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Good Examples of Artist Research Pages

If you are wondering where you can find good examples of artist research pages, you’ve come to the right place.  It is great to have a collection of pages to show your students to inspire them and now you can just send them the link to this blog post.  Thanks to all the talented art teachers for their permission to use these images.

An artists research page should include the artist’s name, images of the artists work, annotation about the artist and also annotation which is the student’s personal response to the work.  Why did they choose it? How does it relate to the theme/idea they are investigating? What does the work inspire them to do next? Many successful artist research pages are also embellished so the whole page is a reflection of the artist’s work.

Every aspect of the research page below reflects the artist Ian Murphy.  It shows the artists name and includes annotation and images.  The student has created a drawing in the bottom left-hand corner inspired by the artists work. It appears that the background has had anaglypta wallpaper printed onto the page which creates a pattern that reflects the wrought iron and stone carving found in Ian Murphy’s drawings. The white and grey paint reflects the stonework of Murphy’s work.

Below, a combination of the artist work and the students work create a striking, colourful page.  Keywords describe the artists work.  The annotation is a combination of information about the artist and the student’s response to the work.  I like the ‘What Next!’ in the cup.  It shows the student is thinking ahead.

I wanted to include the research page below as the annotation is in-depth, insightful and full of subject-specific language.  Excellent to show your students what good annotation looks like.

The simple black and white presentation with torn edges below, reflects the artists work.  There’s nothing like a bit of white pen on black paper to create an artistic-looking page.  Over 50% of the annotation is the student’s response to the work.  I think this is a good ratio to have in mind.  The annotation is intelligent and includes the students own ideas.  The student is interpreting the work.

The Roy Thomas artist research page below, is neatly presented with clear images and annotation.  Together with the artist analysis , it creates a striking double-page spread. An artist analysis is where the student has recreated an artwork or section of an artwork so that they go through the process the artist has been through.  It is a controversial issue here in the UK with a fashion for moving away from doing this.  Many art teachers still believe there is a lot to learn by going through this process.  Another approach is for the student to create an artwork ‘in the style of’ the artists work from their own photographs.

The student includes detailed annotation about the process they have been through.

Julia Lillard creates surreal digital and paper collage.  In the research page below, the student Eva has captured the sepia tones often found in the artist work by lightly coffee staining the background and using brown gummed tape at the corners of artworks like old fashioned picture corners.  The student has included annotation and their own pieces of vintage collage.  The detailed annotation includes information about the artist, quotes from the artist, their personal opinion, and what they plan to do next.

The Claerwen James research page below has a successful diagonal layout on the left-hand page.  Students often want to fill 100% of the page but this space works well.  The students has also completed a skilful artist analysis.

I wanted to include the research page below, created at Kingsway Park High School , as it has such a strong composition. I love the way the text mirrors the shape of the artwork by artist Lorraine Roy . The student, Fizza I, has cut away some of the artwork and recreated it themselves to analyse the work.

For the research page below, the student first painted with acrylic on black paper.  They picked up on the reflected light that can be found in Liam Spencer’s work and used daubs of paint to create impressionistic car and street lights.  This students theme was ‘reflected light’ so they carefully chose Spencer’s work that shows this.  Their annotation is detailed, intelligent and uses subject-specific language.

The student who created the page below was investigating the theme of body issues and the size zero debate.  She researched the work of artist Adele Carney.  The use of dressmakers patterns in the background and tape measures was appropriate to the artist and theme.

I use the teaching resource below to support my students when they create artist research pages, especially when it’s the first time they do this.

If you have enjoyed this blog post about artist research pages, why not subscribe by clicking on the image below.  If you are an art teacher you will also be able to access 3 of my free resources every month too.

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The Arty Teacher

Sarah Crowther is The Arty Teacher. She is a high school art teacher in the North West of England. She strives to share her enthusiasm for art by providing art teachers around the globe with high-quality resources and by sharing her expertise through this blog.

2 responses to “Good Examples of Artist Research Pages”

Hello Sarah. Good day. Am impressed with your good job on Artist research. Please kindly mail to me examples of students responses to artist works while working on ARTIST RESEARCH PROJECTS (IGCSE) Thanks and hoping to hear from you soon.

Hi Monday, I’m sorry but I don’t email out student work. I hope you have discovered the ‘Arty Students’ section of the site which you can see here: https://theartyteacher.com/category/arty-students/

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Good Examples the Artist Research Pages

Is thee are ask somewhere it can meet good example of artist research links, you’ve come to the right place.  It is great till have a gathering of pages to shows my students to inspire them the now you can just versendet them the linked to this blog post.  Appreciation to all the talented kind teachers available their permission to use these images.

An artists research page should include one artist’s name, images of the artists work, annotation about the artist and see annotating what is the student’s personal response to the work.  Why did they choose it? How does it relating to the theme/idea they are explore? What does the labor inspire them to achieve next? Many succeeding artist research pages are also embellished so the whole page is a mirror of one artist’s work.

Every aspects for this research page below mirrored the art Ira Murphy.  It shows the artists name and includes annotation and images.  The apprentice has created a drawing in the bottom left-hand corner inspired by aforementioned artists work. It appears that the background possess had anaglypta wallpaper printed onto the page who creates a dye that reflects aforementioned wrought iron and brick carving found in Ian Murphy’s drawings. The white and grey color consider the stonework of Murphy’s work.

Below, a combination of one artist work and the students work create a striking, colourful page.  Tags describe the artists work.  The annotation is adenine combination of information about of artist the who student’s retort to the work.  I like the ‘What Next!’ with the cup.  It shows the student is thoughts onward.

I wanted to include the research page below as the gloss is in-depth, insightful and full of subject-specific language.  Excellent in show your students what good annotation search like.

The simple black or white presentation with zerschlagen edges below, reflects the artists work.  There’s nothing like a bit of white pen switch black cardboard to create an artistic-looking page.  Over 50% in the message is the student’s response to the work.  ME reason this is a good ratio to have in mind.  The annotation is intelligent and includes the students own ideas.  To student is interpreting the work. Feb 5, 2014 - Explore BISL Art's board "Artist Study examples" up Pinterest. See more ideas about gcse art sketchbook, scale floor, a level art sketchbook.

The Rich Thomas artist doing side at, is neatly screened with clear images plus annotation.  Together with the artist analysis , this creates a striking double-page spread. An artist analysis is where one current has recreated an artwork or section of an artwork so that they go through the procedures the artist has been through.  Computer is a questionable issue here in the UK with a fashion for moving away free doing this.  Many art teachers still believing there is a lot to learn at going through this process.  More approach is since the student to create an illustration ‘in the style of’ the artists employment from their own photographs.

Of apprentice includes detailed annotation about the processor they have past by.

Julia Lillard creates surreal differential and paper collage.  In the research page at, this student Eva has taken the sepia tones often found in the male work by lightly coffee staining the background and using brown gummed tape at the corners is artworks likes elderly dressed picture corners.  The student has include annotation and their customizable pieces of vintages collage.  The detailed annotation includes information about the artist, quotes from the artist, my personalities bekanntgabe, and what they plan to accomplish next.

The Claerwen James research page below has a successful diagonal layout on the left-hand page.  Students often desire to fill 100% to and page nevertheless this space works well.  The students has additionally completed a accomplished artiste analysis. Artist research & response

I wanted to include the research page below, created at Kingsway Park Higher Language , as it has such a strong composition. I love the way the text surface who shape in the arts with painter Lorraine Coy . The apprentice, Fizza I, has cut away some of the artwork and recreated it themselves to analyse who work.

For the conduct page below, the student foremost painted with acrylate on bleak paper.  They picked up on the reflected luminaire that can be finding int Liam Spencer’s work and used daubs of paint to create impressionistic car plus roads lights.  This students matter was ‘reflected light’ so they carefully selecting Spencer’s job that shows this.  Your annotation be detailed, intelligent and application subject-specific language. Spec 18, 2018 - Explore Miss O Kennedy's lodge "Artist Research Pages Examples" on Pinterest. See get notions about gcse art sketchbook, artist research page, ampere level craft sketchbook.

To student who created the page down was investigating the theme of body issues and the sizes low debate.  She researched the work of artist Adele Carney.  The use is dressmakers examples in the background and tape take was appropriate to the artist and theme. Good examples of our investigation pages

I use the teaching resource slide to support my students when they create artist research web, especially when it’s the first time they do this. 15 Best Good examples to artist research pages ideas | artist research page, gcse art sketchbook, sketch book

If you have enjoyed this blog post via artist research sides, reasons not buy per clicking on the image below.  Wenn you been an art teacher you will also be able in access 3 the my free resources every month too.

Enjoy this article, Drop it a like

Or stock it.

The Arty Teacher

Tarah Crowther is An Arty Instructor. She is a high school art teacher includes this North Westerly of England. Wife strives to part her energy for type by providing type teachers around the globe with high-quality resources and by sharing her expertise due such blog. Artist Research Writing Guide- Follow the set of this layer for your ...

2 responses for “Good Examples of Artist Research Pages”

Greetings Sarah. Good day. Ma impressed with your sound job on Artist research. Please nicely mail in me examples out students responses at artist works while working on PAINTER DOING PROJECTS (IGCSE) Thanks and looking to audition coming you next.

Sup Montags, I’m excuse but IODIN don’t email out student your. I hope you have discovered one ‘Arty Students’ querschnitt of the site which you can look here: https://mapleandrose.com/category/arty-students/

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The Ryerson & Burnham Libraries collection contains a wide variety of resources that can be used to locate information on artists and their works. Our open shelf collection in the reading room contains reference sources, such as dictionaries, directories, encyclopedias, and indexes. We have strong collections of artist files, auction catalogs, books, exhibition catalogs, journals, and newspapers in the library collection, and the Ryerson and Burnham Archives collections also contain papers for individual artists and arts organizations, as well as a collection of artists’ oral histories.

