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- W3202933274 abstract "Chapter 2 turns to contemporary configurations of the art world, its institutions, and actors. It maps how these actors relate to each other in Istanbul and Berlin and how they mobilize aesthetic theories in the form of pragmatic shorthand to describe their work. These vernacularized formulations of aesthetic theories also serve to reconcile conflicting understandings of art. In contrast to existing, if sparse, institutional studies of the art world that conceptualize art as a cooperative endeavor, the chapter details how structural dependencies, power differentials, and conflicting understandings of art permeate the daily workings of the art world. Showing that relationships between artists, audiences, critics, curators, and art dealers are frequently personalized through a friend/foe binary, it argues that motifs of amity and enmity serve to mediate structural dependencies and power differentials in the art world. A second mediating discourse, primarily employed by collectors and sponsors to deflect the periodic discomforts that arise around corporate sponsorship and the politics of collecting, reconciles divergent interests in art through the trope of art’s civilizing capacities. Within this trope, portrayals of art as a “greater good” that “serves the public” are framed in national terms despite the global connectedness of the art world." @default.
- W3202933274 created "2021-10-11" @default.
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- W3202933274 date "2021-02-02" @default.
- W3202933274 modified "2023-09-26" @default.
- W3202933274 title "Art Worlds" @default.
- W3202933274 doi "https://doi.org/10.5422/fordham/9780823290208.003.0003" @default.
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