A cultural sociology of the arts

Current Sociology

Volumn 63, Issue 6, 2015, Pages 896-915

  Zolberg, Vera L ^a  

^a NEW SCHOOL FOR SOCIAL RESEARCH   (United States)

Author keywords

communication technology; culture; democracy; diversity; ethnicity; social science; The arts

Indexed keywords

EID: 84941787502     PISSN: 00113921     EISSN: 14617064     Source Type: Journal    
DOI: 10.1177/0011392114551652     Document Type: Article

References (87)

1. H.Abbing (2002) Why Are Artists Poor? The Exceptional Economy of the Arts. Amsterdam: Amsterdam University Press.
2. T.Adorno (1976 [1962]) Introduction to the Sociology of Music. New York: Seabury Press.
3. J.C.Alexander (2003) The Meanings of Social Life: A Cultural Sociology. New York: Oxford University Press.
4. J.S.Ardery (1997) ‘Loser wins’: Outsider art and the salvaging of disinterestedness. Poetics24: 329–346.
5. J.H.Balfe (ed.) (1993a) Paying the Piper: Causes and Consequences of Art Patronage. Urbana: Illinois University Press.
6. J.H.Balfe (1993b) Conclusion: Art patronage: perennial problems, current complications. In: J.H.Balfe (ed.) Paying the Piper: Causes and Consequences of Art Patronage. Urbana: Illinois University Press, pp. 306–323.
7. H.S.Becker (1982) Art Worlds. Berkeley: University of California Press.
8. D.Bell (1976) The Cultural Contradictions of Capitalism. New York: Basic Books.
9. C.E.Benzecry (2011) The Opera Fanatic: Ethnography of an Obsession. Chicago and London: University of Chicago Press.
10. G.Born (2010) The social and the aesthetic: For a post-Bourdieuian theory of cultural production. Cultural Sociology4(2): 171–208.
11. P.Bourdieu (1980) Questions de sociologie. Paris: Éditions de Minuit.
12. P.Bourdieu (1984) Distinction: A Social Critique of the Judgement of Taste. Cambridge, MA: Harvard University Press.
13. P.Bourdieu (2000) Pascalian Meditations. Stanford, CA: Stanford University Press.
14. P.BourdieuA.Darbel. (1990) The Love of Art: European Art Museums and their Public. Stanford, CA: Stanford University Press.
15. P.BourdieuJ.C.Passeron (1977) Reproduction in Education, Society and Culture. Beverly Hills, CA: Sage.
16. A.Bowler (1992) Methodological dilemmas in the sociology of art. In: D.Crane (ed.) The Sociology of Culture: Emerging Theoretical Perspectives. New York: Blackwell.
17. A.Bowler (1997) Asylum art: The social construction of an aesthetic category. In: V.L.ZolbergJ.M.Cherbo (eds) Outsider Art: Contesting Boundaries in Contemporary Culture. New York: Cambridge University Press, pp. 11–36.
18. P.Bürger (1984) Theory of the Avant-garde. Minneapolis: University of Minnesota Press.
19. B.Bryson (1997) What about univores? Musical dislikes and group-based identity construction among Americans with low levels of education. Poetics25: 141–156.
20. D.Crane (1987) The Transformation of the Avant-garde. Chicago: University of Chicago Press.
21. D.Crane (ed.) (1992) The Sociology of Culture: Emerging Theoretical Perspectives. Cambridge: Blackwell.
22. D.Danko (2008) Nathalie Heinich’s sociology of art – and sociology from art. Cultural Sociology2(2): 242–256.
23. E.De la Fuente (2010) In defence of theoretical and methodological pluralism in the sociology of art: A critique of Georgina Born’s programmatic essay. Cultural Sociology4(2): 217–231.
24. T.DeNora (1995) Beethoven and the Construction of Genius: Musical Politics in Vienna, 1792–1803. Berkeley: University of California Press.
25. T.DeNora (2000) Music in Everyday Life. Cambridge: Cambridge University Press.
26. T.DeNora (2003) After Adorno: Rethinking Music Sociology. Cambridge: Cambridge University Press.
27. P.J.DiMaggio (1986a) Cultural entrepreneurship in nineteenth-century Boston: The creation of an organizational base for high culture in America. Media, Culture and Society: A Critical Reader. London: Sage, pp. 96–211.
