Published Online:
- February 2013
- ISBN:
- 9780226041179
- eISBN:
- 9780226041056
- Item type:
- chapter
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226041056.003.0007
- Subject:
- Sociology, Social Theory
Writing about symbolic interaction and the arts, one becomes immersed in issues of social organization. The development of an interactionist approach to social structure has greatly benefited from ...
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Writing about symbolic interaction and the arts, one becomes immersed in issues of social organization. The development of an interactionist approach to social structure has greatly benefited from research in the arts, particularly the effort to construct a macro-level interactionist conception of society. An emphasis on an integrated micro-macro analysis is the distinguishing feature of the interactionist approach to social organization. Social worlds are useful as an interactionist unit of social organization because of the dual emphasis on structural and cultural elements. This dual emphasis is illustrated by artistic participants' group construct of an “art world.” This chapter reviews studies in the arts, clustered into production, distribution, and consumption stages, that are of interest to interactionists if not actually done by interactionist researchers. It treats these stages as a technical separation of activities, often not so clearly differentiated socially. It prefers to define the “production” of culture in a generic sense, applicable to all three technical stages including “processes of creation, manufacture, marketing, distribution, exhibiting, inculcation, evaluation, and consumption.”Less
Writing about symbolic interaction and the arts, one becomes immersed in issues of social organization. The development of an interactionist approach to social structure has greatly benefited from research in the arts, particularly the effort to construct a macro-level interactionist conception of society. An emphasis on an integrated micro-macro analysis is the distinguishing feature of the interactionist approach to social organization. Social worlds are useful as an interactionist unit of social organization because of the dual emphasis on structural and cultural elements. This dual emphasis is illustrated by artistic participants' group construct of an “art world.” This chapter reviews studies in the arts, clustered into production, distribution, and consumption stages, that are of interest to interactionists if not actually done by interactionist researchers. It treats these stages as a technical separation of activities, often not so clearly differentiated socially. It prefers to define the “production” of culture in a generic sense, applicable to all three technical stages including “processes of creation, manufacture, marketing, distribution, exhibiting, inculcation, evaluation, and consumption.”
Anne Ring Petersen
- Published in print:
- 2018
- Published Online:
- May 2018
- ISBN:
- 9781526121905
- eISBN:
- 9781526132352
- Item type:
- chapter
- Publisher:
- Manchester University Press
- DOI:
- 10.7228/manchester/9781526121905.003.0003
- Subject:
- Art, Art History
Questions of cultural identity and the status of non-Western artists in the West have been important to the discourses on the interrelations between contemporary art, migration and globalisation for ...
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Questions of cultural identity and the status of non-Western artists in the West have been important to the discourses on the interrelations between contemporary art, migration and globalisation for at least two decades. Chapter 2 considers the connections between the critical discourse on cultural identity, the globalisation of the art world and the adoption of multicultural policies by Western art institutions. It critically engages with the British discourse on ‘New Internationalism’ in the 1990s as well as the wider and more recent discourse on ‘global art’. It is argued that discussions from the last twenty-five years have not only made it clear that institutional multiculturalism is not the answer to the challenge of attaining genuine recognition of non-Western artists in the West, but also revealed that the critical discourse on identity politics has not been able to come up with solutions, either. In fact, it is marred by the same binary thinking and mechanisms of exclusion that it aims to deconstruct. Chapter 2 concludes with two suggestions to how we can get beyond the deadlock of the critical discourse on identity politics.Less
Questions of cultural identity and the status of non-Western artists in the West have been important to the discourses on the interrelations between contemporary art, migration and globalisation for at least two decades. Chapter 2 considers the connections between the critical discourse on cultural identity, the globalisation of the art world and the adoption of multicultural policies by Western art institutions. It critically engages with the British discourse on ‘New Internationalism’ in the 1990s as well as the wider and more recent discourse on ‘global art’. It is argued that discussions from the last twenty-five years have not only made it clear that institutional multiculturalism is not the answer to the challenge of attaining genuine recognition of non-Western artists in the West, but also revealed that the critical discourse on identity politics has not been able to come up with solutions, either. In fact, it is marred by the same binary thinking and mechanisms of exclusion that it aims to deconstruct. Chapter 2 concludes with two suggestions to how we can get beyond the deadlock of the critical discourse on identity politics.