This research guide provides recommendations for research sources and strategies to locate information on both prominent and obscure artists and their works. Prior to beginning your research, we recommend that you compile as much information about the artist or artwork of interest to you as possible. Do you know the artist’s name, the artwork’s title, the approximate dates the artist worked or the piece was created, or the geographic area where the artist lived or the object was created? If you are working on an artwork in your collection, have you examined it to see whether it contains any signatures or marks, labels, or annotations (you may wish to remove the frame to fully examine the object)? Recording this information and bringing an outline of keywords or research objectives as well as clear, closeup images of any signatures or markings to the library with you will provide you with a strong starting point for your research.

Getting Started

The Ryerson and Burnham Libraries’ catalog will lead you to articles, artist files, books, and exhibition catalogues for an artist. For best results, use the Library Catalog search scope, and enter the artist’s name, last name, first name (example: Monet, Claude). The following resources will also be helpful in learning more about specific artists and their artworks.

Catalogues Raisonnés

Look for a piece in the most comprehensive catalogue of the artist’s known works. Please note these are not available for all artists. The International Foundation for Art Research maintains a free database of published and forthcoming catalogues raisonnés.

In the library catalog, search the Library Catalog scope for: [Artist’s name; Last Name, First Name] – Catalogues raisonnés (example: Hopper, Edward – Catalogues raisonnés).

Artist Files

The Ryerson & Burnham Libraries have over 35,000 artist files, which contain small exhibition catalogs, checklists, clippings, images, and fliers for artists, galleries, museums, and art schools. These are described in the catalog: the location and material type is Pamphlets. See also the New York Public Library’s artists file on microfiche (call number 1990 3).

Biographical Reference Resources

• Who’s Who in American Art This subscription resource is also available digitally in the reading room.
• Who Was Who in American Art, 1564-1975
• Dictionary of Artists (Bénézit) This subscription resource is also available digitally in the reading room.
• Allgemeines Kunstler-Lexikon This subscription resource is also available digitally in the reading room.
• Contemporary Artists

Ryerson Index

Look for articles on an artist, particularly if the artist was in the Chicago area and was active in the early to mid-20th century. This includes references to the Art Institute of Chicago Scrapbooks .

Full Title :   I ndex to Art Periodicals (1962)

Signature Directories

If you do not have the name of the work you are researching, but it has a signature, try resources such as these.

•      American Artists: Signatures & Monograms, 1800-1989
•      Marks & Monograms: The Decorative Arts, 1880-1960
•      The Visual Index of Artists’ Signatures & Monograms
•      Artists’ Monograms & Indiscernible Signatures: An International Directory, 1800-1991

Reproduction Indices

Track down works that reproduce a painting, such as World Painting Index or Art Reproductions .

Art Dictionaries

Art dictionaries are useful for biographies, introductions to periods of art, and the bibliographies that accompany entries; the Grove Dictionary of Art and Oxford Art Online (this subscription resource is available in the reading room) are good examples. Works such as the Dictionary of Art Terms can also be useful for definitions and explanations of terms and periods of art, as well as illustrations and diagrams for entries.

Articles on Art, Artists, and Related Topics

These subscription resources provide citations and some full-text articles on art, artists, and related topics. Unless otherwise noted, they are available onsite at the Art Institute of Chicago and the School of the Art Institute of Chicago campus. Faculty, students, and staff at the Art Institute of Chicago and School of the Art Institute of Chicago can also access most of these resources from other locations with an ARTIC username and password via the Art, Architecture, and Design Resources Page .

Newspaper Databases

The Libraries subscribe to online regional and national newspaper databases, which can be used to locate biographical or exhibition information.

These resources are accessible in the Ryerson & Burnham Libraries via the Newspapers Resources Page .

Auction Databases

The Libraries subscribe to a number of auction databases, most of which cover auctions from the last 20 years. 

These resources are accessible in the Ryerson & Burnham Libraries via the Auction Resources Page.

Researching Artworks in a Museum Collection

Objects currently on display in the Art Institute galleries can usually be found in Collections Online . The record may include an image, information from the wall label, and occasionally an exhibition history and bibliography of titles that mention the artwork. CITI is the museum’s internal collection database, which includes information on all artworks in the Art Institute’s collection. If an item is not on display in the galleries, this may be the best starting point. Please ask at the reference desk for CITI access.

For objects that are on display in other museums and institutions, the subscription ARTstor database, available in the reading room, contains a growing survey of major works of art, as well as specialized image collections.

Search by museum collection, artist, or keyword. ARTstor is available from the Image Databases page .

Catalog of Museum or Department

Consult the catalogs of a museum’s collection or a museum department’s collection. For example: American Arts at the Art Institute of Chicago . You can find these by searching the library catalog for the museum and department name and the term catalogs (for example, Art Institute of Chicago. Department of Textiles — Catalogs).

Beyond the Ryerson & Burnham Libraries

Area Libraries

Check libraries and/or historical societies in the area that the artist was from or was most active for information including newspaper articles and pamphlet files. Try “Find a library near you,” available here: https://www.worldcat.org/libraries .

Chicago Artists’ Archive at Chicago Public Library

This archival collection is available at the Harold Washington Branch of Chicago Public Library (8th floor). Files may contain: resumes, newspaper articles, artists’ books, gallery flyers, videos, press clippings, letters, photographs, some original artwork, and CDs. To find out if a particular artist is included in the collection you can call (312) 747-4300 or consult the list available here: http://www.chipublib.org/fa-chicago-artists-archive/ .

Collections that Have Works by the Artist

Once you discover which museum collections hold pieces by an artist, check with these institutions for information. 

Union Catalogs

The Chicago Collections Consortium contains digitized items from the archives and special collections of various Chicago-area institutions, including scrapbooks, photographs, and other printed material for local art-related topics. Access the free online portal here: http://explore.chicagocollections.org .

WorldCat is a catalog of library catalogs worldwide that contains records for libraries’ holdings of books, journals, manuscript collections, newspapers, and digital and audiovisual resources. It is available thorough subscription in the reading room, or in a free version .

Archival Collections

Look for collections of an artist’s papers in library collections around the world search WorldCat or ArchiveGrid .

For American artists, try the Archives of American Art: http://www.aaa.si.edu/ .

Art Information on the Internet

Conduct broad searches for anything on an artist’s name. Using quotation marks around the artist’s name can help limit, as can adding keywords outside the quotation marks.

“Claude Monet”

“Claude Monet” watercolor

“Claude Monet” artist

Searching Google Images, Google Books, and Google Scholar can also be very useful.

The entries in this free online encyclopedia often include bibliographies, references, and links to related entries.

Biographical Information

Consult sites created by museums, libraries, archives, galleries, and others that provide information on artists.

Art in Context

Artcyclopedia

 For artists about whom little professional literature is available, try genealogical resources such as census documents, city directories, county histories, and local newspaper collections. Many of these resources are freely accessible online.

ChicagoAncestors

Chronicling America

FamilySearch

Internet Archive

  Image Searching

If you have a digital image of the item you are trying to identify, run it through a reverse image search to locate images of similar items on the Internet.

Google Images

Art-Related Services

Appraisal and Conservation

Staff at the Art Institute of Chicago cannot provide authentication or appraisal services, and our conservation staff are not able to accept inquiries on works of art in personal collections. You can locate advice on these topics in our research guide on Appraisal and Conservation Resources for Art .

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Image actions, suggested terms.

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How to Research an Artist or a Work of Art

Find articles, contemporary artists, gallery websites, keyword search tips.

• How to research a work of art

This guide walks you through the steps of researching an artist and of researching a work of art.

The following resources can provide lots of great biographical information on artists.  Check for bibliographies on articles.

In many databases you can narrow your search to certain "content types." Look for:

• Biographies
• Exhibition Catalogs
• Periodicals

Off-campus access is limited to SIA faculty, students, and staff, unless otherwise noted. 

The more traditional resources in this guide may not cover contemporary artists. A few suggestions are listed below for locating information on contemporary artists. Cleveland Institute of Art's Contemporary Artist Index is a database that lists over 31,000 artists appearing in more than 1,800 exhibition catalogs and art publications.

Gallery websites will often contain some basic information on the artists they represent. A simple Google search may lead you to an artist's gallery.

If not, try searching for the artist in the  ArtNet Artists A-Z list .  Artist information will often include a link to a list of dealers representing the artist as in the example below from ArtNet for the artist Rashaad Newsome

One of the dealers listed is Marlborough Gallery. If you go to the Marlborough Gallery website, you will find a lot of biographical information provided on the artist's page. 

Selected examples of subject search terms to use in databases and library catalogs. Terms can all be modified by place names, e.g., Expatriate artists -- United States . You may also search by the name of an artist, either as an author or as subject. 

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Home » Artistic Research – Methods, Types and Examples

Artistic Research – Methods, Types and Examples

Table of Contents

Artistic Research

Definition:

Artistic Research is a mode of inquiry that combines artistic practice and research methodologies to generate new insights and knowledge. It involves using artistic practice as a means of investigation and experimentation, while applying rigorous research methods to examine and reflect upon the process and outcomes of the artistic practice.

Types of Artistic Research

Types of Artistic Research are as follows:

Practice-based Research

This type of research involves the creation of new artistic works as part of the research process. The focus is on the exploration of artistic techniques, processes, and materials, and how they contribute to the creation of new knowledge.

Research-led practice

This type of research involves the use of academic research methods to inform and guide the creative process. The aim is to investigate and test new ideas and approaches to artistic practice.

