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How things become art: Hierarchy, st...

Peterson, Karin Elizabeth.

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How things become art: Hierarchy, status, and cultural practice in the expansion of the American canon.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	How things become art: Hierarchy, status, and cultural practice in the expansion of the American canon./
作者:	Peterson, Karin Elizabeth.
面頁冊數:	159 p.
附註:	Source: Dissertation Abstracts International, Volume: 60-05, Section: A, page: 1791.
Contained By:	Dissertation Abstracts International60-05A.
標題:	Sociology, Theory and Methods. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=9930085
ISBN:	0599300728

How things become art: Hierarchy, status, and cultural practice in the expansion of the American canon.
Peterson, Karin Elizabeth.

How things become art: Hierarchy, status, and cultural practice in the expansion of the American canon. - 159 p.

Source: Dissertation Abstracts International, Volume: 60-05, Section: A, page: 1791.

Thesis (Ph.D.)--University of Virginia, 1999.

This dissertation provides a sociological interpretation of a central phenomenon of the twentieth century American art world: the growing inclusion of cultural products not originally intended (at least primarily) to be viewed as art. I am concerned with why artistic institutions have expanded the definition of art so broadly that we can now find such diverse objects as automobiles, quilts, Shaker furniture, African masks, or tableware treated in wholly aesthetic terms.

ISBN: 0599300728Subjects--Topical Terms:

626625
Sociology, Theory and Methods.

How things become art: Hierarchy, status, and cultural practice in the expansion of the American canon.
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245 1 0 $a How things become art: Hierarchy, status, and cultural practice in the expansion of the American canon.
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502 $a Thesis (Ph.D.)--University of Virginia, 1999.
520 $a This dissertation provides a sociological interpretation of a central phenomenon of the twentieth century American art world: the growing inclusion of cultural products not originally intended (at least primarily) to be viewed as art. I am concerned with why artistic institutions have expanded the definition of art so broadly that we can now find such diverse objects as automobiles, quilts, Shaker furniture, African masks, or tableware treated in wholly aesthetic terms.
520 $a My theoretical approach views the inclusion of "marginal" cultural products in the world of art in terms of cultural hierarchy. That is, I understand this broadening of the artistic canon to be a process of status transformation, where objects, traditionally accorded minor or negative status by the art world, have been elevated to the higher status of art. Using this perspective, I identify the social conditions that structure artistic hierarchy and that enable objects to gain status.
520 $a I analyze a set of cultural practices that have allowed cultural entrepreneurs to redefine the status of specific cultural products. These cultural practices, discourse and display, are strategies are drawn from the theories and embedded practices of modern art---namely, formalism, autonomy, and avant-gardism. I illustrate the way that curators, critics, and artists themselves use discourse and display to transform objects in three case studies of specific genres: the patchwork quilt, African sculpture, and Studio Glass. These practices have developed at the same time that art institutions in the United States have greatly expanded. The context of this expansion makes the cultural practices embodied in these institutions even more salient for understanding the transformations of cultural hierarchy that have occurred in this century.
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