De etablerade konstvärldarna ska bli mina slynor: En konstsociologisk undersökning av hur symboliska kapital kan forma konstverksamheterna hos ett mindre etablerat konstgalleri, de konstnärer som har ateljé där och deras relation till de mer etablerade konstvärldarna.
(2017) KOVK02 20162Division of Art History and Visual Studies
- Abstract
- This bachelor thesis is a study of FRANK, a less established art gallery with studios, and the activities carried out there. I have interviewed six artists connected to FRANK, about their art activities and their relations to the more established art scenes in Malmö. My experiences is that less established artists and art activities do not get equal attention as the more established. With this thesis, I ant to encourage that more space is given to the less established art activities.
As my framework I use Howard S. Becker's theories about art worlds presented in Art Worlds, and I make a categorical content analysis of my interviews. With Bourdieu's theories I examine FRANK's and the informant's economic, social and cultural capital, and... (More) - This bachelor thesis is a study of FRANK, a less established art gallery with studios, and the activities carried out there. I have interviewed six artists connected to FRANK, about their art activities and their relations to the more established art scenes in Malmö. My experiences is that less established artists and art activities do not get equal attention as the more established. With this thesis, I ant to encourage that more space is given to the less established art activities.
As my framework I use Howard S. Becker's theories about art worlds presented in Art Worlds, and I make a categorical content analysis of my interviews. With Bourdieu's theories I examine FRANK's and the informant's economic, social and cultural capital, and puts it in relation to a larger art discourse freely based on Foucault's discourse theories. I also use Sara Ahmed's theories about the orientation presented in Vithetens hegemoni (the hegemony of whiteness) and Queer Phenomenology, to understand what mechanisms might be behind the different opportunities of the artists and their artistic activities to their work. Beyond the said theories I also discuss my material with Jack Halberstams The queer art of failure and Low theory to find out if the less established artists can break discourses and create their own rules to work by. In addition to these I refer to Karl Marx's Capital, as I perceive it is unavoidable to read Marx investigations involving capital. My study is about how less established artists and art activities operating in an art industry that often seems to require symbolic capital.
The result of my investigation is that FRANK's audience allows the gallery to be a place where less established artists can operate. But FRANK is not an alternative to the more established art scenes, that since the global art discourse compels art activities to operate according to already given rules. However, that says more about the art discourse than about FRANK. (Less)
Please use this url to cite or link to this publication:
http://lup.lub.lu.se/student-papers/record/8903627
- author
- Hellgren, lo LU
- supervisor
- organization
- alternative title
- The established art worlds will be my sluts: An art sociological study of how the symbolic capital can shape art activities in a less established art gallery, the artists who have studio there and their relationship to the more established art worlds.
- course
- KOVK02 20162
- year
- 2017
- type
- M2 - Bachelor Degree
- subject
- keywords
- FRANK, Malmo, capital, phenomenology, Art Worlds, orientation, queer, art, unestablished, established
- language
- Swedish
- id
- 8903627
- date added to LUP
- 2017-02-27 14:33:53
- date last changed
- 2017-02-27 14:33:53
@misc{8903627,
abstract = {{This bachelor thesis is a study of FRANK, a less established art gallery with studios, and the activities carried out there. I have interviewed six artists connected to FRANK, about their art activities and their relations to the more established art scenes in Malmö. My experiences is that less established artists and art activities do not get equal attention as the more established. With this thesis, I ant to encourage that more space is given to the less established art activities.
As my framework I use Howard S. Becker's theories about art worlds presented in Art Worlds, and I make a categorical content analysis of my interviews. With Bourdieu's theories I examine FRANK's and the informant's economic, social and cultural capital, and puts it in relation to a larger art discourse freely based on Foucault's discourse theories. I also use Sara Ahmed's theories about the orientation presented in Vithetens hegemoni (the hegemony of whiteness) and Queer Phenomenology, to understand what mechanisms might be behind the different opportunities of the artists and their artistic activities to their work. Beyond the said theories I also discuss my material with Jack Halberstams The queer art of failure and Low theory to find out if the less established artists can break discourses and create their own rules to work by. In addition to these I refer to Karl Marx's Capital, as I perceive it is unavoidable to read Marx investigations involving capital. My study is about how less established artists and art activities operating in an art industry that often seems to require symbolic capital.
The result of my investigation is that FRANK's audience allows the gallery to be a place where less established artists can operate. But FRANK is not an alternative to the more established art scenes, that since the global art discourse compels art activities to operate according to already given rules. However, that says more about the art discourse than about FRANK.}},
author = {{Hellgren, lo}},
language = {{swe}},
note = {{Student Paper}},
title = {{De etablerade konstvärldarna ska bli mina slynor: En konstsociologisk undersökning av hur symboliska kapital kan forma konstverksamheterna hos ett mindre etablerat konstgalleri, de konstnärer som har ateljé där och deras relation till de mer etablerade konstvärldarna.}},
year = {{2017}},
}