Practice-led Research

This type of research involves using artistic practice as a means of exploring research questions. The aim is to develop new insights and understandings through the creative process.

Transdisciplinary Research

This type of research involves collaboration between artists and researchers from different disciplines. The aim is to combine knowledge and expertise from different fields to create new insights and perspectives.

Research Through Performance

This type of research involves the use of live performance as a means of investigating research questions. The aim is to explore the relationship between the performer and the audience, and how this relationship can be used to create new knowledge.

Participatory Research

This type of research involves collaboration with communities and stakeholders to explore research questions. The aim is to involve participants in the research process and to create new knowledge through shared experiences and perspectives.

Data Collection Methods

Artistic research data collection methods vary depending on the type of research being conducted and the artistic discipline being studied. Here are some common methods of data collection used in artistic research:

• Artistic production: One of the most common methods of data collection in artistic research is the creation of new artistic works. This involves using the artistic practice itself as a method of data collection. Artists may create new works of art, performances, or installations to explore research questions and generate data.
• Interviews : Artists may conduct interviews with other artists, scholars, or experts in their field to collect data. These interviews may be recorded and transcribed for further analysis.
• Surveys and questionnaires : Surveys and questionnaires can be used to collect data from a larger sample of people. These can be used to collect information about audience reactions to artistic works, or to collect demographic information about artists.
• Observation: Artists may also use observation as a method of data collection. This can involve observing the audience’s reactions to a performance or installation, or observing the process of artistic creation.
• Archival research : Artists may conduct archival research to collect data from historical sources. This can involve studying the work of other artists, analyzing historical documents or artifacts, or studying the history of a particular artistic practice or discipline.
• Experimental methods : In some cases, artists may use experimental methods to collect data. This can involve manipulating variables in an artistic work or performance to test hypotheses and generate data.

Data Analysis Methods

some common methods of data analysis used in artistic research:

• Interpretative analysis : This involves a close reading and interpretation of the artistic work, performance or installation in order to understand its meanings, themes, and symbolic content. This method of analysis is often used in qualitative research.
• Content analysis: This involves a systematic analysis of the content of artistic works or performances, with the aim of identifying patterns, themes, and trends in the data. This method of analysis is often used in quantitative research.
• Discourse analysis : This involves an analysis of the language and social contexts in which artistic works are created and received. It is often used to explore the power dynamics, social structures, and cultural norms that shape artistic practice.
• Visual analysis: This involves an analysis of the visual elements of artistic works, such as composition, color, and form, in order to understand their meanings and significance.
• Statistical analysis: This involves the use of statistical techniques to analyze quantitative data collected through surveys, questionnaires, or experimental methods. This can involve calculating correlations, regression analyses, or other statistical measures to identify patterns in the data.
• Comparative analysis: This involves comparing the data collected from different artistic works, performances or installations, or comparing the data collected from artistic research to data collected from other sources.

Artistic Research Methodology

Artistic research methodology refers to the approach or framework used to conduct artistic research. The methodology used in artistic research is often interdisciplinary and may include a combination of methods from the arts, humanities, and social sciences. Here are some common elements of artistic research methodology:

• Research question : Artistic research begins with a research question or problem to be explored. This question guides the research process and helps to focus the investigation.
• Contextualization: Artistic research often involves an examination of the social, historical, and cultural contexts in which the artistic work is produced and received. This contextualization helps to situate the work within a larger framework and to identify its significance.
• Reflexivity: Artistic research often involves a high degree of reflexivity, with the researcher reflecting on their own positionality and the ways in which their own biases and assumptions may impact the research process.
• Iterative process : Artistic research is often an iterative process, with the researcher revising and refining their research question and methods as they collect and analyze data.
• Creative practice: Artistic research often involves the use of creative practice as a means of generating data and exploring research questions. This can involve the creation of new works of art, performances, or installations.
• Collaboration: Artistic research often involves collaboration with other artists, scholars, or experts in the field. This collaboration can help to generate new insights and perspectives, and to bring diverse knowledge and expertise to the research process.

Examples of Artistic Research

There are numerous examples of artistic research across a variety of artistic disciplines. Here are a few examples:

• Music : A composer may conduct artistic research by exploring new musical forms and techniques, and testing them through the creation of new works of music. For example, composer Steve Reich conducted artistic research by studying traditional African drumming techniques and incorporating them into his minimalist compositions.
• Visual art: An artist may conduct artistic research by exploring the history and techniques of a particular medium, such as painting or sculpture, and using that knowledge to create new works of art. For example, painter Gerhard Richter conducted artistic research by exploring the history of photography and using photographic techniques to create his abstract paintings.
• Dance : A choreographer may conduct artistic research by exploring new movement styles and techniques, and testing them through the creation of new dance works. For example, choreographer William Forsythe conducted artistic research by studying the physics of movement and incorporating that knowledge into his choreography.
• Theater : A theater artist may conduct artistic research by exploring the history and techniques of a particular theatrical style, such as physical theater or experimental theater, and using that knowledge to create new works of theater. For example, director Anne Bogart conducted artistic research by studying the teachings of the philosopher Jacques Derrida and incorporating those ideas into her approach to theater.
• Film : A filmmaker may conduct artistic research by exploring the history and techniques of a particular genre or film style, and using that knowledge to create new works of film. For example, filmmaker Agnès Varda conducted artistic research by exploring the feminist movement and incorporating feminist ideas into her films.

When to use Artistic Research

some situations where artistic research may be useful:

• Developing new artistic works: Artistic research can be used to inform and inspire the development of new works of art, music, dance, theater, or film.
• Exploring new artistic techniques or approaches : Artistic research can be used to explore new techniques or approaches to artistic practice, and to test and refine these approaches through creative experimentation.
• Investigating the historical and cultural contexts of artistic practice: Artistic research can be used to investigate the social, cultural, and historical contexts of artistic practice, and to identify the ways in which these contexts shape and influence artistic works.
• Evaluating the impact and significance of artistic works : Artistic research can be used to evaluate the impact and significance of artistic works, and to identify the ways in which they contribute to broader cultural, social, and political issues.
• Advancing knowledge and understanding in artistic fields: Artistic research can be used to advance knowledge and understanding in artistic fields, and to generate new insights and perspectives on artistic practice.

Purpose of Artistic Research

The purpose of artistic research is to generate new knowledge and understanding through a rigorous and creative investigation of artistic practice. Artistic research aims to push the boundaries of artistic practice and to create new insights and perspectives on artistic works and processes.

Artistic research serves several purposes, including:

• Advancing knowledge and understanding in artistic fields: Artistic research can contribute to the development of new knowledge and understanding in artistic fields, and can help to advance the study of artistic practice.
• Creating new artistic works and forms: Artistic research can inspire the creation of new artistic works and forms, and can help artists to develop new techniques and approaches to their practice.
• Evaluating the impact and significance of artistic works: Artistic research can help to evaluate the impact and significance of artistic works, and to identify their contributions to broader cultural, social, and political issues.
• Enhancing interdisciplinary collaboration: Artistic research often involves interdisciplinary collaboration, and can help to foster new connections and collaborations between artists, scholars, and experts in diverse fields.
• Challenging assumptions and pushing boundaries: Artistic research can challenge assumptions and push the boundaries of artistic practice, and can help to create new possibilities for artistic expression and exploration.

Characteristics of Artistic Research

Some key characteristics that can be used to describe artistic research:

• Creative and interdisciplinary: Artistic research is creative and interdisciplinary, drawing on a wide range of artistic and scholarly disciplines to explore new ideas and approaches to artistic practice.
• Experimental and process-oriented : Artistic research is often experimental and process-oriented, involving creative experimentation and exploration of new techniques, forms, and ideas.
• Reflection and critical analysis : Artistic research involves reflection and critical analysis of artistic practice, with a focus on exploring the underlying processes, assumptions, and concepts that shape artistic works.
• Emphasis on practice-led inquiry : Artistic research is often practice-led, meaning that it involves a close integration of creative practice and research inquiry.
• Collaborative and participatory: Artistic research often involves collaboration and participation, with artists, scholars, and experts from diverse fields working together to explore new ideas and approaches to artistic practice.
• Contextual and socially engaged : Artistic research is contextual and socially engaged, exploring the ways in which artistic practice is shaped by broader social, cultural, and historical contexts, and engaging with issues of social and political relevance.

Advantages of Artistic Research

Artistic research offers several advantages, including:

• Innovation : Artistic research encourages creative experimentation and exploration of new techniques and approaches to artistic practice, leading to innovative and original works of art.
• Interdisciplinary collaboration: Artistic research often involves collaboration between artists, scholars, and experts from diverse fields, fostering interdisciplinary exchange and the development of new perspectives and ideas.
• Practice-led inquiry : Artistic research is often practice-led, meaning that it involves a close integration of creative practice and research inquiry, leading to a deeper understanding of the creative process and the ways in which it shapes artistic works.
• Critical reflection: Artistic research involves critical reflection on artistic practice, encouraging artists to question assumptions and challenge existing norms, leading to new insights and perspectives on artistic works.
• Engagement with broader issues : Artistic research is contextual and socially engaged, exploring the ways in which artistic practice is shaped by broader social, cultural, and historical contexts, and engaging with issues of social and political relevance.
• Contribution to knowledge : Artistic research contributes to the development of new knowledge and understanding in artistic fields, and can help to advance the study of artistic practice.