Benjamin Brinner
- Published in print:
- 2009
- Published Online:
- October 2011
- ISBN:
- 9780195395945
- eISBN:
- 9780199852666
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195395945.003.0008
- Subject:
- Music, Ethnomusicology, World Music
Professional musicians are always enmeshed in larger sets of relationships as they join, create, and reshape networks relevant to their musical work. At all stages of their careers they navigate the ...
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Professional musicians are always enmeshed in larger sets of relationships as they join, create, and reshape networks relevant to their musical work. At all stages of their careers they navigate the links that bind them to others with related interests and needs in order, for instance, to find employment and partners for performances. The network concept can usefully be extended further to include institutions such as schools, events such as festivals, venues such as particular clubs or concert halls, and artifacts such as recordings. Networks have been analyzed from different perspectives in a broad array of disciplines, ranging from sociology through epidemiology to computer science. Network theory encompasses these and offers more detailed ways of thinking about relationships and roles. In this chapter, the author explores three related perspectives: networks, scenes, and art worlds.Less
Professional musicians are always enmeshed in larger sets of relationships as they join, create, and reshape networks relevant to their musical work. At all stages of their careers they navigate the links that bind them to others with related interests and needs in order, for instance, to find employment and partners for performances. The network concept can usefully be extended further to include institutions such as schools, events such as festivals, venues such as particular clubs or concert halls, and artifacts such as recordings. Networks have been analyzed from different perspectives in a broad array of disciplines, ranging from sociology through epidemiology to computer science. Network theory encompasses these and offers more detailed ways of thinking about relationships and roles. In this chapter, the author explores three related perspectives: networks, scenes, and art worlds.
Jennifer Tyburczy
- Published in print:
- 2016
- Published Online:
- May 2016
- ISBN:
- 9780226315102
- eISBN:
- 9780226315386
- Item type:
- chapter
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226315386.003.0005
- Subject:
- Society and Culture, Gender Studies
Chapter four examines sex museum tourism as an otherwise unacknowledged form of sex tourism that confirms the ever-growing reach of the sexual marketplace as an economy that seizes on local, ...
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Chapter four examines sex museum tourism as an otherwise unacknowledged form of sex tourism that confirms the ever-growing reach of the sexual marketplace as an economy that seizes on local, national, and international travelers’ desires to include some component of sex in their sight-seeing itinerary. Sex museums show how sex and money constitute the architecture of many unexpected urban spaces that go beyond the ones locally marked or governmentally regulated as pleasure zones. In addition to what they display, the strategies that sex museum planners have used to carve out this niche market in the post-industrial sex industry demonstrate how specific kinds of sex permeate the public sphere in ways particular to late capitalism. This chapter exposes some of these strategies by examining the cultural histories of two sex museums in the United States—the Museum of Sex in New York and the World Erotic Art Museum—and pays specific attention to how their owners—Daniel Gluck and Naomi Wilzig—worked both with and against more intelligible forms of sexual commerce to keep their sex museum doors open.Less
Chapter four examines sex museum tourism as an otherwise unacknowledged form of sex tourism that confirms the ever-growing reach of the sexual marketplace as an economy that seizes on local, national, and international travelers’ desires to include some component of sex in their sight-seeing itinerary. Sex museums show how sex and money constitute the architecture of many unexpected urban spaces that go beyond the ones locally marked or governmentally regulated as pleasure zones. In addition to what they display, the strategies that sex museum planners have used to carve out this niche market in the post-industrial sex industry demonstrate how specific kinds of sex permeate the public sphere in ways particular to late capitalism. This chapter exposes some of these strategies by examining the cultural histories of two sex museums in the United States—the Museum of Sex in New York and the World Erotic Art Museum—and pays specific attention to how their owners—Daniel Gluck and Naomi Wilzig—worked both with and against more intelligible forms of sexual commerce to keep their sex museum doors open.