28. P.J.DiMaggio (ed.) (1986b) Nonprofit Enterprise in the Arts: Studies in Mission and Constraint. New York: Oxford University Press.
29. P.J.DiMaggio (1987) Classification in Art. American Sociological Review52 (August): 440–455.
30. P.J.DiMaggio (1992) Cultural boundaries and structural change: The extension of the high culture model to theater, opera, and the dance, 1900–1940. In:Cultivating Differences: Symbolic Boundaries and the Making of Inequality. Chicago: University of Chicago Press, pp. 21–57.
31. P.J.DiMaggioM.UseemP.Brown (1978) Audience Studies in the Performing Arts and Museums: A Critical Review. Washington, DC: National Endowment for the Arts.
32. S.C.Dubin (1997) The centrality of marginality: Naïve artists and savvy supporters. In: V.L.ZolbergJ.M.Cherbo (eds) Outsider Art: Contesting Boundaries in Contemporary Culture. New York: Cambridge University Pres, pp. 37–52.
33. N.Elias (1978) The History of Manners. New York: Pantheon.
34. P.H.Ennis (1992) The Seventh Stream: The Emergence of Rocknroll in American Popular Music. Hanover, NH: New England Press.
35. G.A.Fine (2004) Everyday Genius: Self-taught Art and the Culture of Authenticity. Chicago: University of Chicago Press.
36. Frankfurt Institute for Social Research (1972) Aspects of Sociology. Boston, MA: Beacon Press.
37. H.Gans (1974) Popular Culture and High Culture: An Analysis and Evaluation of Taste. New York: Basic Books.
38. H.GanzeboomF.Haanstra (1989) Museum and Public: The Public and the Approach to the Public in Dutch Museums. Rijswijk: Ministry of Welfare, Health and Culture.
39. C.Geertz (1973) Thick description: Toward an interpretive theory of culture. In:The Interpretation of Cultures. New York: Basic Books, pp. 3–32.
40. J.C.Goldfarb (1982) On Cultural Freedom: An Exploration of Public Life in Poland an America. Chicago: University of Chicago Press.
41. J.C.Goldfarb (2012) Political Culture: The Power of Culture versus the Culture of Power. Cambridge: Polity Press.
42. T.GubbelsA.Van Hemel (eds) (1993) Art Museums and the Price of Success. Amsterdam: Boekmanstichting.
43. S.Hall (1980) Cultural studies and the centre: Some problematics and problems. Culture, Media, Language: Working Papers in Cultural Studies, 1972–79. London, Hutchinson, pp. 15–47.
44. D.Halle (1994) Inside Culture: Art and Class in the Modern American Home. Chicago: University of Chicago Press.
45. A.Hauser (1951) The Social History of Art, 4 vols. New York: Vintage.
46. A.Hauser (1982) The Sociology of Art, trans. K.J.Northcott. Chicago: University of Chicago Press.
47. N.Heinich (1993) Du peintre à l’artiste: Artisans et académiciens à l’âge classique. Paris: Éditions de Minuit.
48. N.Heinich (2010) What does ‘sociology of culture’ mean? Notes on a few trans-cultural misunderstandings. Cultural Sociology4(2): 257–265.
49. A.Hennion (2005) Pragmatics of taste. In: M.JacobsN.W.Hanrahan (eds) Blackwell Companion to the Sociology of Culture. New York: Blackwell.
50. R.Hughes (1981) The Shock of the New. New York: Alfred Knopf.
51. J.Huizinga (1990) Waning of the Middle Ages. New York: Penguin Books.
52. P.O.Kristeller (1951) The modern system of the arts. Journal of the History of Ideas12: 496–527.
53. P.O.Kristeller (1952) The modern system of the arts IIJournal of the History of Ideas13: 17–46.
54. G.E.LangK.Lang (1990) Etched in Memory: The Building and Survival of Artistic Reputations. Chapel Hill: University of North Carolina Press.
55. B.Latour (1987) Science in Action: How to Follow Scientists and Engineers Through Society. Cambridge, MA: Harvard University Press.
56. B.Lechaux (2010) De l’activisme non prédicateur à New York: Le militantisme théâtrale des Billionaires for Bush. In: V.Roussel (ed.) Les Artistes et la politique: Terrains franco-américains. Paris: Presses Universitaires de Vincennes, pp. 219–246.
57. L.W.Levine (1988) Highbrow/Lowbrow: Emergence of Cultural Hierarchy in America. Cambridge, MA: Harvard University Press.
