Sociology of Art

TVÅ SIDOR AV SAMMA MYNT? Tabell 2. Söktryck efter namn på folkhögskolan, Ht 2009 Folk-Antal Antal N Profiler Söktryck St. d högskola sökande platser(medelvärden) Fridhem 450 25 1 Jazz 18, 0 Skurup 340 20 1 Jazz 17, 0 Billströmska 230 20 1 Blandad 11.5 Furuboda ...

he study of the history of Iranian fine arts shows the scarce contribution of female artists. In fact, Linda Nochlin with asking this controversial question that: “Why have there been no great women artists?” presents a challenge that can be traced universally. This study examines the role of female painters and the sexual aesthetics of their works between two key eras in Iran: The Constitutional Revolution and the Islamic Revolution. With Nochlin’s emphasis on the rarity of female artists, it is obvious that, in spite of their relatively strong presence, their artistic actions and technical evaluations has been almost neglected.
Furthermore, there has been inattention to the influence of female painters in art schools and colleges in Pahlavi era; a period in which modern teaching methods were flourished. Using the sexual analysis in the artworks of women painters, this study tries to discover some reliable patterns. In fact its findings show that issues like “masculine modernism and the absent sex”, “reproduction of masculine look”, “rethinking of feminine mind” and “passive sexism” has grouped women artworks into different classes.
Study of the modern female artists of Iran comprises a rich diversity in relation to social change and significant artistic alterations, from traditional and classic methods to using modern techniques.

Literary theorists and cultural sociologists alike acknowledge that there are no universal standards for appraising the value of a book. Yet, book critics regularly pronounce the literary merits and failures of novels in their reviews. Research on cultural criticism has shed considerable light on how reviewers are able to assess the meaning and value of novels in the absence of objective indicators of literary quality by relying on different cultural ''tools''. This study examines how critics use authors' race and ethnicity as a tool for constructing the value of literary fiction. Based on analysis of 265 book reviews from The New York Times Book Review and The New Yorker magazine, I find that reviewers use racial and ethnic identifiers to: (1) establish the authenticity of the novels, (2) classify works into ethnic genres, and (3) nominally identify international literary talent. I also present data on what influence racial and ethnic identification has for...

Fans sind ein weit verbreitetes und vielfältiges Phänomen: Menschen sind Fans von Fußballvereinen, Musikern, Filmstars, Automarken, Buchfiguren und vielen anderen Dingen. Es gibt Fans in verschiedenen Altersgruppen und Schichten. Dieser Band legt erstmals eine umfassende Soziologie der Fans vor. Die hier versammelten Beiträge wenden soziologische Theorieperspektiven und empirische Instrumentarien auf Fans und Fantum an. Sie analysieren Fans hinsichtlich ihrer spezifischen Emotionalität, ihrer Kultur und Lebensführung, ihrer Sozialisation und Sozialstruktur, ihres Konsumverhaltens, ihrer Mediennutzung und ihrer politischen Partizipation. Thematisiert werden außerdem die internen Abgrenzungen in Fan-Szenen, Fragen der Migration und Globalisierung von Fans, Geschlechterkonstruktionen in Fan-Gemeinschaften sowie die Geschichte des Fantums.

