Art & Society (SOC 490), Spring 2009

Dr. John Rice

Office: SB 208D, 962-7313

Web Page: http://www.uncw.edu/soccrj/about-faculty-rice.html

(go to course pages link at bottom of my department page)

Email: ricej@uncw.edu

Office Hours: MWF, 1:00-1:30, 3:00-3:30; TR: 1:00-1:30 (or by appointment)

 

I. Course Description

 

Art, of whatever historical epoch or medium (and in this course, the term art will subsume various media, and so-called "high" and "popular" arts), is the product and the basis of extensive social networks; it both organizes and is organized by social interaction. The course will examine this dialectic between art and society, focusing upon the social relationships among and between artists, critics, aestheticians, patrons, and institutions. We will examine the systems by which art is produced, distributed, and aesthetically defined, as well as what some see as the ideological messages it contains and purposes it serves. Each of these factors contributes to the ways in which art is performed, exhibited, evaluated, and supported. The goal in recognizing these contributions is to provide a fuller and more nuanced understanding of works of art, rather than to reduce those works to no more than the social forces which shape its character.

 

II. Texts, Course Requirements, and Grading

 

A. There are three required texts for the course

Art Worlds, by Howard S. Becker

            The Painted Word, by Tom Wolfe

            Ways of Seeing, by John Berger

 

(There will also be additional readings assigned. These will be available as hot links and/or PDF files on the e-syllabus accompanying this course.) 

 

B. Course Learning Objectives: By the end of the course, students will:

  • Use sociological theory and concepts to analyze social institutions (in this specific case, the social institution of art)
  • Use sociological methods (of whatever appropriate type[s]: [statistical analysis; content analysis; comparative-historical; ethnography; participant-observation]) to conduct and shape their analysis
  • Understand how to apply sociological theory and methods in everyday life

 

C. It will be possible to earn 100 points over the course of the semester:

 

20 points: a term paper (5 points of this will be determined by a prospectus/draft – see below)

50 points: a mid-term and final examination (25 points each)

10 points: an in-class presentation of the key findings from your research/term paper

10 points: a poster session/presentation at the end of the semester (to be discussed in more detail during class)

10 points: attendance and participation. A successful and enjoyable class depends, to a

significant degree, upon the active intellectual involvement of both students and professor. This is especially the case in a course that is primarily a seminar format (although I will also need to combine this with lectures).  Students are not simply receptacles into which teachers "pour" information, and learning involves the ability to actively engage – wrestle with, think through, challenge – the ideas presented in the class. I both encourage and expect that active intellectual involvement in my classes, and that involvement requires that students be present in class (both physically and mentally) and that they be prepared for the class. In the interests of fairness, I start all student scores on this measure at 8 points (which is 80% of the total points you can earn for attendance/participation), and either add to or subtract from those points based upon your in-class performance. Points will be added for perfect or near-perfect (all but 1 or, at most,  2 classes) attendance, and for positive involvement in the life of the class; they will also be added in the event that students take advantage of my office hours to clarify any points about which they are uncertain or interested. Points will be subtracted for excessive absences and/or late arrivals, and for being a negative presence in the class (disruptions, mentally absent). At the extremes, it is possible to earn all of the points or to earn no points at all.

           

The term paper (12-15 typed, double-spaced pages, including the appropriate reference sections) should be a discussion of each student's independent and original research relating either to an "art world" as a whole, or to key elements of that world (e.g., the artists or other producers; the ways in which distribution of the product is accomplished; the effects of distributors or audience members upon the art work itself). The research should be empirical, but theoretically "driven" – that is, you should use the empirical material to explore a particular theoretical argument that has been covered in readings or lectures for the course. The methods of analysis may be, broadly defined, either quantitative or qualitative, but there must be a clear connection between theory and the method you choose to use. In general, the goal is to teach yourselves and the rest of the class something interesting and important about the social organization of artistic labor. Final Papers due on April 30th. DO NOT USE WIKIPEDIA AS A RESEARCH SOURCE & USE NO MORE THAN 3 WEB SOURCES

 

The draft/prospectus, 5 points: a short, 4-5 pp. initial draft of your term paper will be due in class on February 19th.  

a. this short paper should include: (1) the specific theoretical issue(s) you will address; (2) the specific research project you have chosen; (3) a description of how you will conduct the research and why you will take that approach; and, (4) a bibliography of the published research that will guide your own work. (The bibliography should comprise complete citations: i.e., date of publication, author(s), title of book/article/journal, city of publication (for books), and complete page numbers.

The Poster Presentation will consist of a single poster that, in essence, visually summarizes the information that you convey in your in-class presentation. It should clearly and concisely identify: your topic of research; the theoretical framework guiding your analysis; the methodological approach you used; and, a short synopsis of your key findings.

 

III. Other Important Course Policies

     

A. Make-Up Exam Policy: There will be ONE date and time for ALL make-up exams: on Reading Day, 10:00 a.m. sharp, in my office.