58. E.Long (ed.) (1997) Introduction: Engaging sociology and cultural studies: disciplinarity and social change. In: E.Long (ed.) From Sociology to Cultural Studies: New Perspectives. Oxford: Blackwell, pp. 2–36.
59. R.Lumley (ed.) (1988) The Museum Machine Time: Putting Cultures on Display. New York: Routledge.
60. R.Lynes (1980 [1949]) The Tastemakers: The Shaping of American Popular Taste. New York: Dover.
61. P.M.Menger (1983) Le Paradoxe du musician. Paris: Flammarion.
62. P.M.Menger (1989) Les Laboratoires de la création musicale. Paris: La Documentation Française.
63. R.Moulin (1992) L’Artiste, l’institution, et le marché. Paris: Gallimard.
64. E.Panofsky (1967 [1955]) Architecture gothique et Pensee scolastique, trans. and Postface by P.Bourdieu. Paris: Les Editions de Minuit.
65. R.A.Peterson (ed.) (1976) The Production of Culture. Beverly Hills, CA: Sage.
66. R.A.Peterson (1992) Understanding audience segmentation: From elite and mass to omnivore and univore. Poetics21: 243–258.
67. R.A.Peterson (1997) Creating Country Music. Chicago: University of Chicago Press.
68. R.A.PetersonA.Simkus (1992) How musical tastes mark occupational status groups. In: M.LamontM.Fournier (eds) Cultivating Differences: Symbolic Boundaries and the Making of Inequality. Chicago: University of Chicago Press, pp. 152–186.
69. R.Poggioli (1971) The Theory of the Avant-garde. New York: Harper.
70. D.Riesman (1950) The Lonely Crowd: A Study of the Changing American Character. New Haven, CT: Yale University Press.
71. V.Roussel (ed.) (2010) Les Artistes et la politique: Terrains franco-américains. Paris: Presses Universitaires de Vincennes.
72. M.S.Shapiro (2001) Copyright as Cultural Policy. Washington, DC: Center for Arts and Culture.
73. K.VarnedoeA.Gopnik (1990) High and Low: Modern Art and Popular Culture. New York: The Museum of Modern Art.
74. T.Veblen (1934) The Theory of the Leisure: An Economic Study of Institutions. New York: The Modern Library.
75. M.Wackernagel (1981) The World of the Florentine Renaissance Artist: Projects and Patrons, Workshop and Art Market. Princeton, NJ: Princeton University Press.
76. M.Weber (1958) The Rational and Social Foundations of Music. Carbondale: University of Illinois Press.
77. M.Weber (1968) Economy and Society: An Outline of Interpretive Sociology, ed. G.RothC.Wittich. New York: Bedminster Press Inc.
78. L.Weintraub (1996) Art on the Edge and Over: Searching for Art’s Meaning in Contemporary Society, 1970s–1990s. New York: Art Insights.
79. H.C.White (1993) Careers and Creativity: Social Forces in the Arts. Boulder, CO: Westview Press.
80. H.C.WhiteC.White (1957) Canvases and Careers: Institutional Change in the French Painting World. New York: John Wiley.
81. P.Willis. (1990) Common Culture: Symbolic Work at Play in the Everyday Cultures of the Young. Boulder, CO and San Francisco: Westview Press.
82. H.Wölfflin (1932 [1915]) Principles of Art History: The Problem of Development of Style on Later Art. New York: Dover.
83. V.L.Zolberg (1990) Constructing a Sociology of the Arts. New York: Cambridge University Press.
84. V.L.Zolberg (1992) Une marginalité créatrice: les collectionneurs de l’art d’avant-garde. In: J.O.MajastreA.Pessin (eds) Art et contemporanéité. Bruxelles: La Lettre Volée.
85. V.L.Zolberg (1997) African legacies, American realities: Art and artists on the edge. In: V.L.ZolbergJ.M.Cherbo (eds) Outsider Art: Contesting Boundaries in Contemporary Culture. New York: Cambridge University Press, pp. 53–72.
86. V.L.Zolberg (2005) Aesthetic uncertainty: The new canon? In: M.D.JacobsN.W.Hanrahan (eds) The Blackwell Companion to the Sociology of Culture. Oxford: Blackwell, pp. 114–130.
87. V.L.ZolbergJ.M.Cherbo (eds) (1997) Outsider Art: Contesting Boundaries in Contemporary Culture. New York: Cambridge University Press.