Limitations of Artistic Research

Artistic research also has some limitations, including:

• Subjectivity : Artistic research is subjective, meaning that it is based on the individual perspectives, experiences, and creative decisions of the artist, which can limit the generalizability and replicability of the research.
• Lack of formal methodology : Artistic research often lacks a formal methodology, making it difficult to compare or evaluate different research projects and limiting the reproducibility of results.
• Difficulty in measuring outcomes: Artistic research can be difficult to measure and evaluate, as the outcomes are often qualitative and subjective in nature, making it challenging to assess the impact or significance of the research.
• Limited funding: Artistic research may face challenges in securing funding, as it is still a relatively new and emerging field, and may not fit within traditional funding structures.
• Ethical considerations: Artistic research may raise ethical considerations related to issues such as representation, consent, and the use of human subjects, particularly when working with sensitive or controversial topics.

About the author

Muhammad Hassan

Researcher, Academic Writer, Web developer

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Sketchbook Pages

In your sketchbook you will be required to create a new page every two weeks. These pages will be divided into two sections: Front & Back. (The Front: Your Free sketches and notes from class; The Back: Your Artist & Style Research Pages.)

Further Explanations:

Examples of good research pages:.

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Art History Resources

• Guidelines for Analysis of Art
• Formal Analysis Paper Examples

Guidelines for Writing Art History Research Papers

• Oral Report Guidelines
• Annual Arkansas College Art History Symposium

Writing a paper for an art history course is similar to the analytical, research-based papers that you may have written in English literature courses or history courses. Although art historical research and writing does include the analysis of written documents, there are distinctive differences between art history writing and other disciplines because the primary documents are works of art. A key reference guide for researching and analyzing works of art and for writing art history papers is the 10th edition (or later) of Sylvan Barnet’s work, A Short Guide to Writing about Art . Barnet directs students through the steps of thinking about a research topic, collecting information, and then writing and documenting a paper.

A website with helpful tips for writing art history papers is posted by the University of North Carolina.

Wesleyan University Writing Center has a useful guide for finding online writing resources.

The following are basic guidelines that you must use when documenting research papers for any art history class at UA Little Rock. Solid, thoughtful research and correct documentation of the sources used in this research (i.e., footnotes/endnotes, bibliography, and illustrations**) are essential. Additionally, these guidelines remind students about plagiarism, a serious academic offense.

Paper Format

Research papers should be in a 12-point font, double-spaced. Ample margins should be left for the instructor’s comments. All margins should be one inch to allow for comments. Number all pages. The cover sheet for the paper should include the following information: title of paper, your name, course title and number, course instructor, and date paper is submitted. A simple presentation of a paper is sufficient. Staple the pages together at the upper left or put them in a simple three-ring folder or binder. Do not put individual pages in plastic sleeves.

Documentation of Resources

The Chicago Manual of Style (CMS), as described in the most recent edition of Sylvan Barnet’s A Short Guide to Writing about Art is the department standard. Although you may have used MLA style for English papers or other disciplines, the Chicago Style is required for all students taking art history courses at UA Little Rock. There are significant differences between MLA style and Chicago Style. A “Quick Guide” for the Chicago Manual of Style footnote and bibliography format is found http://www.chicagomanualofstyle.org/tools_citationguide.html. The footnote examples are numbered and the bibliography example is last. Please note that the place of publication and the publisher are enclosed in parentheses in the footnote, but they are not in parentheses in the bibliography. Examples of CMS for some types of note and bibliography references are given below in this Guideline. Arabic numbers are used for footnotes. Some word processing programs may have Roman numerals as a choice, but the standard is Arabic numbers. The use of super script numbers, as given in examples below, is the standard in UA Little Rock art history papers.

The chapter “Manuscript Form” in the Barnet book (10th edition or later) provides models for the correct forms for footnotes/endnotes and the bibliography. For example, the note form for the FIRST REFERENCE to a book with a single author is:

1 Bruce Cole, Italian Art 1250-1550 (New York: New York University Press, 1971), 134.

But the BIBLIOGRAPHIC FORM for that same book is:

Cole, Bruce. Italian Art 1250-1550. New York: New York University Press. 1971.

The FIRST REFERENCE to a journal article (in a periodical that is paginated by volume) with a single author in a footnote is:

2 Anne H. Van Buren, “Madame Cézanne’s Fashions and the Dates of Her Portraits,” Art Quarterly 29 (1966): 199.

The FIRST REFERENCE to a journal article (in a periodical that is paginated by volume) with a single author in the BIBLIOGRAPHY is:

Van Buren, Anne H. “Madame Cézanne’s Fashions and the Dates of Her Portraits.” Art Quarterly 29 (1966): 185-204.

If you reference an article that you found through an electronic database such as JSTOR, you do not include the url for JSTOR or the date accessed in either the footnote or the bibliography. This is because the article is one that was originally printed in a hard-copy journal; what you located through JSTOR is simply a copy of printed pages. Your citation follows the same format for an article in a bound volume that you may have pulled from the library shelves. If, however, you use an article that originally was in an electronic format and is available only on-line, then follow the “non-print” forms listed below.

B. Non-Print

Citations for Internet sources such as online journals or scholarly web sites should follow the form described in Barnet’s chapter, “Writing a Research Paper.” For example, the footnote or endnote reference given by Barnet for a web site is:

3 Nigel Strudwick, Egyptology Resources , with the assistance of The Isaac Newton Institute for Mathematical Sciences, Cambridge University, 1994, revised 16 June 2008, http://www.newton.ac.uk/egypt/ , 24 July 2008.

If you use microform or microfilm resources, consult the most recent edition of Kate Turabian, A Manual of Term Paper, Theses and Dissertations. A copy of Turabian is available at the reference desk in the main library.

C. Visual Documentation (Illustrations)

Art history papers require visual documentation such as photographs, photocopies, or scanned images of the art works you discuss. In the chapter “Manuscript Form” in A Short Guide to Writing about Art, Barnet explains how to identify illustrations or “figures” in the text of your paper and how to caption the visual material. Each photograph, photocopy, or scanned image should appear on a single sheet of paper unless two images and their captions will fit on a single sheet of paper with one inch margins on all sides. Note also that the title of a work of art is always italicized. Within the text, the reference to the illustration is enclosed in parentheses and placed at the end of the sentence. A period for the sentence comes after the parenthetical reference to the illustration. For UA Little Rcok art history papers, illustrations are placed at the end of the paper, not within the text. Illustration are not supplied as a Powerpoint presentation or as separate .jpgs submitted in an electronic format.

Edvard Munch’s painting The Scream, dated 1893, represents a highly personal, expressive response to an experience the artist had while walking one evening (Figure 1).

The caption that accompanies the illustration at the end of the paper would read:

Figure 1. Edvard Munch, The Scream, 1893. Tempera and casein on cardboard, 36 x 29″ (91.3 x 73.7 cm). Nasjonalgalleriet, Oslo, Norway.

Plagiarism is a form of thievery and is illegal. According to Webster’s New World Dictionary, to plagiarize is to “take and pass off as one’s own the ideas, writings, etc. of another.” Barnet has some useful guidelines for acknowledging sources in his chapter “Manuscript Form;” review them so that you will not be mguilty of theft. Another useful website regarding plagiarism is provided by Cornell University, http://plagiarism.arts.cornell.edu/tutorial/index.cfm

Plagiarism is a serious offense, and students should understand that checking papers for plagiarized content is easy to do with Internet resources. Plagiarism will be reported as academic dishonesty to the Dean of Students; see Section VI of the Student Handbook which cites plagiarism as a specific violation. Take care that you fully and accurately acknowledge the source of another author, whether you are quoting the material verbatim or paraphrasing. Borrowing the idea of another author by merely changing some or even all of your source’s words does not allow you to claim the ideas as your own. You must credit both direct quotes and your paraphrases. Again, Barnet’s chapter “Manuscript Form” sets out clear guidelines for avoiding plagiarism.

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The Art Teacher

Art Lesson Ideas, Plans, Free Resources, Project Plans, and Schemes of Work. An 'outstanding' art teacher in Greater Manchester. Teaching KS3 and KS4 art and design.

Grade 9 GCSE Art Examples

As it is so challenging for students to achieve a Grade 9 in GCSE Art & Design, I thought it would be useful to share some Grade 9 Art project examples. If you’re wondering how to get a Grade 9 in GCSE art, these projects might be able to help!

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*UPDATE!* I have added more full Grade 9 Art & Design projects to this presentation – there are now FIVE projects to have a look at. Enjoy!

I usually have students work on design sheets so these are photographs of all the design sheets and any final pieces the students made. I was so impressed with their work and with how much effort the students put in! Anyone who teaches (or has done GCSE art) will know it is REALLY difficult to get the top grades and takes a lot of hard work.

There are five Grade 9 full project examples on the presentation, including sheets of student’s secondary and primary research and artist research. As I tell my students, the focus should always be on the quality of their work rather than the quantity in order to achieve high grades in art. Although, of course, they need have enough work to meet all of the four assessment objectives (I currently teach for the AQA exam board.)

I have also included all of the student’s observational / working drawings, development work, experimentation, plans and final pieces. I have added close up images of the Grade 9 observational drawing work so you can use the presentation to show your own students if you wish.

I have chosen very different exam projects so you can see a full range of techniques and approaches to the different exam questions. The projects are a mix of coursework and the externally set exam by AQA.

I have added titles to each of the slides in ‘student speak’ so your students can clearly see examples of what each stage of a Grade 9 art project looks like. All of the annotations should be legible too!

Finally, I have included photographs of all of the final pieces completed in the 10 hour exam / controlled assessment. As well as the final pieces, I have included close up images so you can clearly see the details and quality of the work. In total, there are 85 slides with examples of Grade 9 GCSE art projects.

Since some of these art projects were for the externally set exam, the marks made up 40% of the total grade. All students achieved a Grade 9, but that is also including the 60% coursework component.

