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?” Ghirlandaio Adoration of the Magi 15th c.

Recall: Course Organization Syllabus and Preliminary Reading List Resources (on web) http://webdav.sfu.ca/web/cmns/courses/2008/488 note importance of attendance & participation for grades Proper use of citations

Discussion of Vancouver Art Gallery visit Last Week The museum visit as a form of communication or interaction (from the perspective of the visitor, museum professionals, artists etc..) The “content” of the exhibitions The museum as a frame or cultural context (other shows, shop items etc.) Objects & stakeholders The museum “system”

Today’s Topic: Theories of Art and Society (Intellectual Traditions) Humanistic (history, literature) iconographic & formalist approaches old-style humanism--Centered on great events, individuals, canons New approaches (ex. Cultural studies, Media studies) Anthropological-- function of the arts & symbolic representations ex. myths, ritual ex. African Masks, Greek Pottery Psychological– perception , cognition Philosophy- aesthetics Sociology --many debates (processes, institutions etc.) Visual Arts -cinema studies etc..

Theories about changes in ideas about what art represents over time (Jurt) rendering of “reality” (nature), mimesis, imitatio as world view in a specific place & time as product of solitary genius (Renaissance) Artists’ vision (19th romanticism) made by “system” of production & reception Socio-political processes (symbolic & material)

Some “Common-sense” approaches to Art & Society a measure of civilization (stages of development in other fields) historical record (events, practices, values)-- notion of Zeitgeist or mentalities predictor or instigator of change (theories of the avant-garde), source of new insights, way of communicatin

Video Norman McLaren Neighbours. 1953. Art as social commentary SFU Media Collection (NFB DVD 03 (PN 1998.3 M38 N676 2006 DVD3 Art as social commentary

Disciplinary Differences: Internal vs. External Approaches two extremes (internal vs. external approaches) “internal” (humanities) -- arts outside social processes Artists=solitary creator, exceptional genius (humanistic approach) Arts, aesthetics as universal “external” (social sciences) --art world or worlds are socially constructed importance of social context and social processes & structures for understanding the arts and its uses

Internal Dilemmas: Eternal “Truths”? Exceptional Beings? expression of eternal “truths”, aesthetics music Clip “Pain in my heart”, Otis Redding, R & B, Stax Volt Ex. Notion that Greek Aesthetic Values (like Ideals of Beauty & Bodily Proportions) express universals Exceptional?

Internal Approaches Styles, tastes and systems of ranking art forms avant-garde vs. traditionalists etc. Genres, art forms Types of art Canons (notion of what belongs and how it is ranked) place of social & historical processes in defining art & what gets included in canons

But Changing Ways of Seeing (Baxandahl) Modern notions of viewing art objects in different historical context as pure aesthetic experience, autonomous objects, formal qualities ignores Historical contexts of works with religious and social functions

Who decides what is art?– the artist, experts, publics?? 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 & 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 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 form Marsalis, Brandon. ‘Brother Trying to Catch a Cab (On The East Side) Blues’ from I heard you twice the first time (Columbia 1992) Also--emergence of Hip Hop musical forms as new popular genres (turntablism, rap)

Ex. “Differencing the Canon” Guerilla Girls poster

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

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) art should be contextualized (social & historic) search for patterns (regularity) rather than exceptions What do successful artists have in common? What do fans share? How do institutions function? wider range of art forms studies (high culture, pop culture etc..) Stronger focus on institutions & processes of Production-creation (training, collaboration networks etc.) Mediation (gatekeepers, facilitators etc.) Reception, consumption (tastes, audiences, publics, markets)

Importance of social processes for recognition of the arts & artists: Visitors to the Louvre Museum in front of Mona Lisa

Variety of “externalist” approaches importance of “social construction of reality” assumptions about society & how to study it Examples: two different approaches Becker & Bourdieu Related to different approaches

Pierre Bourdieu— Marxist, critical theorist Emphasis on 1930-2002 Marxist, critical theorist Emphasis on Social and political structures & material conditions as limits to freedom of agency Power relations within the field of artistic production Creation of belief in the power of symbolic goods (art, artistic reputations etc.) and their conversion into economic and social capital history of the field of cultural production hierarchical model Change through conflict

Howard Becker Symbolic interactionist http://home.earthlink.net/~hsbecker/ Early work on labeling theory and social actors (a different way of thinking of agency) Emphasis on Sense-making (interpretive) Human interaction & identity-formation Consensus & conventions Art-making as a Collective Activity Notion of different types of “art worlds” Strong sociological background but also a performing artist (jazz musician)

Howard Becker “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

Critiques of Internalist/Externalist Stances extreme reductionism & extreme formalism (Scylla & Charybdis metaphor) reductionism art reduced to social process ignores specific characteristics and aesthetics formalism focus on limited range of aesthetic qualities --ignores importance of social processes & context

Last Day: Internal vs. External Approaches Internal (Humanist--aesthetics, history of the arts, critics, etc.) art=mystery, spontaneous creation of isolated genius importance of “aura” of individual artist for value of art work timeless, enduring quality of beauty, perfection External (Sociological--& cultural studies) social production of art importance of social processes and networks for creation of belief in the arts values change in different social & historic contexts

Who creates the ‘creator’? (Bourdieu) Unit of analysis in art studies often wrong-- should not study “apparent” producers (painter, writer, actors etc.) processes ideology of creation conceals exploitation by market forces art trader or impressario=symbolic banker who creates belief in the arts by creating belief in the economic (and moral?) value of art

Big Issues: Relations between Types of art & types of societies Proposes that art reflects material & symbolic conditions ex. Class differences in tastes Marxist notions, & theories of reflection (Arnold Hauser,Theodor Adorno)

Questions about Art, Class and Power oppression (propaganda, hegemony of elite)? Reproduction of inequalities? Civilizing Process? Emancipation & social change? art has potential to liberate therefore NOT mechanical reflection of society

Critiques of Reflection Theory “Is art good for us?” Joli Jenson Critique of instrumental logic (transmission models of communication) Good (taste in) art=good people?

Note to Users of these Outlines-- not all material covered in class appears on these outlines-- important examples, demonstrations and discussions aren’t written down here. Classes are efficient ways communicating information and provide you will an opportunity for regular learning. These outlines are provided as a study aid not a replacement for classes.