1. Who & What Belongs in Art Worlds? (Cont’d) Guerrilla Gardeners at Hogan’s Alley site, c. 2008 Manfred Eicher, Founder of ECM records Music listeners

2. Today’s Class Session Schedule n Other participants in ‘art worlds’—Mediation Processes n Presentation of Selected Readings: u Ashenhurst,Erin (David Halle’s research on art in the American home and family photos) u Martin, Dylan (Tia DeNora’s “How does music channel emotion?)

3. 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 u Beaune Altarpiece Altarpiece u PBS jazz series by Ken Burns u Examples of establishing “cannons” through testimony of “experts” (ex. critics, “stars”, fans) and changing shape of artforms stars

4. Who Belongs in Art Worlds? Arts Occupations, Institutions, Networks (continued) & Mediation (Gatekeepers, Facilitators) Source: V. Alexander Sociology of the Arts…(2003), p. 63.

5. Participants in art worlds -- Mediators Creators/artists Audiences/publics/consumers art

6. Who Belongs to Art Worlds? Life Drawing Class, Bocour Paintmaking Studio NYC, c. 1942 c.

7. Production of Culture Perspective (Peterson, Anand) n How culture “shaped by systems in which it is created, distributed, evaluated, taught, preserved” n Culture not a mirror of society n Focus on u Expressive aspects of culture u Processes of symbol production u Analysis of organizations, occupations, networks, communities u Comparisons In situated studies of specific cultural forms and changes in them

8. Six Facet Model of Production n Technology n Law and regulation n Industry structure or field n Organizational structure of dominating organizatins n Occupational careers n Markets

9. Uses of the “Production Perspective” n Organizational Research u theories of management u institutional decision-making processes/logics u Networks of production u Resource partitioning patterns n Studies of Informal Relations u Links between Class and Culture (ex. univore/omnivore) u Resistance & appropriation u Fabricating authenticity

10. Critiques of Peterson’s Production of Culture Perspective n Heavy emphasis on mediation processes and organizational structures or institutions n Ignores or de-emphasizes u “uniqueness” of art to research constructed nature of collective representations, values u Ignors roles of fans and consumers in shaping cultural products u meanings of cultural production u power relations

11. Participants in Mediation Processes n Gatekeepers vs. facilitators : types vary with art form and genres u Ex. Diana Crane on proponents of Avant-Garde Art n 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…

12. Characteristics of the Mediators & Artistic Values n Mediation as a way of conferring status u The role of critics and other gatekeepers in recognition processes, examples: F Shrum– emergence of Fringe Festivals as a performing arts genre when critics begin to review it F Change in status of Graffiti and recognition by artists u Institutional forms & legitimation practices F Status of “Venues”, status of artists F Not-for-profit and for-profit models & differences in socio-cultural status (DiMaggio) Super Bowl XXXVIII, Halftime show, 2004

13. Mediators & Position in Field of Artistic “production” n Former emphasis on control, domination, social “reproduction” u Social origins and established formulas or genres u Hegemony & cultural industries u Cultural things as mirrors of underlying structures (functionalism, Marxism) n New theories– more dynamic u Symbolic exchange, interaction u Neo-institutionalism &”production of culture approach” (Peterson, DiMaggio) n Persistence of hierarchical models, commercial measures Barry Gordy in Hitsville recording studio, Detroit (Motown)

14. Peterson on Country Music n How do mediators (record producers) choose artists to promote? u Authenticity, originality, distinctiveness u Transformation of field of country music from 1923-1953 u Process of institutionalization u Identified audience

15. Authenticity n Paradox of creating authenticity artificially? n Socially-agreed upon idea (social construction of reality– through shared values & practices) n History of country music (a revolt that became a style) n Artificial notion of the ‘unchanged’ past– hillbilly music (poor rural white Southerners) n Early distain of this type of music because of its association with hillbilly culture n Evolution of terminology (to country and western)

16. Mediation in the Production of Culture Perspective u How law, technology, careers, markets, organizational structure shape culture (in this case a form of cultural expression called ‘country music’) u notion of social production of culture (shared values, practices etc.) u Emergence of differentiated roles in the field of cultural production (manager, talent agent etc.)

17. Video Screening n “Off the Canvas. A Documentary Profiling 9 Maverick New York Women Art Dealers” produced and directed by Marcia Urbin Raymond and Joyce Zylberberg

18. Planning Short Assignments and Class Presentations n Discussion of reading assignments and ideas for topics for case studies n Additional Reading Assignment: u Selections from Eiko Ikegami’s book Bonds of Civility… chapter 6 required, introduction and conclusion recommended

19. Note to Users of these Outlines-- n not all material covered in class appears on these outlines-- important examples, demonstrations and discussions aren’t written down here. n 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.