Declan Long
- Published in print:
- 2017
- Published Online:
- May 2018
- ISBN:
- 9781784991449
- eISBN:
- 9781526132291
- Item type:
- chapter
- Publisher:
- Manchester University Press
- DOI:
- 10.7228/manchester/9781784991449.003.0003
- Subject:
- Art, Art Theory and Criticism
Chapter two asks how ‘Northern Irish art’ of the post-Troubles era might be critically approached and appraised in light of broader contemporary conditions. The relation of shifts in Northern ...
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Chapter two asks how ‘Northern Irish art’ of the post-Troubles era might be critically approached and appraised in light of broader contemporary conditions. The relation of shifts in Northern Ireland’s art to wider developments in the global art world are addressed and the chapter discusses the ways in which artists from Northern Ireland have been positioned and presented internationally in the post-Troubles years. This chapter takes the 2005 exhibition of art from Northern Ireland at the Venice Biennale as the departure point for an extended examination of how the representation of ‘local’ concerns is shaped in relation to wider cultural and economic forces.Less
Chapter two asks how ‘Northern Irish art’ of the post-Troubles era might be critically approached and appraised in light of broader contemporary conditions. The relation of shifts in Northern Ireland’s art to wider developments in the global art world are addressed and the chapter discusses the ways in which artists from Northern Ireland have been positioned and presented internationally in the post-Troubles years. This chapter takes the 2005 exhibition of art from Northern Ireland at the Venice Biennale as the departure point for an extended examination of how the representation of ‘local’ concerns is shaped in relation to wider cultural and economic forces.
Jane Chin Davidson
- Published in print:
- 2020
- Published Online:
- May 2020
- ISBN:
- 9781526139788
- eISBN:
- 9781526150516
- Item type:
- chapter
- Publisher:
- Manchester University Press
- DOI:
- 10.7765/9781526139795.00012
- Subject:
- Art, Art History
One of the reasons why global expositions, biennials, and artfairs appear as ‘new’ global institutions is due in part to the museumifying permanence of objects reflecting the manufacture of the art / ...
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One of the reasons why global expositions, biennials, and artfairs appear as ‘new’ global institutions is due in part to the museumifying permanence of objects reflecting the manufacture of the art / science divide. Throughout the twentieth century, it was the museum, not the biennial artfair, that inscribed the artwork and the artefact according to the categories of the modern and the primitive, the west and the non-west. The historical objects collected by museums in Europe and the United States have come to represent the colonialist past, and its archival methodology is defined by the temporary collections of some of the same cultures represented in global artfairs worldwide. Ultimately, this chapter’s contextualization of the discursive domain of museums, global expositions, and their representation of Chinese states is conceived as a study of the ‘performative archive.’ In the analysis of the first artists representing China, Taiwan and Hong Kong in official pavilions at the Venice Biennale between 1993 and 2005, the individual case studies offer an understanding of how cultural and national identities are performed and produced in the expositions’ metaphorical spaces.Less
One of the reasons why global expositions, biennials, and artfairs appear as ‘new’ global institutions is due in part to the museumifying permanence of objects reflecting the manufacture of the art / science divide. Throughout the twentieth century, it was the museum, not the biennial artfair, that inscribed the artwork and the artefact according to the categories of the modern and the primitive, the west and the non-west. The historical objects collected by museums in Europe and the United States have come to represent the colonialist past, and its archival methodology is defined by the temporary collections of some of the same cultures represented in global artfairs worldwide. Ultimately, this chapter’s contextualization of the discursive domain of museums, global expositions, and their representation of Chinese states is conceived as a study of the ‘performative archive.’ In the analysis of the first artists representing China, Taiwan and Hong Kong in official pavilions at the Venice Biennale between 1993 and 2005, the individual case studies offer an understanding of how cultural and national identities are performed and produced in the expositions’ metaphorical spaces.