1948 134 M a t e r i a l s In many cases, the engagement with material is the basis for the creation of an artwork-whether in two-dimensional works such as paintings or photographs, or in three-dimensional ones, such as sculptures. These works usually express, in an artistic manner, the tragic nature of the present, depicting an endless historical struggle. The reconstruction of the past is often related to present reality in works by both Israeli and Palestinian artists. For example, we often find in these works images of weapons, such as tanks and other military tools. These are created by using mortar, sand, straw, plaster, and other materials. Notable in this context is the unique work by Farid Abu Shakra, who creates weapons in mortar and mixed media. These are placed within boxes, like children's toys offered for sale. Similarly, Asad Azi engages with materials as part of a two-dimensional painting enclosed in a prominent frame, to which he adds dentelles and fabrics that conceal part of the work. Azi toys with the viewer, who tries to reach the heart of the work, by concealing more than two thirds of it beneath a cloth curtain. He treats the elements of his work with much delicacy and eloquence, seeking to locate it in the Western artistic tradition, on the one hand, and that of Arab civilization, on the other hand. In addition, the work is informed by Azi's personal history. Here, the central figure wears a turban from the Ottoman period, symbolizing the dignitaries among the Arab residents considered "Westernized")franji(, thereby recreating the face of pre-1948 Palestine. Building materials such as bricks or concrete have also become widespread in the works of both Palestinian and Jewish artists, particularly in sculptures and installations. Mahmood Kaiss, for example, reproduced a 1939 Palestinian coin in concrete, immortalizing the historical memory of Palestine in three languages: Arabic, Hebrew, and English. Jewish-Israeli artist Amir Tomashov created a decorative circle out of bricks, surrounding it with barbed wire, as an expression of the exclusion, discrimination, and isolation that he sees in present-day Israel. Manal Mahmid uses accumulated concrete-a material that is by nature inflexible-to create layers of colors and shapes, instead of using paints and brushes. She thereby recreates the story of most young Arabs in Israel)including her brother(, who make their living in construction and concrete casting in order to build a state for new Jewish immigrants-a state that is not theirs. In this work Mahamid creates a very inflexible structure that conceals layers of houses that were once full of life, of which nothing remains except a memory in the artist's mind. She does not show these signs of life; rather, she raises questions regarding the character of this country and the concept of a homeland, eliciting feelings of anger at the present reality. In the exposed layer of her work nothing remains but the number 1948, prominently seen through the layers of hard concrete like an inscription on a tombstone concealing the corpse of a homeland-Palestine. In this work, entitled The Year 1948, Mahamid reconstructs a comprehensive memory of the events of the Nakba and the loss and destruction of Palestinian homes. In conclusion, choosing the title "1948" for the exhibition is a courageous step in these turbulent times, not to mention the combination of Jewish and Arab artists in this thematic framework. A work of art is not a substitute for reality, but an interpretation of events and developments that have indeed occurred. These interpretations, which reflect the results of events in the artist's spiritual world, become part of a new reality of a different kind. D r. H o u s n i A l k h a t e e b S h e h a d a is senior lecturer and head of the department of visual art at the Levinsky College of Education in Tel Aviv. His research covers the history of the medieval Islamic world, classical Arabic literature and modern Palestinian art.

Dans une société visuelle, où l’apparence et le paraître deviennent chaque jour plus importants pour la réussite sociale et la reconnaissance de l’individu par ses pairs, dans une société de la télévision et du cinéma, où reproduire et transmettre l’information est devenu un enjeu capital, la notion de réel se perd parfois dans les méandres de l’information.

In the article, the author analyzes a specific type of mega-event, the festival. The purpose of the study is to compare two disparate types of opinion on the social, economic and cultural meaning and function of festivals. These opinions are expressed, on one side, by supporters of festivals, who attribute to them many culture-forming elements, and, on the other side, by criticisms based on allegations that most contemporary festivals are characterized by commercialization and schematism. The opinions of researchers, writers, journalists and festival participants cited in the text allow us to ask whether and to what extent the “festivalization” of culture has now become a megatrend.

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Response Piece to David Hodge & Hamed Yousefi, "Provincialism Perfected: Global Contemporary Art and Uneven Development," in e-flux Superconversations, June 2015, online: https://conversations.e-flux.com/t/superconversations-day-34-ashkan-sepahvand-responds-to-david-hodge-hamed-yousefi-provincialism-perfected-global-contemporary-art-and-uneven-development/1926

Every war is not only the fight of the armies but also a war of the ideologies. One of the forms of the ideological war is propaganda posters. Over forty posters presented and analyzed in this article come from the Polish-Soviet war in 1919-1921. The research work is based on grounded theory procedures adopted for visual data analyses. Particularly useful was a method of coding families worked out by Barney Glaser and modified to the visual data analysis by Krzysztof Konecki. The author reconstructed several basic motifs, formal solutions, and Communications strategies (i.e., continuity and continuation versus avant-garde and revolution, image of the enemy and “one’s own” imagination, strategic conversion) used by artists-ideologists from both sides of the conflict.

ABSTRACT
This article investigates how Gabriele D’Annunzio’s The Triumph of
Death brings together Nietzsche’s ideas and Wagner’s music and
interweaves them with the motifs of literary Decadence and the
author’s own particular sexual politics. The novel is an experimental
text striving to be a Gesemtkunstswerk, an integrated work that
incorporates music, painting, poetry, regional folklore, and private
thoughts about personal and national power. I discuss the novel’s
themes of violent sexuality and the anxiety of powerlessness and
explore their implications for the fascist political aesthetics in which
D’Annunzio played a pioneering role.

