Page 209 - The ISA Handbook in Contemporary Sociology

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Debates about the place of money in art increase the market value of his art collection.
worlds and the rights of those who contribute (Christie’s auction house handled the subse-
funds to control cultural institutions were quent sale of some of the collection in 2000.)
central in another art controversy related to Had financial interests usurped the place of
an exhibition called the ‘Sensation Show’ at aesthetics as a gatekeeping principle? This
the Brooklyn Museum in 1999–2000. The open embrace of the authority of funding
NY City Mayor Rudy Giuliani condemned sources with economic interests constitutes a
the exhibition – sight unseen – and tried to significant break with American traditions of
punish the museum by withdrawing city art philanthropy and not-for-profit models of
funding. Giuliani claimed the show offended elite involvement in museums.
the public’s moral standards in matters of
religion and sexuality. The mayor was
derided in the press for his ignorance
(embodied in his refusal to view the show) CONCLUDING REMARKS
and accused of racism and self-serving polit-
ical motives (in courting publicity to appeal As we have observed, there is no single domi-
to conservative voters). Giuliani’s wrath cen- nant theory or methodological stance in sociol-
tered on Christopher Ofili’s use of elephant ogy of the arts but conflict, competition and
dung and images of genitalia from a porno- collaboration have marked many approaches.
graphic magazine in a mixed media depiction Hierarchical models of the field of artistic pro-
of a black Virgin Mary done in a faux-naïve duction and reception that emphasize conflict
style. (Ofili is a Catholic of African heritage.) and power relations have guided much
Commentators also impugned the motives of research about organizational structures and
the show’s curators, the museum, other recognition processes. Perspectives with dif-
artists, and the show’s patron, Charles ferent epistemological roots emphasize the
Saatchi, who owned many of the works. In place of collaboration and shared conventions
addition to press coverage there was also sys- in art worlds, particularly in work on creative
tematic empirical research conducted on this processes and mediation. Interestingly, the
case. Sociologist David Halle (2002) studied idea of competition in sociology of the arts is
public attitudes towards censorship through associated with both collaboration and con-
interviews with visitors leaving the exhibi- flict, with inclusion and exclusion. In competi-
tion and a telephone survey. He found tion for recognition, artists must be recognized
that people did not support censorship in as artists to be included in processes that carry
‘bounded’ institutions (that is, museums with with them the risk of exclusion and that can
entrance fees) as opposed to art in freely- engender controversy.
accessible public spaces. Art controversies may bring notoriety to
As we have seen, art world reputations that contemporary artists, but their meanings in
profit from controversies do so by converting art worlds and in general society differ.
notoriety into cultural capital and often (not Controversies do not only involve art world
incidentally) material capital. In the case of subcultures or sectarian interest groups.
the ‘Sensation’ controversy, the museum, the Strong negative reactions demonstrate the
artists and the collector who owned the power of art to stimulate discourse about
works did just that. The museum was issues that are often neglected in public dis-
mobbed with visitors. Its director publicly course (Lavine, 1992). Controversies provide
defended the involvement of the collector opportunities for the peaceful airing of
with aesthetic decisions (the traditional realm opinions and differences in civil society,
of curators) in a statement posted on the promoting solidarity among like-minded par-
museum’s website despite criticism that this ticipants, and have the potential to inspire
private collector was using the museum to cultural change but conflict is always present.