Sociology of Art: A Reader

Sociology of Art: A Reader

Language: English

Pages: 282

ISBN: B000OT89X2

Format: PDF / Kindle (mobi) / ePub

Introducing the fundamental theories and debates in the sociology of art, this broad ranging book, the only edited reader of the sociology of art available, uses extracts from the core foundational and most influential contemporary writers in the field. As such it is essential reading both for students of the sociology of art, and of art history. Divided into five sections, it explores the following key themes:

* classical sociological theory and the sociology of art
* the social production of art
* the sociology of the artist
* museums and the social construction of high culture
* sociology aesthetic form and the specificity of art.

With the addition of an introductory essay that contextualizes the readings within the traditions of sociology and art history, and draws fascinating parallels between the origins and development of these two disciplines, this book opens up a productive interdisciplinary dialogue between sociology and art history as well as providing a fascinating introduction to the subject.

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the figure of Olympia of different and irreconcilable social types – ‘haute-bourgeois / proletarian, courtesan / whore, health / sickness’ – in order to deconstruct the hypocritical relationship of bourgeois society to women, sacralised in the home (and the tradition of the nude) whilst sexually exploited as members of the dominated classes in the leisure industries. Such a painting corresponds to ‘the sensuous being of the modern subject, moving in the disjunct networks of the modern metropolis,

areas or orders of reality, between which the mediating process occurs whether independently or as determined by their prior natures. Within the inheritance of idealist philosophy the process is usually, in practice, seen as a mediation between categories, which have 84 raymond williams been assumed to be distinct. Mediation, in this range of use, then seems little more than a sophistication of reflection. Yet the underlying problem is obvious. If ‘reality’ and ‘speaking about reality’ (the

likewise prize the standardization and dependability of mass-produced materials; a roll of Kodak Tri-X film purchased anywhere in the world has approximately the same characteristics and will produce the same results as any other roll, that being the opportunity that is the obverse of the constraint. The limitations of conventional practice, clearly, are not total. One can always do things differently if one is prepared to pay the price in increased effort or decreased circulation of one’s work. The

produced was to play without vibrato, a device that Bartok and other composers exploited. Meyer describes the process by which deviations from convention become accepted conventions in their own right as a common one. Such changes are a kind of gradualist reform in a persisting artistic tradition. Broader, more disruptive changes also occur, bearing a marked resemblance to political and scientific revolutions (Kuhn, 1962). Any major change necessarily attacks some of the existing conventions of

studies of the contemporary art market and art schools. In one of the most influential studies in postwar sociology of art, Raymonde Moulin argued that the world of fine art, and the role of the fine-art painter, is indistinguishable from that of the industrial production of mass culture (1967). Dealers play the role of capitalist entrepreneurs to the painter’s proletarian. They make contracts with artists to monopolise their output over a period of time. Artists are paid according to the size of

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