1. Theories about the relationship between Art & Society (Socio-historic dimensions) References to Readings Today: Becker, Howard. “Art Worlds", and Bourdieu, Pierre. "Who Creates the 'Creator'?” & "The Circle of Belief” Inglis, David. “Thinking ‘Art’ Sociologically” Mitchell, W.J.T. “Offending Images..” Recommended: Becker “The power of inertia” Bill Viola “Crossings” (detail)

2. Street Art Documentary : Exit through the gift shop n http://www.youtube.com/watch?v=lW- rt3jyZU8 http://www.youtube.com/watch?v=lW- rt3jyZU8 http://www.youtube.com/watch?v=lW- rt3jyZU8 n http://www.youtube.com/watch?v=fZK7D6 WqzR0

3. Course Organization n Handout 1: Syllabus and Preliminary Reading List n Resources (on web)   http://webdav.sfu.ca/web/cmns/courses/marontate/2010/858 n note u Importance of attendance & participation for grades u Proper use of citations to acknowledge sources

4. Finding out about artistic events & issues n Library Resources: u Music : http://www.lib.sfu.ca/researchhelp/subjectguides/fpa/music.htm http://www.lib.sfu.ca/researchhelp/subjectguides/fpa/music.htm u Dance http://www.lib.sfu.ca/researchhelp/subjectguides/fpa/dance.htm http://www.lib.sfu.ca/researchhelp/subjectguides/fpa/dance.htm u Visual Arts http://www.lib.sfu.ca/researchhelp/subjectguides/fpa/visarts.htm http://www.lib.sfu.ca/researchhelp/subjectguides/fpa/visarts.htm

5. Other Sources n Cultural Sections of papers like The Georgia Straight n broader: Sunday New York Times -- Arts and Leisure Section (in library) n Other magazines and journals devoted to the arts n Web sites showcasing other art forms, ex. http://www.agitart.org/ http://www.agitart.org/ n Web sites that present art, ex. Virtual museum exhibitions, blogs, and other electronic resources

6. Theories of Art and Society (Different Intellectual Traditions & Roots) u Humanistic disciplines (history, literary studies) F Formerly centered on great events, individuals, canons F Some interdisciplinary (ex. Cultural studies) F Iconographic & formalist frameworks u Visual and Performing Arts F perspective of art-makers & critics u Anthropology F functions of the arts & symbolic representations, “others” F ex. Religious, ritual u Psychology F cognition & perception u Philosophy F Aesthetics, knowledge etc. u Sociology & Communications –many approaches (focus of the course)

7. Some “Common-sense” approaches to Art (Artist)/Society Relations n Art as historical record (events, practices, values)-- notion of Zeitgeist (spirit of the time) or mentalities n Measure of civilization (with predictable stages of “development”) n Predictor or instigator of change (theories of the avant- garde)

8. Some “Common-sense” approaches to Art/Society Relations Art as historical record (events, practices, values)-- notion of Zeitgeist (spirit of the time) or mentalities

9. Measure of civilization (with predictable stages of “development”) Ex. representation of perspective in neo-classical painting. Jacques Louis David c. 1889. The lictors bringing to Brutus the bodies of his sons

10. Predictor or instigator of change (theories of the avant-garde) Pink Bloque (2001-2005) Dancing in Dissent protesting racism & sexism at street dances http://www.pinkbloque.org/http://www.pinkbloque.org/

11. Disciplinary Differences: Internal vs. External Approaches n “internal” (humanities) -- arts outside social processes u Artist=solitary creator, exceptional genius (humanistic approach) u Arts, aesthetics as “universal” n “external” (social sciences & interdisciplinary approaches) --art world(s) socially constructed u importance of social context, processes & structures for understanding the production/creation, mediation & reception/consumption of the arts, recognition processes, their uses, functions, meanings

12. Some Internal Debates: “What is Art? Who Are Artists?” n emphasis on u Gifts, talent, innate characteristics (for Artists) u expression of eternal “truths” (for artists & possibly connoisseurs) F Ex. Notion that Greek Aesthetic Values (like Ideals of Beauty & Bodily Proportions) express universals u Relations to natural world, material or embodied practices, or ‘reality’ (mimesis, imitatio)

13. Internal Approaches -- F Styles, tastes and systems of ranking art forms – avant-garde vs. traditionalists etc. –Genres, art forms –Types of art F Canons –essential components of dominant art system, influential artworks that participants must know & understand F More recently: place of social & historical processes in defining art & what/who gets included in canons

14. What is art? Who decides who is an artist? Ex. Marcel Duchamp--Readymade Sculptures vs. conventional techniques (challenging definitions of what is art and who decides) Fountain, original (left) and recreations of lost 1917 “Original” Who decides what is art?– the artist, experts, publics??

