Theories about Art & Society(disciplinary debates, socio-historic dimensions)

Theories about Art & Society(disciplinary debates, socio-historic dimensions)

Especially:

Becker, Howard. “Art Worlds"

Bourdieu, Pierre. "Who Creates the 'Creator'?" and "The Circle of Belief”

Jenson, Joli “Is art good for us?”

Lane “When does art become art?”

QuickTime™ and aTIFF (Uncompressed) decompressor

are needed to see this picture.

Ghirlandaio Adoration of the Magi 15th c.

Recall: Course OrganizationRecall: Course Organization

SyllabusSyllabus and Preliminary Reading List and Preliminary Reading List Resources (on web)Resources (on web)

http://webdav.sfu.ca/web/cmns/courses/2008/488

note note importance of attendance & participation for gradesimportance of attendance & participation for grades Proper use of citationsProper use of citations

Discussion of Vancouver Art Gallery visit Last WeekDiscussion of Vancouver Art Gallery visit Last Week

The museum visit as a form of communication The museum visit as a form of communication or interaction (from the perspective of the or interaction (from the perspective of the visitor, museum professionals, artists etc..)visitor, museum professionals, artists etc..)

The “content” of the exhibitionsThe “content” of the exhibitions The museum as a frame or cultural context The museum as a frame or cultural context

(other shows, shop items etc.)(other shows, shop items etc.) Objects & stakeholdersObjects & stakeholders The museum “system”The museum “system”

Today’s Topic: Theories of Art and Society (Intellectual Traditions)Today’s Topic: Theories of Art and Society (Intellectual Traditions)

Humanistic (history, literature)Humanistic (history, literature) iconographic & formalist approaches iconographic & formalist approaches old-style humanism--Centered on great events, individuals, canonsold-style humanism--Centered on great events, individuals, canons New approaches (ex. Cultural studies, Media studies) New approaches (ex. Cultural studies, Media studies)

Anthropological-- function of the arts & symbolic Anthropological-- function of the arts & symbolic representationsrepresentations

ex. myths, ritual ex. African Masks, Greek Potteryex. myths, ritual ex. African Masks, Greek Pottery

Psychological– perception , cognitionPsychological– perception , cognition Philosophy- aestheticsPhilosophy- aesthetics Sociology --many debates (processes, institutions etc.)Sociology --many debates (processes, institutions etc.) Visual Arts -cinema studies etc..Visual Arts -cinema studies etc..

Theories about changes in ideas about what art represents over time (Jurt)Theories about changes in ideas about what art represents over time (Jurt)

rendering of “reality” (nature), rendering of “reality” (nature), mimesis, imitatiomimesis, imitatio as world view in a specific place & timeas world view in a specific place & time as product of solitary genius (Renaissance)as product of solitary genius (Renaissance) Artists’ vision (19th romanticism)Artists’ vision (19th romanticism) made by “system” of production & receptionmade by “system” of production & reception Socio-political processes (symbolic & material)Socio-political processes (symbolic & material)

Some “Common-sense” approaches to Art & SocietySome “Common-sense” approaches to Art & Society a measure of civilization (stages of a measure of civilization (stages of

development in other fields)development in other fields) historical record (events, practices, values)-- historical record (events, practices, values)--

notion of Zeitgeist or mentalitiesnotion of Zeitgeist or mentalities predictor or instigator of change (theories of predictor or instigator of change (theories of

the avant-garde), source of new insights, the avant-garde), source of new insights, way of communicatinway of communicatin

VideoVideo

Norman McLaren Norman McLaren Neighbours. Neighbours. 1953.1953. SFU Media Collection (NFB DVD 03 (PN SFU Media Collection (NFB DVD 03 (PN

1998.3 M38 N676 2006 DVD31998.3 M38 N676 2006 DVD3 Art as social commentaryArt as social commentary

Disciplinary Differences: Internal vs. External ApproachesDisciplinary Differences: Internal vs. External Approaches

two extremes (internal vs. external approaches)two extremes (internal vs. external approaches) ““internal”internal” (humanities) -- arts outside social (humanities) -- arts outside social

processesprocesses Artists=solitary creator, exceptional genius (humanistic Artists=solitary creator, exceptional genius (humanistic

approach)approach) Arts, aesthetics as universalArts, aesthetics as universal

““external”external” (social sciences) --art world or worlds (social sciences) --art world or worlds are socially constructedare socially constructed importance of social context and social processes & importance of social context and social processes &

structures for understanding the arts and its usesstructures for understanding the arts and its uses

Internal Dilemmas: Eternal “Truths”? Exceptional Beings?

Internal Dilemmas: Eternal “Truths”? Exceptional Beings?

expression of eternal expression of eternal “truths”, aesthetics“truths”, aesthetics music Clip music Clip

“Pain in my heart”, “Pain in my heart”, Otis Otis ReddingRedding, R & B, Stax Volt, R & B, Stax Volt

Ex. Notion that Greek Aesthetic Ex. Notion that Greek Aesthetic Values (like Ideals of BeautyValues (like Ideals of Beauty& Bodily Proportions) express & Bodily Proportions) express universalsuniversals

Exceptional?Exceptional?