 

B.  Late Papers and Missed Exams: The general rule, here, is do not do either of these things. If you must miss an exam or turn in a paper late, you will be expected to notify me in advance, and/or be able to provide some proof of your trouble (obviously, in the case of an emergency, advance notification may well be impossible). If you are not able to meet these conditions you will not be allowed to make up the exam or turn the paper in late.

 

C. Grading: Your grades for the course will be determined by the number of points you have earned, divided by the total possible points. This percentage will convert into letter grades (Note: since the total is 100, your actual number of points will, of course, be your percentage):

 

 

THERE WILL BE NO POSSIBILITY FOR EXTRA CREDIT WORK! YOUR COURSE GRADES WILL DEPEND UPON YOUR PERFORMANCE IN THE REQUIRED COURSE WORK ONLY!

 

 D. Cheating, Plagiarism: All work – tests, papers – must be the product of your own efforts. Any attempt by a student to represent the work of another as her or his own is considered plagiarism; this includes copying the answers of another student on an examination or copying or substantially restating the work of another person or persons in any oral or written work without citing the appropriate source, and collaborating with someone else in an academic endeavor without acknowledging his or her contribution. Pay close attention to this definition, because any student caught engaging in any form of academic dishonesty will receive an "F" for the entire course.. It is not difficult to tell when a term paper or exam has been plagiarized, and I do take the time and make the effort to apprehend cheaters. Academic dishonesty is nothing other than lying and stealing; if you choose to lie or steal you will be treated as a liar and thief.

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Course Outline

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PART I: GENERAL THEORETICAL BACKGROUND

Date                            Topics

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Jan 8

 

Overview of the course

Some General Approaches to Art and a Sociology of Art

 

Readings (NOTE: assigned readings should be read before the class meetings that come after them on the course outline): W. Kandinsky (http://www.gutenberg.net/etext04/cnsp10.txt), "Introduction," "The Movement of the Triangle," "Spiritual Revolution," and "The Pyramid"; J. Dewey (http://www.ptess.jhu.edu/books/hopkins_guide_to_literary_theory/john_dewey.html), "The Live Creature" (OR, much more easily done, hit the hot links for these on the course web page.); J. Berger, chapter 1

                                   

Readings: J. Berger, chapters 5 and 6; Becker, chapters 1 and 9 

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 Jan. 13-15

                                    The Artist as "Genius" in Historical Perspective

"High Culture" and the Mass Culture Critique: The Social

                                    Origins of "High" and "Popular" Culture

                                    Art Worlds and the Art/Craft Distinction

                                    Film: The Artist's Identity

 

Readings: Becker, chapters 2 and 8

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 Jan. 20-22, 29

 

                                    The Role of Institutions in High Culture: The Boston Brahmins,

                                    the MFA and the BSO

                                    Art Worlds: Convention and Innovation

                                    Circles and Networks in the Production of Culture 

The case of French Impressionism

For those who would like a pretty simplistic, but helpful overview of Impressionism, click the following links: http://arthistory.about.com/gi/dynamic/offsite.htm?site=http%3A%2F%2Fwww.impressionism.org%2F

 

http://arthistory.about.com/gi/dynamic/offsite.htm?site=http%3A%2F%2Fwww.artchive.com%2F74nadar.htm (check out the accompanying hot links – the “critics” and “ridicule” links, e.g.)

 

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Feb. 3-5

 

Selection and Socialization

                                                Art students   

 

Readings: Becker, chapters 3 and 4; Peterson, "Cycles of Symbol Production";

Lopes, "Innovation and Diversity" (for both articles, hit the PDF link on the course web page)

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PART II:

FACTORS SHAPING THE ART WORK

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Feb. 10-12

 

The Impact of Market Structure

                                    Oligopoly and artistic innovation

                                                The popular and country music industries

                                    Film: "The Art Market"

 

Readings: Becker, chapter 7

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Feb. 17-19

N.B. Term Paper Draft due on 2/19

Editors and Publishers as Gatekeepers

Factors determining publication                                

                                    Art Galleries as Gatekeepers

                                                Invention vs. Innovation Galleries (Bystryn)

                                    The Abstract Expressionists

For those who would like a pretty simplistic, but helpful overview of Abstract Expressionism, & Jackson Pollock, especially, go to the following links:

http://www.biddingtons.com/content/pedigreeabstract.html

http://www.nga.gov/feature/pollock/painting1.html

 

Readings: Becker, chapters 5 and 11; Tom Wolfe, All

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 Feb. 24-26, Mar. 3

 

                                    Art Galleries as Gatekeepers (cont’d):

                                    Film: “Pollock”

                                    Review for Exam

 

Mar. 5                          MID-TERM EXAM

 

NO CLASS, WEEK OF MARCH 9TH: SPRING BREAK!!!