That means that not every single drawing or experiment in the presentation is a grade 9 . This is important as students can refine their work by recognising what has not gone well and move forward using only their best work! This is tricky to get across to students but hopefully using this presentation will help. I have used it with my own classes and found it useful.

If you would like a copy of the Grade 9 Art presentation for free, just leave a comment and I will share it with your email address! Thanks, I hope this is useful 🎨

Could you make a small donation to help keep this site free? It is getting more expensive to keep online – thanks!

Sharing is caring

202 thoughts on “ grade 9 gcse art examples ”.

Hi! Looks amazing, would love to have a copy if possible as I am currently doing my exam project.

Thanks so much.

Like Liked by 1 person

Hi, yes of course! Hopefully this will help your students through their exams – it’s a stressful time.

These are great. Please could I have a copy too?

Yes of course, I just sent it 🙂

Superb ideas

Hi , this is really helpful advice and resources. Thanks for posting. Could you please send me a copy?

Hi, you’re welcome! Thanks for your message 🙂 I just shared it.

Hi, thanks! I still use it too with my students 🙂 I’ve just shared it!

These resources are WONDERFUL! Thank you for posting them.

You’re welcome! Thanks for your lovely comment 🙂

Really find this site useful! Could I please have a copy to show my GCSE Art students.

I’m really glad it’s helpful 🙂 I just sent the presentation.

Hi , I would love a copy to show my students- thanks.

Hi, no probs – I just sent it over 🙂

Great! thanks so much, a wonderful resource.

This is great and useful to show the students, especially the not everything has to be perfect!

Thanks for your comment! I just sent it over – hopefully it’s helpful for your students. I use it all the time with my GCSE Art classes 🙂

This is really beautiful work! It would be really beneficial to show my students the jouney and development of some great projects 🙂

Hi – I just shared it, I hope your students find it useful! Mine tend to get a better understanding of what is expected when I go through this 🙂

I love this! Would I be able to be sent a copy?

I’m glad you like it 🙂 I have just shared it with you!

this looks so helpful! My daugher is near the end of year 10 and woudl love to see the presentation

I just shared it – I hope your daughter finds it useful!

This would be really useful for my daughter in Y10.

This is amazing and would help my students a lot. Could you please share the presentation with me?

Hi, yes of course, I just sent it 🙂

Many thanks for this 🙂

Love your work – I looking to support my daughter whose work is incredible but she’s not finding her teacher very supportive

I have just shared it – I hope your daughter finds it helpful!

Really well put together. I am sure it will be helpful for many students. Thank you so much for sharing.

Thank you! I just sent it over 🙂

Thank you for sharing. So so helpful. If not too late please could I see a copy of the full presentation?

You’re welcome! And it’s not too late 🙂 I just shared it.

Hi, can I please get a copy? Thank you.

Hi, yes of course – I just sent it 🙂

Very comprehensive and informative. Brilliant post. New to the art teaching world so this would be amazing to have a copy to show students.

Thanks so much for your comment! I’ve just shared it, best wishes for your new career!

This is so inspiring! I am a new teacher and I’d love a free copy of the grade 9 art presentation. Thank you

Thanks for your comment, I’m glad you find it helpful! I just emailed it to you 🙂

Fabulous stuff, would love a copy of the presentation to support a friend’s daughter who is doing her Art GCSE!

Hi, no problem, I just sent it! Best of luck to your friend’s daughter 🙂

Hey there, thank you for such an excellent resource, this would be great in helping me support my daughter who is doing her Art GCSE.

Thanks for your comment! I just sent it – best of luck to your daughter 🙂

This is very useful. Please could we have a copy. Thx!

Hi, yes of course – I just shared it.

Please can you send a copy of the gcse presentation, thanks

I have just shared it with you – thanks!

Please could I have a copy of the presentation. Thx!

I have just shared it 🙂

Sorry I got a message to say it couldn’t be sent to your email address – please double check you’ve given the correct email?

Hi! We would love a copy of your presentation. It would be so helpful!

I just sent it – hope it helps!

Very interesting, thank you. Please may I have the copy?

Would love this! please could I have a copy?

Yes, no problem!

Fabulous resource, pease could I have a copy

This is a great idea, please could I have a copy. Thank you

Thanks! I just sent it over.

Hi, can I get a copy to share with students please.

Hi, I have just shared it 🙂 thanks.

This is really helpful. Please may I have a copy?

Hi, yes of course, I have sent it over.

Hi, please could I get a copy for my son? He has not had an art teacher for most of his GCSE time and is getting very concerned about completing his coursework! Many thanks

Sorry to hear that – hopefully this will help him out a bit 🙂

Hi, I would love a copy, thank you!

I have just shared it with you – enjoy!

Such a great inspiration for teachers, parents and pupils…thank you for taking the time to put all this together xx

Thanks so much, glad you appreciate it 🙂 I just shared it.

Please could I have a copy? Thanks so much.

Yes, I have just shared it 🙂 hope it’s helpful!

Hello! So pleased to come across these examples. Please could you share the full set with me?

Thanks! Happy to help out, I just sent them over 🙂

Hi, I would like a copy please. Thank you.

No problem, I just shared it.

Please could I have a copy? I would find it very useful, thankyou.

Thank you for doing this, some fabulous original ideas. I would love a copy please, I think it will help a number of students looking for more information.

Thanks! It’s all the student’s work so credit to them 🙂

Could this non-arty mum have a copy please? It would be very helpful, thanks.

Of course! And there’s no such thing as non-arty 🙂 there’s no right or wrong!

This is extremely helpful! Please could I have a copy sent across? Thankyou in advance 🙂

I have just sent it over, hope it helps you out!

Hi! What a wonderful idea to share examples in this way as it’s so difficult to know what to do to achieve the top grades! Please could you send me the slideshow? Many thanks!

Thanks for your comment! I have just shared it, I hope it’s helpful.

hi these are great, could I get a copy? X

Thanks! I have sent it to you 🙂

this is invaluable, would be ever so grateful of a new copy as an ECT. Many thanks

No problem 🙂 congrats on becoming an ECT too!

Would love a copy please! 🙂

I just shared it 🙂

I would really appreciate a copy please. There is nothing like seeing examples!

I have just sent it – I hope it helps!

would really appreciate a copy! Thanks

No problem, I just shared it 🙂

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Making and teaching art. Based in Manchester. View all posts by art_teacher_mcr

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Artist Research

Ai generator.

Work of Art and Artwork

Some people use words they already understand may have a different meaning when used through a different perspective. In common usage, the terms’ artwork’ and ‘work of art’ are interchangeable. But in the world of art studies, they mean different things. ‘Artwork’ is the production and its outcome. This term refers to the performance, painting, drawing, poems, etc. ‘Work of art,’ on the other hand, is said to be the work that art does. Whatever movement in concepts, methodologies, material practice, sensorial and work experience , and other epiphanies that arise while making art is ‘work of art’ of art. Artistic research analyzes these two to report new knowledge.

10+ Artist Research Examples

There is no one correct meaning to art. There are untold truths hidden within the product and process of making art. It would have to take a non-traditional way of thinking to assess and analyze an artist’s performance and work. This is where artistic research comes in. To give you more insight on how artistic research is conducted, here are 10+ artistic research examples you can check out.

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Method to the Madness

Artistic research requires a firm understanding of art and its theories. You also need to have had an artistic experience that you can analyze in your study. This means that it requires a solid strategy to help accurately conduct it. As with any research, there are several different research methods researchers can utilize to accomplish their artistic research project. Below is a list of a few techniques you can choose from.

Action Research

After finishing the artwork, the artist or researcher looks to see if there is anything that needs improving. Action research focuses on analyzing the actions of the artist to help him grow and refine his work. Although there is no correct way of making art, researchers always assumed that it could be better. By using the action research method for your research project , you can formulate an effective improvement plan for your work.

Content Analysis

As discussed, art holds many various insights. Looking into every little detail of the artwork is called content analysis. Since art is used for infographics and marketing flyers , studying its content could help in understanding the whole document. Color schemes, figures, and movements could represent something more profound; that’s why researchers use content analysis to figure them out.

Critical Discourse Analysis

In the literary arts, what is said can mean something different. You need to be able to analyze the art history , figures of speech and positioning of the text. This type of data analysis is done with critical discourse analysis. This method studies social relations, knowledge, and identity, and how they are constructed in written text. Literary artistic research relies on this method more often than not.

Media Analysis

For those making formal essays in the art of film, plays, and television, media analysis might be the one you need. This analysis is a subset of content analysis that focuses mainly on mass media. This analyzes film transcripts and whatnot. Media analysis gathers and examines quantitative and qualitative data. This type of analysis studies and evaluates data from various kinds of media.

Usability Studies

Art often represents a particular scene, era, phenomenon, or demographic. Some also use visual and performing arts as tools to depict the behaviors of specified groups of people. This technique is why usability studies are one of the many methods of artistic research. This method looks at art as tools and reviews their uses for reasons lie lesson and study plan .

Behind every painted picture, every spoken poem, every song, and every dance lies the secrets of the universe. Not everyone can see it, but some are lucky enough to get a glimpse.

Text prompt

• Instructive
• Professional

10 Examples of Public speaking

20 Examples of Gas lighting

• Artist Research
• Experimenting
• Final Outcomes
• What am I assessed on?

Art Research Paper

This sample art research paper features: 6600 words (approx. 22 pages) and a bibliography with 52 sources. Browse other research paper examples  for more inspiration. If you need a thorough research paper written according to all the academic standards, you can always turn to our experienced writers for help. This is how your paper can get an A! Feel free to contact our writing service for professional assistance. We offer high-quality assignments for reasonable rates.