Roberta Wue
- Published in print:
- 2014
- Published Online:
- September 2017
- ISBN:
- 9789888208463
- eISBN:
- 9789888313280
- Item type:
- chapter
- Publisher:
- Hong Kong University Press
- DOI:
- 10.5790/hongkong/9789888208463.003.0003
- Subject:
- Art, Art History
Examines the relationships between Shanghai artists and their public and the establishment of these relationships through Shanghai’s growing mass media outlets. By exploiting the city’s burgeoning ...
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Examines the relationships between Shanghai artists and their public and the establishment of these relationships through Shanghai’s growing mass media outlets. By exploiting the city’s burgeoning newspaper and publishing industries, artists promoted themselves as public figures and marketed themselves, their products and activities; through the mass media, they were able to access audiences on local, national and even international levels. By using newspaper advertising and articles, guide books, popular periodicals and collected writings, this chapter reveals the formation of the art world’s public image, promoted for consumption by an urban audience and mass readership.Less
Examines the relationships between Shanghai artists and their public and the establishment of these relationships through Shanghai’s growing mass media outlets. By exploiting the city’s burgeoning newspaper and publishing industries, artists promoted themselves as public figures and marketed themselves, their products and activities; through the mass media, they were able to access audiences on local, national and even international levels. By using newspaper advertising and articles, guide books, popular periodicals and collected writings, this chapter reveals the formation of the art world’s public image, promoted for consumption by an urban audience and mass readership.
Peter J. Martin
- Published in print:
- 2006
- Published Online:
- July 2012
- ISBN:
- 9780719072161
- eISBN:
- 9781781701492
- Item type:
- chapter
- Publisher:
- Manchester University Press
- DOI:
- 10.7228/manchester/9780719072161.003.0007
- Subject:
- Society and Culture, Media Studies
This chapter considers the relevance of the art world perspective to an understanding of jazz improvisation. It draws on Paul Berliner's authoritative research, and uses the career of Charlie Parker ...
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This chapter considers the relevance of the art world perspective to an understanding of jazz improvisation. It draws on Paul Berliner's authoritative research, and uses the career of Charlie Parker as an illustration. It argues that while jazz musicians have made contributions to music in a wide variety of ways, their greatest achievements have been the restoration of improvisation to the mainstream of western musical culture.Less
This chapter considers the relevance of the art world perspective to an understanding of jazz improvisation. It draws on Paul Berliner's authoritative research, and uses the career of Charlie Parker as an illustration. It argues that while jazz musicians have made contributions to music in a wide variety of ways, their greatest achievements have been the restoration of improvisation to the mainstream of western musical culture.
Anna Dahlgren
- Published in print:
- 2018
- Published Online:
- January 2019
- ISBN:
- 9781526126641
- eISBN:
- 9781526139016
- Item type:
- chapter
- Publisher:
- Manchester University Press
- DOI:
- 10.7228/manchester/9781526126641.003.0001
- Subject:
- Art, Art History
The introduction expands on the rationale, aim and layout of the book. It also the develops the core concepts of the book, such as image, art world, borderlands, and image ecology. The notion ‘art ...
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The introduction expands on the rationale, aim and layout of the book. It also the develops the core concepts of the book, such as image, art world, borderlands, and image ecology. The notion ‘art world’ emphasizes that the distinctions between art and non-art are constructed by diverse agents and institutions. Moreover the term ‘borderlands’ is used to defy the idea that there is a definite demarcation or border between what is ‘inside’ and ‘outside’ of the art world. The term image ecology serves as a metaphor for a desire to understand the interrelationships of things such as the nature of change, adaption and community and as a way to locate how and why images operate in certain ‘environments’ or systems of meaning. Finally the introduction posits the book in the long tradition of image studies and also in recent development within media studies, particularly studies on mediatization and media archaeology.Less
The introduction expands on the rationale, aim and layout of the book. It also the develops the core concepts of the book, such as image, art world, borderlands, and image ecology. The notion ‘art world’ emphasizes that the distinctions between art and non-art are constructed by diverse agents and institutions. Moreover the term ‘borderlands’ is used to defy the idea that there is a definite demarcation or border between what is ‘inside’ and ‘outside’ of the art world. The term image ecology serves as a metaphor for a desire to understand the interrelationships of things such as the nature of change, adaption and community and as a way to locate how and why images operate in certain ‘environments’ or systems of meaning. Finally the introduction posits the book in the long tradition of image studies and also in recent development within media studies, particularly studies on mediatization and media archaeology.