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 Mar. 17-19

 

Critics and Aestheticians

                                    Abstract Expressionism and Art Theory

                                    Jackson Pollock and Art Criticism

 

Readings: J. Berger, chapter 7

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 Mar. 24-26

Patronage

                                    Past forms of patronage (a brief reprise)

                                    Corporate Patronage and the Production of Culture

                                    Commercial art and advertising ("publicity")

                                    Film: "Selling the Dream"

 

Readings: Becker, chapter 6

 

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 Mar. 31-Apr. 2

     

State Patronage

                                                The National Endowment for the Arts

                                                Arts administration

                                    Cultural democracy vs. cultural hierarchy

                                    Film: "Crisis in the Arts: the NEA Debate"

 

Readings: J. Berger, chapters 2 and 3; Nochlin, "... Women Artists?"; Tuchman &

Fortin, "Fame and Misfortune"

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Apr. 7-9, 14

 

Art and Ideology

                                    Film: "Art in Nazi Germany"

                                    The Harlem Renaissance

                                    Women as subjects of art

                                    Women as Makers of Art: "Fame and Misfortune"

as Victorian Novelists

                                                as Visual Artists                                   

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Apr. 16

 

                                    Women and Art (Cont’d)

                                    Summary and Review

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Apr. 21-23

 

                                    Student Presentations

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FINAL PAPERS DUE by April 30 

 

 

General Notes re: Term Papers and Prospectus

     

Term Papers

      The prospectus/draft should be 4-5 pages, typed, double-spaced, stapled; it should identify the substantive topic you will be writing about for your term paper and should also begin to outline the theoretical framework with and through which you will examine that topic. What, then, will the final paper analyze? how widespread is the phenomenon you will address (what does the research say)? what has been written about your topic? by whom? what do they say? (Note: at this relatively early stage in the semester, it may be too soon to do more than "outline" your theoretical perspective. I will give you feedback on the prospectus, making suggestions, etc. Given the relative shortness of the assigned paper (10-15 pp., including  references and notes), I would encourage you to keep your theoretical framework and your topic as closely focused as possible. Use the theory, or a part of the theory, and make explicit connections between the theory and your subject matter. You must have a sociological focus to the paper. It doesn't have to be incredibly complex or nuanced, but you must examine an art-related topic, and you must examine that topic from a sociological/social scientific perspective. There is a natural tendency, especially in an interdisciplinary course such as this, to try to cover all of the possible related ideas. Avoid this. The best papers are invariably those that develop a detailed analysis of a few major themes, rather than a superficial analysis of a lot of themes.

      Please note: I expect you to incorporate and deal with the comments and suggestions that I will make on your prospectus. My comments are designed to help you write a better, and a sociological, paper. Every year when I teach this course, at least a couple of students ignore the prospectus comments. This is a bad idea – not because I expect you to write the paper I tell you to write, but because my remarks point to flaws – major or minor – in the paper you have proposed. At this point in your college career, you can fairly be expected to write a logical, coherent, and persuasive argument, in whatever course you are taking. My comments on the prospectus are aimed towards helping you to do that.

      

Organization of the Paper, Style, References: Conventional sociological journal articles can give you a model to work from for preparing your own papers; think about the way they are organized, the way the authors structure and present their arguments, and use that to guide you. At a more specific level: (A) Your papers should start with 1-3 pages that identify the topic and then explain the specific theoretical approach you will use. EG: "This paper will comprise an analysis of [e.g.,] Dada as an example of what Kadushin calls a movement circle; I will explore the ways that the Dada movement both fits Kadushin's views and the ways that it did not. According to Kadushin, ..." etc. Then lay out the specific concepts you will use. Then, be sure to use them. There's an old saying about how to organize social science papers: (1) tell 'em what you're going to tell 'em, (2) tell 'em, (3) tell 'em what you told 'em. Simplistic, but helpful. (B) Style: final papers should be edited. Although the sociology in the paper is most important, grammar, punctuation, and spelling all count. Good ideas cannot come across in a sloppily organized and poorly written paper. (C) References: In the text of the paper itself, all direct

quotes from other sources must be put in quotation marks and cited, either in a footnote or endnote or in parentheses next to the quoted passage, with the name, date, and page number where the original quote appeared (EG: Crane 1987, p. 57). Paraphrases must also be cited (EG: see, Crane 1987, pp. 32-36). The paper must include a references section, which lists ONLY the materials you actually REFER to IN the paper. Do NOT give me a bibliography -- a list of books and articles that might be related to your topic. All articles, books, etc., actually referred to in the paper must be cited at the end of the paper. Use the following model, for the appropriate citation of references:

 

Article: Lopes, Paul. 1992. "Innovation and Diversity in the Popular Music Industry, 1969 to 1990." American Sociological Review 57: 56-71

           

Book: Wolfe, Tom. 1976. The Painted Word. New York: Bantam Books.

             

Article or chapter IN a book: Schiller, Herbert. 1989. "The Corporate Capture of the Sites of Public Expression." Pp. --- in Culture, Inc. New York: Oxford.

 

For web sites, provide the author; complete web site address; and either/both page number and/or date that you accessed the site.

 

If you are more comfortable with a different citation style (MLA, e.g.), use that. The point is that credit must be given when and where it is due. Everything else is plagiarism.