The Sociology of Art

The arts and sociology, as Pierre Bourdieu (1980:207) observed, make uneasy bedfellows. It is an unease that pervades American sociology even more than he imagined. We should bear in mind that barely two decades have elapsed since a handful of American Sociological Association members succeeded in convincing a necessary quorum of colleagues to sign the petition required to set up a new Section. The Culture Section’s growth since then must have come as a surprise even to some of those early supporters.

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Get 10% off with 24start discount code, more art research papers:.

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Culture and the arts have become increasingly visible in sociological publications (Peterson 1976; Becker 1982; Crane 1987; Balfe 1993), disciplinary recognition (Griswold 2000), and professional organizations, both in the United States and elsewhere (Zolberg 1990). But despite the richly textured potential that the arts afford for social science disciplines, it appears that American sociologists continue to devote relatively little attention to them. The success of culture’s reentry as a domain of considerable significance in American sociological investigation provides an opportune moment to reexamine the standing of the arts in what should be the most hospitable field of the discipline. This research paper provides an account of the persistent hesitancy to recognize the arts as central rather than peripheral in the social scientific field even in the face of the extraordinary promise that artistic transformations in the past century would seem to offer. The theme is that despite the increasing prominence of culture in the profession, the standing of the arts in American sociology appears to have changed less than might have been expected. 232

Staging the Sociology of the Arts in America

Less than a half century ago, a survey of the sociology of art would have begun and ended with contentiously worded assertions concerning the relationships of the arts and society. Certainly, many scholars affirmed that in some ways art mirrors society, but at that point consensus would end. Some insisted that art reflects societal production relationships, serving largely as an ideological tool to maintain dominant groups in favorable situations. Deriving from the materialist orientation of Karl Marx, who actually wrote little about the arts, that perspective provides the foundation of Arnold Hauser’s (1951) massive analysis of artistic creativity through the ages, The Social History of Art. Other scholars, with equal certainty, maintained that great art should be treated as part of an autonomous sphere, surmounting material constraints, but in some way reflecting the spirit of its age. Certain versions of reflection analysis see art reaching for higher values, foretelling cultural and societal tendencies. Of the many anti-Marxist variants on this idea, the one elaborated by Pitirim Sorokin (1937), a work that preceded Hauser’s by more than a decade, was nearly as massive.

As divergent as they are in their foundations, these interpretations of the relations of the arts and society aim to unearth hidden postulates of art in relation to broad social structural processes. Whether from the standpoint of Marxist analysis or anti-Marxist idealism, these are universalizing conceptions of art, representing a Western European, hierarchical scheme of cultural classification (Bourdieu 2000:73, 105). Sorokin embraced 2,500 years of civilization; Hauser starts from the even earlier point— prehistoric cave painting—and both ended their analyses with their own artistic contemporaries. Neither passes muster in the face of modern anthropological perspectives, which see art as part of a cultural system, embedded in its cultural context (Geertz 1973). Regardless of the political or intellectual stance of individual scholars today, their ambitions are far more modest. They rarely undertake to encompass such magisterial breadth entailing so speculative an outlook. This does not necessarily result in a narrowing of vision, however, since the types of art that contemporary researchers consider worthy of analysis are far more varied than what their predecessors documented. Neither Hauser nor Sorokin paid much attention to nonWestern civilizations, barely any at all to primitive and folk forms, and, except disparagingly, to commercial art and entertainment (Hauser 1982). Neither considered the absence of women artists a question worthy of scrutiny. Even within the domain of fine art, both shared a largely unexamined but generally unfavorable opinion of avantgarde art. Finally, like most of their more aesthetically oriented peers, although they dealt with changing genres and stylistic modes, they accepted extant categories of art as unproblematic givens, without considering that other creative forms might be valid for inclusion in the aesthetic field (Zolberg 1997). Yet beyond their ambitious reach, what is remarkable about the Hauser and Sorokin studies is that they were truly exceptional, since on the whole social scientists gave short shrift to the subject of art.

On the Sociological Periphery

Early work in sociology of art.

Even though American sociology had its origins in, and continued to look toward European theoretical formulations, aside from literary and aesthetic scholars who sometimes touched ever so lightly on the social contexts or cultural history surrounding the arts, in the first half of the twentieth century, the sociology of art was largely the concern of a few European scholars. A single major work by Max Weber (1958) dealt directly with a specific art form— music—as a case of his theory of cultural rationalization in the West. When Émile Durkheim founded his important publication, Annales, he situated what he termed “aesthetic sociology” within the sociology that he was trying to establish but only under the residual rubric “ divers ” and beyond considering it as part of the “elementary forms of the religious life” of aboriginal society, he himself did no study of it (Zolberg 1990:38). Only Georg Simmel (1968) wrote frequently about the arts, although less as a social scientist than as a literary and art critic, philosopher, or fashionable essayist (Coser 1965).

By the end of World War II, American sociology, along with American science more generally, became the most dynamic and expansive in the world. This growth was a counterpart to the prominence of the United States on the international scene as the champion of Western humanist values during the war, and defender of freedom during the cold war (Guilbaut 1983; Saunders 1999).

American social scientific scholarship, however, hardly acknowledged the arts as a legitimate object of study. This stance had its nearly symmetrical correlative in the opposing and equally intransigent stance on the part of humanistic scholarship, including literature, aesthetics, art theory, musicology, and history of culture, toward what seemed the threat of the social sciences. The increasing preeminence of the exact sciences during and after the war had drawn many social scientists to adopt the presuppositions, techniques, and methodologies of these disciplines, an orientation that cast a shadow over humanistic subjects such as the arts, and qualitative interpretive methods that art calls for. Still, as higher education was expanded, despite official emphasis on the exact sciences, all university studies were made to grow, including the social sciences and the humanities.

A New Moment in Late-20th Century Sociology

Until the post–World War II period, in the United States, the few scholars who did social studies of the arts were emigré scholars, especially members of the Frankfurt School, such as Theodor Adorno ([1962] 1976), who were escaping persecution by totalitarian states. Straddling the intersection of the humanities and social sciences, these exiles often remained marginal to mainstream intellectual life, were treated as outsiders, and saw themselves in that light (Wilson 1964:v). Their marginality was enhanced by the Marxist orientation to which some adhered, combined more generally with their critical views on American sociology’s “scientistic empiricism,” and, in many cases, contempt for what they took to be its intellectual shallowness (Zolberg 1990:72). Most of them deplored the development of “mass society” and its impact on individual autonomy. Their insistence on taking an evaluative position in their social analysis, rejecting what they regarded as a fictive scientific objectivity, reinforced the exclusion they suffered from the academic mainstream of American sociology. Nevertheless, some of them attracted a following of American scholars, intrigued by and sympathetic to their inquiry in the spheres both of high culture and their critique of culture industries. Although the legacy of earlier misgiving persists, in recent times, it has become considerably muted because of changes in both sets of disciplines that have produced convergences in their orientations (Zolberg 1990).

Foundations for a New Social Study of the Arts

Although in many European countries a considerable body of scholarship was devoted to aesthetics, it was only in the post–World War II period that an autonomous field of sociology of art, distinct from philosophy, history, or criticism materialized. This was the case in France, as the sociologists Pierre Bourdieu ([1979] 1984) and Raymonde Moulin ([1967] 1987, 1992) provided important intellectual leadership and the French state gave institutional support. German philosophical, musicological, and art historical scholarship continued to straddle the social domain as successors to the Frankfurt School tradition for whom the arts, both fine and commercial, were foci of critical study. English literary and historical scholarship infused Raymond Williams’s social analysis of what he saw as the hegemonic role of the arts and served to underpin the development of British culture studies. Williams led the way to open up the social study of the arts by introducing popular forms, such as the movies, radio, jazz, and more popular forms. In the United States, students and faculty who considered the university an agent of government policy, especially through its involvement in the Vietnam War, challenged what they suspected were biases of the social sciences.

Simultaneously, in relation to some of the same developments, the art world itself was undergoing transformation. The trend that had begun much earlier, for the center of the international art market to shift from Paris to New York became a reality in the immediate post–World War II period. As happened during World War I, when the arts were challenged by Marcel Duchamp’s gathering of “found objects”—bathroom plumbing, snow shovels, bicycle wheels—and “assisting” them to the status of art by supplying them with titles and signatures by purported artists, in the 1950s the arts “exploded.” Artists introduced new media, broke the barriers separating genres, and challenged conventional hierarchies, routinely wreaking havoc with artistic traditions, including even the historical avant-garde.

The material conditions that encouraged the entry of large numbers of aspiring artists into the avant-garde art world included growing foundation, corporate, and government support for the arts (Crane 1987). Political ideology played an important role in the form of cold war strategy by American advocates of government support for the arts, who successfully argued for creating a hospitable environment for artistic originality to serve as evidence of the creative freedom that was anathema under authoritarian regimes (Guilbaut 1983; Saunders 1999). Besides providing an opportunity structure for artists, indirectly, it opened the path for social scientists interested in culture, whose forays into studies of the arts gained some legitimacy.

On the basis of what had become “normal sociology” of the 1950s and 1960s, it would have been difficult to predict the efflorescence in the sociology of art that was in the offing. Prior to that time, aside from a few articles, no major sociological works had increased the small, pre-1950s bookshelf. An indication of the new trend appeared in the exploratory work, The Arts in Society a reader edited by Robert Wilson (1964), who wrote a number of its essays and solicited additional ones. Justifying his choices by taking as his point of departure the fairly orthodox idea that artists could “often see what is going on in the society or the psyche a good bit earlier than other men do” (p. vi), he was unabashedly “concerned with the products and producers of high culture.” Only a few years later, another collection of essays heralded an “institutional” approach that examines the functions of the arts in meeting human needs and maintaining social stability (Albrecht, Barnett, and Griff 1970). The editors included studies of the relationship of forms and styles to various social institutions; artists’ careers and their interactions in a variety of artistic milieus; distribution and reward systems; the roles of critics, dealers, and the public in recognizing artists and works.