Alain Pessin
- Published in print:
- 2017
- Published Online:
- January 2018
- ISBN:
- 9780226362717
- eISBN:
- 9780226362991
- Item type:
- chapter
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226362991.003.0002
- Subject:
- Sociology, Culture
In this chapter, Pessin describes Howard Becker’s work regarding the sociology of art and the concept of art worlds. Pessin describes how Becker was driven to analyze art worlds due to his interest ...
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In this chapter, Pessin describes Howard Becker’s work regarding the sociology of art and the concept of art worlds. Pessin describes how Becker was driven to analyze art worlds due to his interest in the way jazz musicians are able to play together and stop together. Becker’s sociology of art rejects the notion of the sovereign or solitary artist, and instead focuses on the conventional knowledge and chains of cooperation that form an art world. In his view, the object of sociology of art is not a sole artist, but rather the whole set of things done by various people so that artwork can appear. Pessin explains how Becker’s notions regarding art worlds relate to ideas of aesthetics and explicates Becker’s principle of the fundamental indetermination of the work of art.Less
In this chapter, Pessin describes Howard Becker’s work regarding the sociology of art and the concept of art worlds. Pessin describes how Becker was driven to analyze art worlds due to his interest in the way jazz musicians are able to play together and stop together. Becker’s sociology of art rejects the notion of the sovereign or solitary artist, and instead focuses on the conventional knowledge and chains of cooperation that form an art world. In his view, the object of sociology of art is not a sole artist, but rather the whole set of things done by various people so that artwork can appear. Pessin explains how Becker’s notions regarding art worlds relate to ideas of aesthetics and explicates Becker’s principle of the fundamental indetermination of the work of art.
Michael Dooley
- Published in print:
- 2020
- Published Online:
- May 2021
- ISBN:
- 9781496828118
- eISBN:
- 9781496828064
- Item type:
- chapter
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781496828118.003.0027
- Subject:
- Literature, Comics Studies
This chapter includes a 1990 review of High and Low: Modern Art, Popular Culture by graphic design journalist Michael Dooley. His critique of the exhibit as seen in Los Angeles: “The show failed, and ...
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This chapter includes a 1990 review of High and Low: Modern Art, Popular Culture by graphic design journalist Michael Dooley. His critique of the exhibit as seen in Los Angeles: “The show failed, and not simply by the standards of right- and left-wing axe-grinders. More importantly, and sadder still, it failed on its own terms. The show’s attendees never arrived at an interchange; instead, they were stuck on a one-way drive up the high road.” This chapter discusses specific works of art, comics, and advertising and contains an overview of the surrounding art world politics. Images: 2 exhibit photos (MoMA), 3 ads referencing pop culture.
This chapter also includes the essay “My Way along the High Way.” This is a 2017 essay by graphic design journalist Michael Dooley, written as an afterword to his 1990 article "High Way Robbery” about High and Low: Modern Art, Popular Culture and its legacy. This afterword discusses ongoing interaction between pop culture and fine art, specifically Jeff Koons, Ed Ruscha, R. Crumb, Harvey Kurtzman, Art Spiegelman, and the exhibition Masters of American Comics.Less
This chapter includes a 1990 review of High and Low: Modern Art, Popular Culture by graphic design journalist Michael Dooley. His critique of the exhibit as seen in Los Angeles: “The show failed, and not simply by the standards of right- and left-wing axe-grinders. More importantly, and sadder still, it failed on its own terms. The show’s attendees never arrived at an interchange; instead, they were stuck on a one-way drive up the high road.” This chapter discusses specific works of art, comics, and advertising and contains an overview of the surrounding art world politics. Images: 2 exhibit photos (MoMA), 3 ads referencing pop culture.