Internal ApproachesInternal Approaches

Styles, tastes and systems of ranking art formsStyles, tastes and systems of ranking art forms

– avant-garde vs. traditionalists etc.avant-garde vs. traditionalists etc.

– Genres, art formsGenres, art forms

– Types of art Types of art CanonsCanons (notion of what belongs and how it is ranked) (notion of what belongs and how it is ranked) place of social & historical processes in defining art & place of social & historical processes in defining art &

what gets included in what gets included in canonscanons

But Changing Ways of Seeing (Baxandahl)But Changing Ways of Seeing (Baxandahl) Modern notions of viewing art objects in Modern notions of viewing art objects in

different historical context as pure aesthetic different historical context as pure aesthetic experience, autonomous objects, formal experience, autonomous objects, formal qualitiesqualities

ignoresignores Historical contexts of works with religious Historical contexts of works with religious

and social functionsand social functions

Ex. Marcel Duchamp--Readymade Sculptures vs. conventional techniques (challenging definitions of what is art)

Ex. Marcel Duchamp--Readymade Sculptures vs. conventional techniques (challenging definitions of what is art)

Fountain, original (left) and recreations of lost 1917 “Original”

Who decides what is art?– the artist, experts, publics??

Other Challenges to the Canon: Mona Lisa & DuchampOther Challenges to the Canon: Mona Lisa & Duchamp

(l.)Leonardo DaVinci’s so-called Mona Lisa c. 1503; (r.) Marcel Duchamp’s L.H.O.O.Q, 1920 for a Paris Dada show.

Cont.: Mona Lisa & Non-western cultural traditionsCont.: Mona Lisa & Non-western cultural traditions

(l.)Leonardo DaVinci’s so-called Mona Lisa c. 1503; (r.)Book cover from Cultural Studies for Beginners by Sardar & Van Loon.

Ex. American Jazz as a high culture art formEx. American Jazz as a high culture art form Marsalis, Brandon. ‘Brother Trying to Marsalis, Brandon. ‘Brother Trying to

Catch a Cab (On The East Side) Blues’ Catch a Cab (On The East Side) Blues’ from from I heard you twice the first time I heard you twice the first time (Columbia 1992)(Columbia 1992)

Also--emergence of Hip Hop musical forms Also--emergence of Hip Hop musical forms as new popular genres (turntablism, rap)as new popular genres (turntablism, rap)

Ex. “Differencing the Canon”Ex. “Differencing the Canon” Guerilla Girls posterGuerilla Girls poster

Video- Video-

John Berger John Berger Ways of SeeingWays of Seeing Pt. 2 ‘Nude or Pt. 2 ‘Nude or Naked?’ (N7430.5 W392 no.2)Naked?’ (N7430.5 W392 no.2)

References to Art as way of establishing credibility & authority within art worlds

References to Art as way of establishing credibility & authority within art worlds

Jean August Dominique Ingres, Grande Odalisque (1814), oil on canvas.

“Externalist” Approches (stress factors ‘outside’

of narrow definitions of artistic field) “Externalist” Approches (stress factors ‘outside’

of narrow definitions of artistic field) art should be art should be contextualizedcontextualized (social & historic) (social & historic) search for patterns (regularity) rather than exceptionssearch for patterns (regularity) rather than exceptions

What do successful artists have in common?What do successful artists have in common? What do fans share?What do fans share? How do institutions function?How do institutions function?

wider range of art forms studies (high culture, pop culture etc..)wider range of art forms studies (high culture, pop culture etc..) Stronger focus on institutions & processes ofStronger focus on institutions & processes of

Production-creationProduction-creation • (training, collaboration networks etc.)(training, collaboration networks etc.)

MediationMediation • (gatekeepers, facilitators etc.) (gatekeepers, facilitators etc.)

Reception,Reception, consumption consumption • (tastes, audiences, publics, markets)(tastes, audiences, publics, markets)

Importance of social processes for recognition of the arts & artists: Visitors to the Louvre

Museum in front of Mona Lisa

Importance of social processes for recognition of the arts & artists: Visitors to the Louvre

Museum in front of Mona Lisa

Variety of “externalist” approachesVariety of “externalist” approaches importance of importance of “social construction of “social construction of

reality”reality” assumptions about society & how to study itassumptions about society & how to study it Examples: two different approaches Examples: two different approaches

Becker & BourdieuBecker & Bourdieu Related to different approachesRelated to different approaches

Pierre Bourdieu—Pierre Bourdieu—

Marxist, critical theoristMarxist, critical theorist Emphasis onEmphasis on

Social and political structures & material conditions as Social and political structures & material conditions as limits to freedom of limits to freedom of agencyagency

Power relations within the Power relations within the field of artistic productionfield of artistic production Creation of beliefCreation of belief in the power of in the power of symbolic goodssymbolic goods (art, artistic (art, artistic

reputations etc.) and their conversion into reputations etc.) and their conversion into economiceconomic and and socialsocial capitalcapital

history of the field of cultural productionhistory of the field of cultural production hierarchical modelhierarchical model Change through Change through conflictconflict