15. Other Types of Challenges to “the Canon”: Mona Lisa (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.

16. 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.

17. Rethinking institutionalized exclusionary practices: “Differencing the Canon” n Guerilla Girls poster

18. References to Artistic Canons as way of establishing credibility & authority within art worlds Jean August Dominique Ingres, Grande Odalisque (1814), oil on canvas.

19. Another Example Manet Olympia 1863.

20. Yasumasa Morimura Twins

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

22. Importance of social processes for recognition of the arts & artists: Visitors to the Louvre Museum in front of Mona Lisa (old hanging)

23. Early Social Scientific Approaches to the study of Art/Society (Communication) Relations n Art and Society/Communication u Art History & Criticism (Interpretation of artworks as symbolic forms with cultural meanings) : Erwin Panofsky, Arnold Hauser, Pierre Francastel, John Berger, etc.. u Marxist Traditions : T. Adorno, W. Benjamin, Heidigger (Francfort School), H. J. Jauss (School of Constance), Janet Wolff, Lucien Goldmann, n Art in Society/Communiccation u practices & institutions such as patronage, connoisseurship, publics, fans (M. Baxandahle, T.J. Clark etc.); styles as social networks (M. Schapiro, C. Ginzburg) n Art as Society/Communication Inspired by Nathalie Heinich La sociologie de l’art.2001 Paris: La Découverte.

24. Variety of “external” approaches n Different degrees of importance of “social construction of reality” n Debates about symbolic vs. material dimensions n Varied assumptions about society & how to study it n Examples: two different approaches Becker & Bourdieu

25. Pierre Bourdieu— n Marxist, critical theorist n Emphasis on u Social and political structures & material conditions as limits to freedom of agency u Power relations within the field of artistic production F Creation of belief in the power of symbolic goods (art, artistic reputations etc.) and their conversion into economic and social capital F Core notions: Habitus, field of cultural production (history & position in it), domination, distinction (taste & class), praxis, doxa u hierarchical model u Relationships marked by class conflict and power struggles 1930-2002

26. Howard Becker n Symbolic interactionist u http://www.soc.ucsb.edu/faculty/hbecker/ http://www.soc.ucsb.edu/faculty/hbecker/ n Early work on labeling theory and social actors (a different way of thinking of agency) n Emphasis on u Sense-making (interpretive) u Human interaction & identity-formation u Consensus & conventions u Art-making as a Collective Activity u Notion of different types of “art worlds” n Strong sociological background but also a performing artist (jazz musician)

27. “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

28. Art & Political Representations

29. Debates regarding what art is considered to “represent” n Example related to History of Visual Arts u rendering of “reality” (nature), mimesis u as world view in a specific place & time u as product of solitary genius (Renaissance) u made by “system” of production & reception u as social process (symbolic & material)

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

31. Recent Controversy over what art represents (EU public art project--Brussels) L-“The sculpture resembles a giant model kit with snap-out pieces.” (CBC) R-“Romania is depicted as a vampire theme park.” (CBC) See also CBC coverage (link) Jan 14 2009link British (Telegraph) coverage and videovideo Bulgaria as a toilet linklink

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

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

34. Second Part of Class : Visit of the Vancouver Art Gallery: 750 Hornby Street – Meet in the lobby at 3:55 (for admission at 4)

35. 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.

36. If time….

37. Art & Society example n Videoclip: Excerpt from Cai Guo-Qiang interview: Art:21(Art in the 21st Century) PBS n Olympic Ceremony Controversy (enhancement of Guo-Qiangs’s Footprints of History” firework performance u http://blog.art21.org/2008/08/22/cai-guo-qiang-responds-to-olympics-fireworks-controversy/ http://blog.art21.org/2008/08/22/cai-guo-qiang-responds-to-olympics-fireworks-controversy/