This chapter also includes the essay “My Way along the High Way.” This is a 2017 essay by graphic design journalist Michael Dooley, written as an afterword to his 1990 article "High Way Robbery” about High and Low: Modern Art, Popular Culture and its legacy. This afterword discusses ongoing interaction between pop culture and fine art, specifically Jeff Koons, Ed Ruscha, R. Crumb, Harvey Kurtzman, Art Spiegelman, and the exhibition Masters of American Comics.
David Burrows
- Published in print:
- 2010
- Published Online:
- March 2012
- ISBN:
- 9780748638376
- eISBN:
- 9780748652662
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9780748638376.003.0010
- Subject:
- Philosophy, General
This chapter analyses Gilles Deleuze's Foucault to explore the seeable and the sayable of the art world's logic of scenes, arguing that art scenes in general should be understood as diagrammatic, as ...
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This chapter analyses Gilles Deleuze's Foucault to explore the seeable and the sayable of the art world's logic of scenes, arguing that art scenes in general should be understood as diagrammatic, as movements producing mutant statements, and as a basis for a praxis of art and life. It suggests that a scene is defined less by its size than by the durational quality of its affective and intensive encounters, and that it is Deleuze's impersonal, biopolitical orientation which illuminates the potential art scenes.Less
This chapter analyses Gilles Deleuze's Foucault to explore the seeable and the sayable of the art world's logic of scenes, arguing that art scenes in general should be understood as diagrammatic, as movements producing mutant statements, and as a basis for a praxis of art and life. It suggests that a scene is defined less by its size than by the durational quality of its affective and intensive encounters, and that it is Deleuze's impersonal, biopolitical orientation which illuminates the potential art scenes.
Michael Maizels
- Published in print:
- 2015
- Published Online:
- May 2016
- ISBN:
- 9780816694686
- eISBN:
- 9781452952314
- Item type:
- chapter
- Publisher:
- University of Minnesota Press
- DOI:
- 10.5749/minnesota/9780816694686.003.0006
- Subject:
- Art, Visual Culture
The Epilogue addresses Le Va's historical position, examining the way in which a kind of “minor status” has been ascribed to him since almost the beginning of his career. It suggests that while a ...
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The Epilogue addresses Le Va's historical position, examining the way in which a kind of “minor status” has been ascribed to him since almost the beginning of his career. It suggests that while a number of factors likely contributed to Le Va’s comparative lack of renown the best explanation is Le Va’s own demonstrated reticence to pursue a higher artistic profile. This must be understood not only as an expression of an individual’s understandable desire to work outside of the limelight but also as a part of a critique of the mechanisms of art world fame. By not seeking a place in the pantheon of great artists, Le Va insists on a kind of art history—multiple, fragmented and temporary—that echoes his own work.Less
The Epilogue addresses Le Va's historical position, examining the way in which a kind of “minor status” has been ascribed to him since almost the beginning of his career. It suggests that while a number of factors likely contributed to Le Va’s comparative lack of renown the best explanation is Le Va’s own demonstrated reticence to pursue a higher artistic profile. This must be understood not only as an expression of an individual’s understandable desire to work outside of the limelight but also as a part of a critique of the mechanisms of art world fame. By not seeking a place in the pantheon of great artists, Le Va insists on a kind of art history—multiple, fragmented and temporary—that echoes his own work.
Bennetta Jules-Rosette and J.R. Osborn
- Published in print:
- 2020
- Published Online:
- January 2021
- ISBN:
- 9780252043277
- eISBN:
- 9780252052156
- Item type:
- chapter
- Publisher:
- University of Illinois Press
- DOI:
- 10.5622/illinois/9780252043277.003.0005
- Subject:
- Society and Culture, African Studies
Based on extensive interviews with museum curators and directors, this chapter curates the curators. It identifies curatorial networks, strategies, and practices that shape the narratives used in ...
