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This article maps recent developments in social science writing about the arts and argues for seeing this work in terms of the label the `new sociology of art'. It considers four major lines of re-assessment being carried out by sociologists studying the arts: firstly, a reconsideration of the relationship between sociological and other disciplinary approaches to art; secondly, the possibility of an art-sociology as against a sociology of art; thirdly, the application of insights from the sociology of art to non-art `stuff '; and, fourthly, the sociology of the artwork conceived as a contingent social fact. The argument is made that these developments represent an advance on the tendency to limit sociological investigations of the arts to contextual or external factors. The `new sociology of art' is praised for framing questions about the aesthetic properties of art and artworks in a way that is compatible with social constructionsim.

<p>Um dos dilemas recorrentes na sociologia da arte tem sido como balancear abordagens <em>internalistas</em> e <em>externalistas</em> dos fenômenos estéticos (isto é, explicações estéticas e sociais); ou o que este artigo caracteriza como a necessidade de sair de um modelo "<em>ou arte ou sociedade"</em> para um modelo de lógica "<em>tanto arte quanto sociedade</em>". Nos últimos anos, os dilemas conceituais foram intensificados por uma tendência de o capitalismo se tornar um fenômeno mais explicitamente cultural. Ao mesmo tempo, os conhecimentos sobre arte e estética saíram da esfera da <em>grandiosidade</em> e da alta cultura para o mundo prosaico do dia a dia. Este artigo propõe que a solução para os dilemas em curso da sociologia da arte, e para o atual desafio das bases da arte e do conhecimento estético é adotar um paradigma textural, ao invés de um modo de pensar textual. O paradigma textural foi desenvolvido primeiramente no pensamento sobre lugar e é adequado para pensar os problemas da sociologia da arquitetura e do urbanismo – incluindo o problema de como o tecido urbano, às vezes, começa a desemaranhar; ou porque alguns estilos arquitetônicos improváveis voltam à moda (como, por exemplo, o brutalismo pós-guerra).</p><p>BOTH-AND: ON THE NEED FOR A 'TEXTURAL' SOCIOLOGYOFART</p><p><strong>Abstract</strong></p><p>One of the recurring dilemmas in the sociology of art has been how to balance 'internalist' and 'externalist' accounts of an esthetic phenomena (i. e., a esthetic and social explanations); or, what this paper terms the necessity of moving from an either-or model of art and society to adopting a both - and logic. In the last few years, the conceptual dilemmas have been further heightened by developments such as capitalism becoming more explicitly cultural; and knowledges about art and aesthetics moving from there almof the 'grand' and the high cultural to the more prosaic and the every day. This paper proposes that a solution to the ongoing dilemmas of the sociology of art, and the current challenge of the proliferation of arts/aesthetics-knowledge bases, is to adopt a textural rather than textural mode of thinking. The textural paradigm was first developed in thinking about place and is well-suited to thinking through problems in the sociology of architecture and urbanism – including the problem of how the urban fabric, at times, starts to unravel; or why some unlikely architectural stillest age comebacks (e. g., post-war brutalism).</p><p>Keywords: textures; sociology of art; Ingold; Lefebvre; architecture and urbanism.</p><p><strong> </strong></p><p>SUR LA NECESSITE D'UNESOCIOLOGIE DE LA TEXTURE DE L'ART</p><p class="Standard"><strong>Resumé </strong></p><p class="Standard">L'un des dilemmes le plus récurrent dans la sociologie de l'art c'est de savoir comment équilibrer les approches internalistes et externalistes des phénomènes esthétiques (c'est-à-dire des explications esthétiques et sociales); ou ce que cet article définit comme la nécessité de sortir d'un modèle «d'un art ou d'une société» pour un modèle logique «à la fois l'art et société». Au cours des dernières années, les dilemmes conceptuels ont été aggravés par la tendance du capitalisme à devenir un phénomène plus explicitement culturel; au même temps, la connaissance de l'art et de l'esthétique est passée de la sphère de la grandeur et de la haute culture au monde prosaïque de la vie quotidienne. Cet article propose que la solution aux dilemmes actuels de la sociologie de l'art et au défi actuel des fondements de la connaissance de l'art et de l'esthétique consiste à adopter un paradigme textural plutôt qu'un mode de pensée textuel. Le paradigme de la texture a été développé pour la première fois en pensant sur le lieu et convient aux problèmes sociologiques de l'architecture et de l'urbanisme, y compris comment, le tissu urbain commence parfois à se démêler; ou comme certains styles architecturaux improbables sont revenus à la mode (comme le brutalisme d'après-guerre).</p><p class="Standard"><strong> </strong><strong>Les mots-clés:</strong> textures; sociologie de l'art; Ingold; Lefebvre; architecture et urbanisme.</p><div><div><div><p> </p></div></div></div>