1930-2002

Howard BeckerHoward Becker

Symbolic interactionistSymbolic interactionist http://home.earthlink.net/~hsbecker/http://home.earthlink.net/~hsbecker/

Early work on labeling theory and social Early work on labeling theory and social actorsactors (a different way of (a different way of thinking of thinking of agency)agency)

Emphasis on Emphasis on Sense-making (interpretive) Sense-making (interpretive) Human interaction & identity-formationHuman interaction & identity-formation Consensus & conventionsConsensus & conventions Art-making as a Collective ActivityArt-making as a Collective Activity Notion of different types of “art worlds”Notion of different types of “art worlds”

Strong sociological background but also a performing artist (jazz Strong sociological background but also a performing artist (jazz musician)musician)

“Many people know that I used to play the piano for a living, in taverns, for dances, weddings, bar mitzvas, Safeway employees Christmas parties, and so on. Here is a picture of the Bobby Laine Trio, circa 1950 (Bobby Laine, tenor; Dominic Jaconetti, drums; Howie Becker, piano), performing at the 504 Club, which was located at 504

W. 63rd St. in Chicago” from Howie Becker’s homepage

“Many people know that I used to play the piano for a living, in taverns, for dances, weddings, bar mitzvas, Safeway employees Christmas parties, and so on. Here is a picture of the Bobby Laine Trio, circa 1950 (Bobby Laine, tenor; Dominic Jaconetti, drums; Howie Becker, piano), performing at the 504 Club, which was located at 504

W. 63rd St. in Chicago” from Howie Becker’s homepage

Howard Becker

Critiques of Internalist/Externalist StancesCritiques of Internalist/Externalist Stances

extreme extreme reductionismreductionism & extreme & extreme formalismformalism (Scylla & Charybdis metaphor)(Scylla & Charybdis metaphor)

reductionismreductionism art reduced to social process ignores specific art reduced to social process ignores specific

characteristics and aestheticscharacteristics and aesthetics formalismformalism

focus on limited range of aesthetic qualities --ignores focus on limited range of aesthetic qualities --ignores importance of social processes & contextimportance of social processes & context

Last Day: Internal vs. External ApproachesLast Day: Internal vs. External Approaches

Internal (Humanist--Internal (Humanist--aesthetics, history of the arts, aesthetics, history of the arts, critics, etc.)critics, etc.)

art=mystery, spontaneous art=mystery, spontaneous creation of isolated geniuscreation of isolated genius

importance of “aura” of importance of “aura” of individual artist for value individual artist for value of art workof art work

timeless, enduring quality timeless, enduring quality of beauty, perfectionof beauty, perfection

External (Sociological--External (Sociological--& cultural studies)& cultural studies)

social production of artsocial production of art

importance of social importance of social processes and networks processes and networks for creation of belief in for creation of belief in the artsthe arts

values change in different values change in different social & historic contexts social & historic contexts

Who creates the ‘creator’? (Bourdieu)Who creates the ‘creator’? (Bourdieu) Unit of analysis in art studies often wrong--Unit of analysis in art studies often wrong--

should not study “apparent” producers (painter, writer, should not study “apparent” producers (painter, writer, actors etc.)actors etc.)

processesprocesses ideology of creation conceals exploitation by ideology of creation conceals exploitation by

market forcesmarket forces art trader or impressario=symbolic banker who art trader or impressario=symbolic banker who

creates belief in the arts by creating belief in the creates belief in the arts by creating belief in the economic (and moral?) value of arteconomic (and moral?) value of art

Big Issues: Relations between Types of art & types of societiesBig Issues: Relations between Types of art & types of societies

Proposes that art reflects material & symbolic conditionsProposes that art reflects material & symbolic conditions ex. Class differences in tastesex. Class differences in tastes Marxist notions, & theories of reflection (Arnold Hauser,Theodor Marxist notions, & theories of reflection (Arnold Hauser,Theodor

Adorno)Adorno)

Questions about Art, Class and Power Questions about Art, Class and Power

oppression (propaganda, hegemony of elite)?oppression (propaganda, hegemony of elite)? Reproduction of inequalities?Reproduction of inequalities? Civilizing ProcessCivilizing Process?? Emancipation & social change?Emancipation & social change?

art has potential to liberate therefore art has potential to liberate therefore NOT NOT mechanical reflection of societymechanical reflection of society

Critiques of Reflection TheoryCritiques of Reflection Theory

““Is art good for us?”Is art good for us?”Joli JensonJoli Jenson Critique of instrumental logic (transmission Critique of instrumental logic (transmission

models of communication)models of communication) Good (taste in) art=good people?Good (taste in) art=good people?

Note to Users of these Outlines--Note to Users of these Outlines--

not all material covered in class appears on these outlines-- not all material covered in class appears on these outlines-- important examples, demonstrations and discussions aren’t important examples, demonstrations and discussions aren’t written down here.written down here.

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