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Based on extensive interviews with museum curators and directors, this chapter curates the curators. It identifies curatorial networks, strategies, and practices that shape the narratives used in assembling collections and mounting exhibitions. Curatorial networks demonstrate the relevance of a nodal theory of museums and the ways in which curators are able to organize exhibitions. Interviews include representatives of the Smithsonian National Museum of African Art, the Fowler Museum, the Musée de l’Homme, the Schomburg Center for Research in Black Culture, the African Museum Casa del Rey Moro, the Africa and Beyond Gallery, and independent curators. Museum narratives and curatorial networks coalesce to generate the bureaucratic and art worlds shared by museums at all nodes. The interviews demonstrate outcomes from dynamic museum environments in transition.Less
Based on extensive interviews with museum curators and directors, this chapter curates the curators. It identifies curatorial networks, strategies, and practices that shape the narratives used in assembling collections and mounting exhibitions. Curatorial networks demonstrate the relevance of a nodal theory of museums and the ways in which curators are able to organize exhibitions. Interviews include representatives of the Smithsonian National Museum of African Art, the Fowler Museum, the Musée de l’Homme, the Schomburg Center for Research in Black Culture, the African Museum Casa del Rey Moro, the Africa and Beyond Gallery, and independent curators. Museum narratives and curatorial networks coalesce to generate the bureaucratic and art worlds shared by museums at all nodes. The interviews demonstrate outcomes from dynamic museum environments in transition.
Anna Dahlgren
- Published in print:
- 2018
- Published Online:
- January 2019
- ISBN:
- 9781526126641
- eISBN:
- 9781526139016
- Item type:
- book
- Publisher:
- Manchester University Press
- DOI:
- 10.7228/manchester/9781526126641.001.0001
- Subject:
- Art, Art History
Travelling images critically examines the migrations and transformations of images as they travel between different image communities. It consists of four case studies covering the period 1870–2010 ...
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Travelling images critically examines the migrations and transformations of images as they travel between different image communities. It consists of four case studies covering the period 1870–2010 and includes photocollages, window displays, fashion imagery and contemporary art projects. Through these four close-ups it seeks to reveal the mechanisms, nature and character of these migration processes, and the agents behind them, as well as the sites where they have taken place. The overall aim of this book is thus to understand the mechanisms of interfacing events in the borderlands of the art world. Two key arguments are developed in the book, reflected by its title Travelling images. First, the notion of travel and focus on movements and transformations signal an emphasis on the similarities between cultural artefacts and living beings. The book considers ‘the social biography’ and ‘ecology’ of images, but also, on a more profound level, the biography and ecology of the notion of art. In doing so, it merges perspectives from art history and image studies with media studies. Consequently, it combines a focus on the individual case, typical for art history and material culture studies with a focus on processes and systems, on continuities and ruptures, and alternate histories inspired by media archaeology and cultural historical media studies. Second, the central concept of image is in this book used to designate both visual conventions, patterns or contents and tangible visual images. Thus it simultaneously consider of content and materiality.Less
Travelling images critically examines the migrations and transformations of images as they travel between different image communities. It consists of four case studies covering the period 1870–2010 and includes photocollages, window displays, fashion imagery and contemporary art projects. Through these four close-ups it seeks to reveal the mechanisms, nature and character of these migration processes, and the agents behind them, as well as the sites where they have taken place. The overall aim of this book is thus to understand the mechanisms of interfacing events in the borderlands of the art world. Two key arguments are developed in the book, reflected by its title Travelling images. First, the notion of travel and focus on movements and transformations signal an emphasis on the similarities between cultural artefacts and living beings. The book considers ‘the social biography’ and ‘ecology’ of images, but also, on a more profound level, the biography and ecology of the notion of art. In doing so, it merges perspectives from art history and image studies with media studies. Consequently, it combines a focus on the individual case, typical for art history and material culture studies with a focus on processes and systems, on continuities and ruptures, and alternate histories inspired by media archaeology and cultural historical media studies. Second, the central concept of image is in this book used to designate both visual conventions, patterns or contents and tangible visual images. Thus it simultaneously consider of content and materiality.