This article aims to increase our understanding of cultural intermediaries, their activities and the way they set up the relationship between the production and consumption of symbolic goods, with a specific focus on intermediaries of artistic work. Among them, in France, agents, tourneurs and managers are intermediaries of the music labour market who aim to develop artists’ career. What role do these underestimated yet more and more numerous intermediaries play in achieving pop artists’ recognition? Statistical data show a strong relation between the amount of symbolic capital of artists and having at least one of these intermediaries work for them. In order to analyse how they can help further the artist's access to recognition, I develop a specific use of the concept of symbolic capital that allows a better understanding of social mechanisms of value production. The analysis of qualitative data discloses the various resources and strategies intermediaries use in the artists’ acquisition of symbolic capital. They do promotional work, but also take calculated risks to how to place their artists in the market, and constantly work on their social network to create opportunities.

Is street art a social art? Cultural and civil aspects of street art from the perspective of the concept of social enclaves

In spite of its apparently growing popularity, street art still remains largely unexplored both in its aesthetic, and social dimension. The article is an attempt to capture the hybrid socio-artistic sense of this global phenomenon with the use of the concept of social enclaves. For that purpose, the authoress looks into its relation to the art world, on one hand, and civil society, on the other. She shortly presents the origins of street art, as well as its artistic repertoire and social reception. She provides an insight into the present-day processes of its institutionalization and commercialization, which, however, do not seem to weaken the street artists’ primary motivation for bringing changes in their aesthetic and social surrounding. Also some other features of street art, such as: anti-elitism, grassroots and dialogical quality, not infrequently – participation, and above all – attachment to civil values, allow her to classify this practice as social art, that is art with a public-good aim.

Keywords: civil society, social art, social enclaves, street art

This dissertation examines examples of local authority-led, developer-led, arts-led and community artwashing in Britain's urban communities. It uses two London-centred case studies- Hannah Nicklin's artist residency on the Teviot council estate and the artist residencies facilitated by Poplar HARCA and Bow Arts at the architecturally world-renowned Balfron Tower- to expose the damaging effects of artwashing on both artists and the communities they were meant to serve. Research outlines the nature and causes of artwashing, including the impact of neoliberal policy on the funding of artists and the management of social housing. Neoliberal policy is attributed to the financial vulnerability of artists and the increased likelihood of their involvement with and manipulation by property developers. The implications of artist residencies are investigated, including their use in the production of a neo-bohemian aesthetic which is intentionally created to encourage gentrification. Neoliberalism in the form of the privatisation of social housing (when handed from local democratically-elected councils to private developers) is found to be primarily to blame for artwash-gentrification. Essential factors for reducing the likelihood of future artwashing in at risk communities are identified as being a reduction of the privatisation of social housing, increased control over the activities of private developers and further education of artists to allow them to better understand their potential to be manipulated by developers. The use of artists and empowering arts projects to support and enhance the liveability and stability of urban communities is strongly encouraged, as exemplified by Sheldon's typology of artistically-informed urban regeneration (2015). This typology highlights opportunities for meaningful collaboration between artists and urban communities, demonstrating the ability of empowering arts projects to encourage the place-guarding of at risk communities and to mitigate the likelihood of future artwashing.

Performanso meno laukas, kartu su vizualiųjų menų lauku, Lietuvoje patiria itin didelę atskirtį, nes yra
subordinuotas tiek meno, tiek kitų laukų atţvilgiu. Neretai performanso menas, apskritai, nėra laikomas meninio
diskurso dalimi. Galima manyti, jog tai vyksta dėl performanso meno apibrėţimo nesklandumų. Nors sąvokos
„performansas“ ir „performatyvumas“ naudojamos skirtinguose menuose, svarbu nepamiršti, kad jos taip pat plačiai
diskutuojamos ir sociologijoje, filosofijoje bei kitose disciplinose. Analizuojant mokslinę literatūrą ir įvairius šaltinius,
ima ryškėti šių sąvokų konceptualizavimo skirtumai ir panašumai bei jų vartojimo ypatybės. Šiame darbe, siekiama
išsiaiškinti kokiais bruoţais pasiţymi performanso menininkių kūniškasis hexis. Remiantis P. Bourdieu teorinėmis
prieigomis, pastaroji koncepcija išryškėja analizuojant santykį tarp performanso meno lauko ir šios meno srities
menininkių habitus.