Intro -- Contents -- Notes on Contributors -- List of Figures -- List of Tables -- 1: Introduction -- References -- Part I: Creators in the Market: Artists Between Aesthetics, Critique, and Trade -- 2: Patrick Modiano, Between the Fields of Limited Production and Large-Scale Production -- Introduction -- Before the Nobel Prize -- Friends in High Places: Modiano's Entry into the Literary World -- Prestigious Publishing Houses -- Accumulating Literary Prizes -- Academic Recognition -- Flourishing in the Book Market -- After the Nobel Prize -- Attribution of the Nobel Prize in Literature -- Effects of the Nobel Prize in France -- Effects of the Nobel Prize Abroad -- Conclusion -- References -- 3: A Star Down-to-Earth: On Social Critique in Popular Culture -- Introduction -- Analysing Social Critique in Popular Culture: "A Voice for the Voiceless" -- Establishing a Social Cause: "Always the Same Who…" -- The Quest for Legitimate Representation -- Distinction: "I'm a Star!" -- Identification: "I Am One of You" -- Unification: A Star Down-to-Earth -- Conclusion -- Appendix -- References -- Media -- Links -- Part II: Artistic Career Paths: Trajectories and Inequalities in the Market -- 4: Art Workers, Inequality, and the Labour Market: Values, Norms, and Alienation Across Three Generations of Artists -- Introduction -- Understanding Artists and Inequality -- A Note on Methods and Data -- Janet, Carla, and Lisa: Artists' Working Lives -- Class(ifying) Artists -- Inequality and the Struggle to Be an Artist -- The Cultural Capital -- Pay and the Art Market -- Who Can Be an Artist? -- Conclusion -- References -- 5: Visual Artists' Professional Situations and Trajectories Between Institutions and the Market -- Introduction -- Inquiry and Respondents Sample -- Method -- Artistic Precariousness -- A Tripolar Professional Space of Visual Artists.

The article aims to analyze the sociological insights of Ignas Šlapelis, a Lithuanian art criticist, art historian and a pedagogue. The author argues that Ignas Šlapelis develops important sociological ideas to understand the cultural situation of Lithuania in the first half of the twentieth century. The author attempts to reconstruct the perspective of Ignas Šlapelis about the functions of art and its role in society. It is claimed that Ignas Šlapelis develops his sociology by discussing the role of art in the context of education. The author of the article suggests Ignas Šlapelis to be held as a founding father of Lithuanian sociology of art.

Zofia Rydet is one of the most outstanding Polish and even European artists of the second half of the 20th century. She left a huge artistic legacy, but her biography still in many respects remains a mystery. The memory of a great artist is often mythologized, and the interpretation of the work after his/her death begins to separate from the original intentions of the creator. These are processes of great interest to art historians and sociologists alike. They can be studied by adopting the methods of the biographically-oriented sociology of art. This article uses some of these methods, namely the analysis of the existing documents, archival research, and interviews. The analysis of the collected material has revealed how Rydet was remembered by those who had the opportunity to meet her, accompanied her during field trips, and talked with her about art and photography. The aim of such research is to try to get to know the artist better, as well as to understand her work and the social functioning in what was a very specific time and environment.

The sociology of art tends to reduce the cultural product to an outcome of social causality. As an alternative, this article pursues the aim of developing a cultural sociological approach which includes both sociality and materiality. The article builds on an empirical analysis of a case about the development of a film project, which ends in a devastating quarrel and consequently no film. In the analysis, the evolving product is portrayed as a mediator of the social relations around it. The article suggests that the human participants are attached or detached to the project based on their experiences of the evolving product. Thus the argument proposes that the product and the social relations are being co-produced, and that this is overlooked if the product is not included in the socialogical analysis.

Intro -- Acknowledgments -- Praise for The Cultural Sociology of Art and Music -- Contents -- Notes on Contributors -- List of Figures -- List of Tables -- Chapter 1: Introduction -- Outline of the Volume -- References -- Part I: Setting New Agendas in the Cultural Sociology of the Arts -- Chapter 2: The Three Generations of the French Sociology of Art -- Introduction -- The Birth of the Sociology of Art -- Artworks, Audiences, Producers, Intermediaries -- From Renewal Through Objects to Renewal Through Theoretical Schools -- The Interactionist Turn: Toward a More Global Perspective -- From Positivist Sociology to the Sociology of Representations: The Interpretivist Turn -- From Explanation to Interpretation -- The Pragmatic Turn -- Conclusion: A New Dividing Line -- References -- Chapter 3: Artist Residencies as Creative Ecologies: Proposing a New Framework for Twenty-First-Century Cultural Production -- Residencies in Practice, History, and Research -- From Field to Ecologies: A Critical Perspective with ANT -- Residencies as Drivers of Artistic Production -- Following Creative Work(s) with ANT -- Residencies As/Among Creative Ecologies -- Conclusions and Agendas -- References -- Chapter 4: Theory of an Art Market Scandal: Artistic Integrity and Financial Speculation in the Inigo Philbrick Case -- Introduction -- Literature Review -- Methodology -- Analysis: Mapping the Philbrick Scandal -- Persona as Conduit: Archetypes -- Conclusions -- References -- Part II: What Art and Music Mean: Aesthetics and Evaluation -- Chapter 5: Constructing Difference and Diversity: Culture, Meaning, and the Social Aesthetics of American Art Music -- Introduction -- American Art Music's Social Contexts -- Postmodern Paradoxes -- Data and Method -- Constructing Difference and Diversity -- Synthesis as Musical Difference -- Identity Politics and Musical Diversity.