They were generously open to divergent views that encompassed even Marxian analysts. At the same time, however, these essays demonstrated the infancy of the field of sociology of art: of the authors represented, only onefourth were actually sociologists, while the rest were in anthropology, comparative literature, history, art history, or were practicing artists, painters, dancers, writers. The happy result of this omnium gatherum was that Albrecht and his coauthors contributed to the creation of an American field that integrated European approaches and was strongly cross-disciplinary, ranging over the fine arts, classical and contemporary, as well as folk art, music, dance, and literature, and their corresponding institutional grounding.

A Sociological Space for Art: Current Trends

In light of changes within sociology itself, as well as developments exogenous to the discipline, the sociology of art in the third millennium may be characterized by four trends. First, continuing from already tested frameworks, sociologists examine the roles of the institutions and processes that give rise to or constrain the emergence of artworks. Second, they analyze the artistic practice of creators and patterns of appreciation and acquisition of patrons and collectors. Third, they investigate degrees of access for diverse publics to the arts and the role of the arts in status reproduction. Fourth, in a radical shift, some scholars call into question the very nature of the category “Art,” arguing that “art” needs to be understood not as selfevident but as a social construction. The rapid succession of art styles that has characterized nineteenth- and twentieth-century Europe and the United States is taken by some to be emblematic of the innovativeness of modernity but by others as an indication of over-ripeness, cultural decadence, and anomie. For some observers, the entry of commercial art forms into galleries and museums (Cherbo 1997), the newly found respectability of previously denigrated musical forms such as jazz (Adorno 1976), the growing presence of non-Western music, simultaneously in commercial and serious musical domains, are a sign of the West’s decline. Many question whether these genres— new entrants to “Art”—deserve to be so designated (Zolberg 1990).

For sociologists of culture, generally more dispassionate than cultural critics, developments of this kind provide opportunities for research and theorizing that many analysts hope will help to understand the nature of societal transformations more generally. The use and misuse of aesthetic creation in the interest of particular groups or political ends is one of their recurring concerns (Gans 1974, 1999; Goldfarb 1982; Halle 1993). At the same time, the idea of a domain of art free from material purposes outside of itself remains a seemingly unrealizable ideal, both for artists and for publics more generally.

Methodological approaches range from an empiricism that relies on quantitative tools to analyze masses of available data, such as the degree of access to cultural resources (Blau 1988), survey data of art world practices, and audience studies (Gans 1974). Equally empirical, but based on microscopic observation and qualitative analysis of cultural practices, is the ethnography of Howard S. Becker’s (1982) Artworlds. Historical and semiotic perspectives have been imported from literary analysis into the social studies. Even more striking is that the range of works and art forms investigated has burgeoned and includes the commercial domain—culture industry—as well as the more traditional fine arts (Peterson 1997). Increasingly, sociologists, following Gans (1974), recognize that the arts may exclude as well as include. The absence of certain classes of aspiring artists such as women and racial minorities from what were defined as the most distinguishing and distinguished art forms is no longer taken for granted (Bourdieu [1979] 1984).

In its most distinctive manifestation, American sociology of culture has synthesized approaches to the social study of science, religion, and work, under the rubric of the “production of culture” (Peterson 1976). Defining culture in a broadly pragmatic sense that allies it to anthropology, it comprises art, popular culture, science, religion, symbols or, more generally, meanings, Richard Peterson and his associates urged that the questions broached by scholars themselves determine the use of synchronic or diachronic modes according to their appropriateness. Proponents of the production of culture approach consider how cultural products were constituted, accentuating the effects of institutional and structural arrangements, both as facilitators of or impediments to creation. Characteristically, they prefer doing middle-range and microscopic analysis that, they believe, more effectively reveals the impact of laws, culture industry practices, and gatekeepers of the form and content of artworks.

Institutions and Processes

Critics and artists have decried, virtually since their establishment, the role of certain institutions, such as official academies and government agencies or ministries that are supposed to provide support for artistic creation. Following the pioneering sociological study by Harrison White and Cynthia White (1965), among the first to analyze systematically the changing structure of opportunity that the French Academy provided for artists of the French painting world in the nineteenth century, more recently, a study of how academies selected for exclusion was carried out by Gladys Engel Lang and Kurt Lang (1990). Focusing on the revival of etching as an art form in the nineteenth century, they show how keeping out or severely limiting women as students and members by most European academies impeded their entry into the highly regarded world of oil painting. Diverted to other, lesser media, such as etching and watercolor, whose professional organizations were newer and less restrictive, aspiring women artists were able to launch careers and gain a measure of status and recognition.

Research on French art institutions has continued to thrive with the work of Raymonde Moulin on the interplay among art museums, the art market, and government policy in providing official recognition for innovative art (1992). In the United States, a system in which the national government’s support for the arts is far more limited, and even declining, the study of how institutions affect the arts has advanced under the leadership of Paul DiMaggio (1986a, 1986b) and Judith Balfe (1993).

Artistic Practices and Worlds of Art

The most significant contribution to understanding how the arts are constituted was Howard S. Becker’s (1982) Artworlds. By adapting a “sociology of work” approach to study what is customarily viewed as unique creations of individual geniuses, Becker’s premise is that making art is not qualitatively different from engagement in other social activities. Becker argues that far from being an individual act, the making of art needs to be understood as a collective process, in which interactions among participants, of whom the named artist is only one, result in the production of “artworks.” The other participants—support personnel— may range from assistants to servants, to managers or agents, critics, buyers, and organizations. Taking into account the size and complexity of modern societies, Becker does not reduce the arts to a single art world. Instead, he argues that art making is constituted in four principal art worlds, each characterized by a particular style of working, based on its own conventions. Thus, the integrated professional artist is trained according to the conventions of an art form such as music, painting, and dance, within the domain either of high culture or commercial. The Maverick is also trained according to those conventions but refuses to abide by them, preferring to risk isolation and failure to innovate on his own terms. The folk artist works within conventions traditional in his community’s lore. Finally, outside of actual constituted art worlds, the least integrated is the naive artist, untrained in art who follows an internal urging to create works that represent idiosyncratic experiences or ideas about religion, representations of personal remembrances, or even aberrations and madness. Whereas the other art worlds have ties to regular art world institutions or practitioners or make it their business to develop ties to them, naive artists must be “discovered” by others or else remain unknown (Becker 1982).

Art and Its Publics: Status Reproduction and Taste

One of the most misleading adages of all time must be there’s no arguing about taste. In reality, taste is always being argued about. Thorstein Veblen (1934) had been one of the first social scientists to interpret the symbolic meanings of taste in his analysis of leisure class behavior during the Gilded Age. Approximately a half century later, Russell Lynes ([1949] 1980) published his classification of high-, middle-, and low-brow taste preferences, in which artworks and fashion are taken as status markers. On the basis of writings by these and other astute analysts, a number of sociologists have noted that taste, in art, design, and fashion may be a person’s social standing. Far from viewing taste as trivial, purely personal, and difficult to fathom because it is nonrational, sociologists such as Bourdieu contend that taste is social in its formation, symbolic in its expression, and has real social consequences for individuals and social institutions. In his more complex level of analysis, Bourdieu goes beyond the idea of taste as a “right” of consumerism. Instead, his observations of social differences in artistic taste enable him to show linkages among taste, symbolic status, and the mechanisms by which they tend to reproduce existing status hierarchies in society at large from generation to generation. Treating taste as an aspect of the individual’s cultural baggage, a durably structured behavioral orientation whose origin stems from early childhood experience in the family, and schooling, Bourdieu employs a variety of methods, quantitative and ethnographic, to show how taste functions as a form of capital to crystallize inequalities based on economic and social advantages or disadvantages. In this way, taste becomes a badge of social honor or, conversely, of scorn, signaling to influential groups that some are more acceptable than others (Bourdieu [1979] 1984, [1992] 1995).

English sociologists of culture have been pursuing cultural reproduction from a parallel perspective. Although they do not, as a rule, use large surveys of taste, many have analyzed the content and uses of aesthetic culture, both high and popular. Raymond Williams (1981), beginning from a Marxian perspective, and moving between literary or film criticism and academic life, was a major influence on what became the field of Culture Studies. Beyond the simple base-superstructure correspondence of Marxism, in which culture is conceived as merely epiphenomenal to existing production relationships, Williams, Stuart Hall (1980), and Janet Wolff (1984), among many others, conceived of culture as a constitutive practice in the construction of social meanings. They have tried to overcome the prevailing, decontextualized, literary-critical mode of analysis by elucidating the relations between, on the one hand, cultural images, objects, and practices, and on the other, social institutions and processes. Scholars associated with the Birmingham Centre for Contemporary Cultural Studies analyzed many aspects of British youth subcultures, and their relationship to new artistic styles.

It would be disingenuous to suggest that there is complete agreement among sociologists about how taste and status are related, and with what consequences. Whereas Bourdieu attributes expertise in manipulating symbolic capital through complex codes available in the lore of dominant class fractions, many others prefer to emphasize observable changes in social stratification patterns, and the conditions of their expression. One of those who question Bourdieu’s analysis is David Halle (1993), who has studied the collection and display of art inside of people’s homes. His interviews with elite collectors of abstract art reveal that, contrary to Bourdieu’s assumption, collectors have little facility or understanding of the works they own. Indeed, such art is nearly as esoteric for them as for nonelites. Halle finds widespread sharing of taste across status lines, especially noting a nearly universal and, it appears, similar mode of appreciation of the landscape genre. Moreover, although educational level is an important enabler of high culture taste, ethnicity and race play important roles in how people select works for the home, in contrast to their responses to questionnaires administered in public spaces (Halle 1993).

Equally unexpected, in their studies of how musical tastes are related to occupational status, Peterson and Simkus suggest that although classical music continues to be a marker for high status occupational groups, more striking is the great breadth of their preference for a variety of music. Thus, whereas less than a third of respondents occupying prestigious occupations say they like classical music best, a somewhat larger proportion say they prefer country and Western music to grand opera. More “distinguishing” is that high-status individuals participate in more cultural activities and enjoy a wider range of music than do those of lesser status. As Peterson and Simkus put it, they are “omnivores” as opposed to less elite groups, whose range of taste in music is much more limited, and whom they characterize as “univores” (Peterson and Simkus 1993:152–86).

For scholars of Renaissance behavior, the omnivore is strongly reminiscent of the character type emergent with the “civilizing process” to which Norbert Elias (1978) devoted his early figurational analysis. In that period of expanded possibilities for travel in Europe as feudalism declined centralized states and monarchical structures began to form, promising young men (and rare women) from more or less isolated localities were being drawn to centers offering new opportunities. They had to learn to behave differently before a new audience and circles of courtly societies than they had in the familiar traditional worlds they inhabited, where their status (for better or for worse), was secure. Cosmopolitanism and the idea of the Renaissance Man came to mark the ideal of behavior, giving rise to a virtual industry of etiquette books, epic poetry, and other literature by authorities such as Erasmus, Castiglione, Chaucer, Shakespeare (Elias 1978). To be considered a country bumpkin was disastrous for seekers after the Renaissance notion of fame. As Bourdieu points out, these qualities became institutionalized in the development of secondary and higher education from the sixteenth through the twentieth centuries, and remnants of this cultural structure persist despite, as Bourdieu noted, the twentieth century’s valorization of science and technology (Bourdieu [1979] 1984).

But What Is Art?

Finally, whereas in the past scholars investigating the place of the arts in society have taken for granted the categories of art conventionally agreed to by art world participants, in recent times certain sociologists have turned their attention to tracing how art classifications are constructed. Like the sociologist of science, Bruno Latour (1987), who questions the processes by which certain frameworks of analysis, categories, and findings come to be incorporated into the scientific canon, some see even more plausible reasons for interrogating how artistic canons are established. Art is a stake in the arena of competition that pervades much of social life, as Bourdieu contends, not only for artists themselves, but for their supporters, patrons, collectors, dealers, and for the writers and scholars who constitute the art worlds in which they exist. In recent times, under pressure from potential publics, market forces, including collectors, and political action, and in light of the openness of the fine arts to new media, existing cultural institutions, such as art museums, are exhibiting works previously excluded from consideration as Art. Previously, for example, African carvings were largely consigned to ethnological collections; now, their entry into art museums has taken the form of an upward spiral in prestige; art of the “insane” has attained high market value (Anne E. Bowler as cited in Zolberg and Cherbo 1997:11–36); and women artists are gaining a level of recognition that had routinely been denied them (Zolberg and Cherbo 1997:1–8). In the worlds of culture industry as well, new musical forms such as “Rock-n-roll” and Rap have emerged from the interplay of business developments, technological innovations, and enacted statutes in such fields as copyright law, which set the parameters for works to come to public attention (Ennis 1992:5–7).

The seemingly impermeable barrier between high art and popular art that took over a century to construct (Levine 1988) has since been breached countless times, not only in America but in Europe as well (Circle 1993:12). In the past three decades, even the massive wall between commercial art forms and the “disinterested” arts has endured a jolting to the point of crumbling. The entry of Latin American, Asian, and African visual and musical forms and motifs into the Western dominated canon has gained increasing legitimacy and audiences (Zolberg 1997:53–72). Moreover, since any kind of art—fine, popular, commercial—may be disseminated through commercial channels of distribution, adding the interplay of official policy with market forces helps to thicken one’s understanding of processes of democratization.

21st Century Prospects for the Arts in American Sociology

By the beginning of the third millennium, the sociological study of culture and the arts is no longer a stepchild of the serious business of sociologists. If not central, then the arts are at least legitimately scholarly, as opposed to a frivolous subject. This flowering came about despite the traditional anti-aesthetic orientation in American social science and the more general unease between social science and the arts. Still, the position of the arts in the social science disciplines continues to remain tenuous and requires repeatedly renewed justification as an intellectual enterprise. In part, this is due to the fact that the crux of the arts since the Renaissance has been the artist as an individual, a tradition of several centuries that emphasizes the uniqueness of the actor and the work he (rarely, she) created. While the notion of such individual agency is relatively compatible with the discipline of psychology, it is less easily reconciled with the collectivist understanding of behavior by sociology. As noted above, this perception underlies the view of art as a collective process (Becker 1982) and sociologists’ emphasis on the production rather than creation of culture. Retaining or reinserting the individual artist as a creative agent has both ethical importance, since it implies respect for the autonomy of the individual, and intellectual validity in a discipline that could easily reduce art to no more than an outcome of general structures and processes. Thus, whereas culture has become a deeply embedded component of sociology dealing with science, theory, macrohistorical questions, education, religion, ethnicity, to name a few, the place of the traditional fine arts has not grown proportionately.

Two edited books published under the aegis of the ASA Culture Section seem to confirm this observation. Whereas the first, Diana Crane’s (1994) edited collection includes an essay on the arts, the second volume, edited by Elizabeth Long, includes not even one chapter on the fine arts and only one that even approaches this domain (Long 1997). On the other hand, the third and most recent collection of Culture Section sponsored essays suggests that the arts have conquered a new place in the sociological sun (Mark D. Jacobs and Nancy Weiss Hanrahan 2005). The coeditors rehearse the several decades in American social science characterized by “the cultural turn,” the reconceptualization of culture away from the functionalist emphasis on the need for culture to bring about a homogeneous consensus in society. Instead, proponents of the cultural turn sought variations and heterogeneity in the arrival on the public scene of pluralism and tolerance of difference. Rather than require uniformity, the goal is for a more “organic” (as in Durkheim’s formulation) conception to be the basis of social solidarity, not to promote conformity but individual human agency.

The cultural turn had challenged the elite standing of high culture by recognizing the existence of talent and striving among all social groups and the democratization embedded in Pragmatism. For all the attractiveness of openness to different forms, culture was frequently reduced to unending debate on ideology, functionalism, and essentialism versus constructivism. In a break from the past, Jacobs and Hanrahan (2005) put forth a new idea in the field of cultural sociology. They refer to “this newly emerging conception of culture as . . . an aesthetic one, which offers possibilities for intensifying and re-imagining the experience of civic life” (p. 12). From a static or, at the most, slowly changing notion of societal existence, their new approaches emphasize the dynamism of process and human intervention and their impact on existing traditional structures. Beyond these important changes, the new aesthetic conception helps, instead, in the more than two dozen essays by American, Canadian, European, and Asian sociologists, to turn toward normative commitments for the revival of civic discourse in relation to legality and social justice, the politics of recognition, and “the potentialities of ordinary experience” Jacobs and Hanrahan (2005).

Democratization in Diversity

In the context of American idea systems, Peterson’s innovations and the efforts of others associated with the production of culture school are likely to continue to drive research. This approach prepares the way for scholars to enlarge their repertoire of questions and take into account the impact on creation and reception of the arts in light of the enormous changes in the ethnic make up of the American population since the end of World War II. Sources of immigration have been changed decisively by new laws and population movements: Hispanic, Chinese, Indian/Pakistani, Middle Eastern, Russian, peoples of a broad range of educational levels and aspirations. They provide an unprecedented opportunity to investigate the interactions with the varied Anglo-centric cultural choices that have until now been the focus of most studies. Demands for access to elite culture now include not merely “visitors” from modest economic backgrounds, whose entry is far from being attained either in North America or in Europe (Circle 1993:96, 103, 129), but crosscutting socioeconomic distinctions, differences of gender, ethnicity, and race or religion. Each of these may have aesthetic implications that the conflict, as usually expressed— quantity versus quality—does not encompass.

The extraordinary transformation of the international arena in recent years requires that scholarship move more explicitly outside of the American scholarly world and into the wider international realm. This is essential in a world that brings together what had been largely national concerns. As is true of other intellectual fields, the arts are no longer understandable in terms of one society alone since few societies are either homogeneous or sealed off from other geographic, national, or societal units. Thus, whereas it may still be possible to study such issues as arts censorship in the context of a single society, it is more likely that political transformations open the door to new conflicts as global phenomena.

Related to globalization, technological innovations in cyberspace and computer technology militate even more poignantly against retaining the single society as the primary unit of analyses. They not only permit new forms of artistic expression but also enhance attempts to evade control over art content. Providing new avenues for artistic dissemination, they also substitute for direct contact with the storehouses of art, the museum. This suggests that this contextual metamorphosis will set the parameters of the next phase of studies in the sociology of the arts. Cultural sociologists have through theory, example, and practice contributed to the vital and potentially dangerous debates that pervade questions of “identity,” including ethnicity, gender, race, or religion, with strongly political loadings. Pursuing questions of meaning, identity, and value in terms of American society alone is clearly insufficient to understanding social processes and emergent structures. As American sociologists burst the bonds of narrow parochialism and enter the adventurous terrain of global processes, they foster a cosmopolitanism that challenges existing approaches and conceptualizations of the social sciences.

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GCSE Artist Research Page Layout & Questions

Subject: Expressive arts and design

Age range: 14-16

Resource type: Worksheet/Activity

Last updated

29 September 2020

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