Art Gallery of All (not only visual) Senses
Exercises in and facilitating the direct, active(not merely passive or viewing) participating (as myself, first person) in the sharing of the (undergoing as first person) of sensory experiences (taste, touch, smell, movement, etc) of/by another.
Compared to institutionalized, traditional, passive viewing by people of paintings.
We do not merely ask for more of the same Abramovic or Yoko Ono Performance Art that we must view passively, or even Participatory Art exercises (like sharing Ono’s sunset or Ambramovic’s directed exercises and her new spiritual system or -ism). What we attempt to express and conceptualize are more subtle ideas. All senses need to be explored more and all senses could be involved and the person becomes equipped to imagine exercises themselves, not only in galleries or museums but in all areas of their lives, any time and any place.
This is the opposing 2 different conventions, norms and attitudes to art and art gallery visitation.

This article explores recent developments in the sociology of the arts, namely the new theoretical framework in approaching artistic activity set up by the French sociologist Pierre-Michel Menger. It aims to show how he has shape new tools of understanding and modelling for exploring the arts as a particular world of action. Laying down the foundation of a conception of action related to symbolic interactionism and drawing on the economic analysis of risk and uncertainty, Menger move towards a model where uncertainty, not determinism, is the default category. Uncertainty is thus the principle unifying the analysis and understanding of the particularities of the arts, and the main argument in integrating sociological and economic studies on artistic activities. Correlatively, artistic creation is qualified as an act of work, the creative work being defined as a system of action in uncertain horizon. Within this model, the artists are seen less like “rational fools” than like Bayesian actors, adopting strategies for managing risk and uncertainty.

Artykuł oparty jest na wynikach ogólnopolskich badań dotyczących strategii działania polskich instytucji teatralnych w pandemii, realizowanych w okresie lockdownu. Badań, które – jak się okazało – dostarczyły także danych pozwalających formułować szersze wnioski. Celem artykułu jest odtworzenie wyobrażeń, jakie na temat roli, znaczenia i zróżnicowania pola teatralnego mają osoby kierujące tego typu instytucjami. Dodatkowym celem jest konceptualizacja pojęcia sytuowania, by w ten sposób lepiej dostrzec znaczenie, jakie dla funkcjonowania relacji tworzących pole teatralne ma postrzeganie ich przez aktorów, którzy w nim uczestniczą. Posługując się kategorią sytuowania w interpretacji treści przeprowadzonych wywiadów jakościowych, wskazujemy między innymi na obecne w wypowiedziach naszych rozmówców, kontrastujące ze sobą modele myślenia o instytucjach teatralnych (menadżerski i autorski), przywiązanie do tradycyjnej roli teatru na tle innych sztuk, a także na szczególną rolę bezpieczeńs...

The article presents sociological researches (1999, 2007, 2014) about "local field of cultural production" in Łódź. In text there are quote from artistic opinions about the culture of the city and the role and position of the polish artist. Interesting was also one of the main question: who is the animator of culture? Respondents in many cases performed in a double role — as animators and as artists. Part of the interviews on the issues of culture in Łódź is a very comprehensive material in which there have been many grievances and grudges artists to the city authorities. Expression of culture animators, most of whom are also artists, testify to the fact that it is still present myth of the epochs: positivism and romanticism (animation culture in Lodz — myth of social commitment and rebellion; artistic vocation; artist as a unique, selfless person).

This study presents a precious illuminated Bible, dating to the late 13th century, actually in the Cleveland Museum of Art: the
contribution shows that this significant manuscript is stylistically close to a group of illuminated Bibles from Catalonia and French
Midi. On the basis of its stylistic and palaeographic analysis, the Bible is attributable to southern France. This Bible must be considered
therefore as a concrete example of an original creative process based on geographical mobility of manuscripts, exchanges of
models and interactions between clients, owners and illuminators (often from different backgrounds) in the geographical context
of the Mediterranean arc, between southern France and Catalonia.

Biennials, Triennials, and Documenta: The Exhibitions that Created Contemporary Art is a well-researched and historically sensitive investigation of the so-called biennial phenomenon. The study sheds new light on the geographies and artistic lineages of these increasingly celebrated perennial art events, comprising of historical dialogues in diverse times and spaces from shows with often radically diverse political agendas. The authors claim that their book differs 'from the general demonization of biennials' (4), a claim, however, that appears slightly inflated given the domination of what could be called the 'double-edged' approach in the field (biennials are both good and bad at the same time, both politically/economically manipulated and potential civic platforms) and the relative absence of studies that would demonize the phenomenon in a totalizing way. By grasping, however, biennialization as a process that offers 'profound, critical insights into art's nexus with globalized commerce' (4), the authors do a good job in turning the spotlight on an array of largely neglected exhibitions of the biennial scene and literature. The examination of such exhibitions, including the Biennale de la Méditerranée in Alexandria, the Asia-Pacific Triennial in Brisbane and the Emergency Biennial in Chechnya, and their insertion within global biennial histories, performs a careful decentring of the common Eurocentric orthodoxies that decisively loom over the field. And while this is undoubtedly the most useful contribution of Green and

