Visual academies were unique social formations in the ancien régime, so distinctive that they are best studied as prototype professions. Alone among academies, they were responsible for offering instruction. Alone among educational institutions, they linked liberal instruction to occupational practice. Alone among ