Wohl, H. (2021). Bound by Creativity: How Contemporary Art is Created and Judged

IF 4.4 2区 社会学 Q1 INDUSTRIAL RELATIONS & LABOR
R. Skaggs
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引用次数: 1

Abstract

In Bound by Creativity: How Contemporary Art is Created and Judged, Hannah Wohl constructs an exemplary examination of the contemporary art world, using her findings to contribute an understanding of how “creative visions,” distinct and identifiable aesthetic and/or conceptual perspectives throughout a body of artistic work, constrain and facilitate judgments of art. She finds that the aesthetic choices that contemporary visual artists make in their work are collectively created and evaluated within artistic communities as a way of community self-regulation beyond purely economic or market measures. She shows us how, in aggregate, creative visions are the basis for occupational communities in spaces where there is disagreement about what is considered a job well done. Wohl tells us that artists “are free to follow their muse, just so long as their muse does not direct them to produce vertical paintings or anything orange” (p42). Choices in this world are aesthetic, except when they are not. Creative visions are relational, clarified by other members of the art world, curators, dealers, buyers, and collectors, who hold their own creative visions. Wohl conducted two years of ethnographic work in New York City’s contemporary art world, a case selected due to the dominance of the New York art scene globally. Her fieldwork included numerous, repeated studio visits with artists, as well as exhibition installations, exhibition openings, art fairs, and VIP events and parties. Her 104 interviewees are members of these places throughout the art world and include artists, dealers, curators, private collectors, and art advisers. Additional data come from almost 400 Book Reviews
Wohl,H.(2021)。被创造力束缚:当代艺术是如何被创造和评判的
在《创造力的束缚:当代艺术是如何被创造和评判的》一书中,汉娜·沃尔(Hannah Wohl)构建了一个对当代艺术世界的典型考察,利用她的发现来理解“创造性视野”,即贯穿艺术作品的独特和可识别的美学和/或概念视角,如何约束和促进对艺术的判断。她发现,当代视觉艺术家在作品中做出的审美选择是在艺术社区内集体创造和评估的,是一种超越纯粹经济或市场手段的社区自我调节方式。她向我们展示了,总的来说,创造性的愿景是如何成为职业社区的基础的,在这些社区中,人们对什么是做得好的工作存在分歧。Wohl告诉我们,艺术家“可以自由地追随他们的缪斯,只要他们的缪斯不指示他们创作垂直的绘画或任何橙色的东西”(p42)。这个世界上的选择是审美的,除非它们不是。创造性的愿景是相互关联的,由艺术界的其他成员,策展人、经销商、买家和收藏家澄清,他们有自己的创造性愿景。沃尔在纽约当代艺术界进行了为期两年的人种志工作,选择这个案例是因为纽约艺术界在全球的主导地位。她的实地工作包括多次访问艺术家的工作室,以及展览装置、展览开幕、艺术博览会和VIP活动和派对。她的104位受访者都是艺术界这些地方的成员,包括艺术家、交易商、策展人、私人收藏家和艺术顾问。其他数据来自近400篇书评
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来源期刊
CiteScore
5.90
自引率
24.10%
发文量
21
期刊介绍: For over 30 years, Work and Occupations has published rigorous social science research on the human dynamics of the workplace, employment, and society from an international, interdisciplinary perspective. Work and Occupations provides you with a broad perspective on the workplace, examining international approaches to work-related issues as well as insights from scholars in a variety of fields, including: anthropology, demography, education, government administration, history, industrial relations, labour economics, management, psychology, and sociology. In addition to regular features including research notes, review essays, and book reviews.
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