The paper addresses the issue of digitalization of the contemporary art market. It analyzes key features of today’s online art market and discusses three technological innovations—cryptocurrency, blockchain, and artificial intelligence—that have the potential to contribute to the further development and growth of online art trade. The paper demonstrates that whereas cyberspace attracts new talent and great business ideas intended to make global art commerce more versatile and efficient, online art market players alongside with providers of online art market data and analytics offer interesting avenues of future research in this sector.

Art museum professionals are required to 'believe in art' in order to do their jobs. Sustaining this belief in art is an essential component of what secures the 'art-museumness' of art museums. Art museums may have evolved and diversified in the past few decades, becoming more hybrid institutions where a more diverse range of activities is allowed to take place, but what has not changed is the centrality of works of art as objects of dedicated contemplation within these spaces.  In this essay, I argue that their very status and identity as“art museum”sets limits to what art museums can do to change in their efforts to democratise themselves. Through a case study of two prominent art museums in Sydney, Australia, I show that such efforts are likely to be blunted when the very art-museumness of a particular museum is problematized.

This is an essay on a suggestive parallel between photographs of the Chinese torture and execution known as the "death by a thousand cuts," and the routine protocols of art history known as formal analysis and iconography. I attempt to demonstrate that art history's most fundamental, apparently neutral, preparatory exercises in seeing and analysis, taught to every beginning student, carry a burden of invasiveness and pain.

This is chapter 6 from the book Representations of Pain in Art and Visual Culture, co-edited with Maria Pia Di Bella, in the series Routledge Advances in Art and Visual Studies (New York: Routledge, 2012).

The larger context of studies of the “death of a thousand cuts” appears in other places: see the related material in “The Very Theory of Transgression: Bataille, lingchi, and Surrealism,” Australian and New Zealand Journal of Art 5 no. 2 (2004): 5–19; “The Most Intolerable Photographs Ever Taken,” in The Ethics and Aesthetics of Torture: Its Comparative History in China, Islam, and Europe, edited by Timothy Brook and Jérôme Bourgon (London: Rowman and Littlefield, c. 2012); and in Portuguese as “As fotografias mais intoleráveis já tiradas,” in Leituras do Corpo, edited by Christine Greiner and Claudia Amorim (São Paulo: Annablume, 2003), 27–63. ISBN 85-7419-358-5.

The text was written c. 2005, revised 2010-12, and uploaded July 14, 2013.

Toplumsal ve bireysel davranışların şekillenmesinde, toplumsal statü farklılıklarının ve eşitsizliklerin belirleyiciliği vardır. Sanat dallarına yönelik davranışların da diğer toplumsal ve bireysel davranışlar gibi belirlenmiş olduğu ileri sürülebilir. Sanata ilişkin beğenilerin, kabul etme ya da etmeme davranışlarının özel olarak müzik üzerinden ele alınması mümkündür. Belli bir müzik parçasının kişi ya da kişilerce beğenilmesinde, benimsenmesinde ya da dışlanmasında belirleyici olan bir takım faktörlerin bulunabileceği bu çalışmanın ele aldığı konulardan biridir. Müzikal anlamın farklılıklar göstermesi; bir müzik parçasının bazı kişilerce beğenilirken, bazı kişilerce kötü ve değersiz olarak tanımlanması toplumsal statüye dayalı bir tercih olabilmektedir. Kişinin yaşadağı, yetiştiği çevrenin, müzik beğenisinde ve tercihlerinde belirleyici olduğu gözlenebilmektedir. Yine, kişinin inancı ve benimsediği ideoloji ve yaşam biçimi de müzikal beğenisinde belirleyici olmaktadır. Bu çalışmada ele alınan “müzikal anlam” kavramı; belirli müzikal motiflere, müzik eserlerinine yönelik anlama, kabul etme ya da etmeme davranışına yön veren bir belirlenmişiliği tanımlamaktadır. Müzikal anlam “edinilmiş müzikal anlam” ve “temsil edici müzikal anlam” olarak iki alt başlıkta ele alınmıştır. Müzikal anlam farklılılarının oluşumunda toplumsal statü ve eşitsizlikler başta olmak üzere toplumsal belirleyicilerin etkisi bulunmaktadır.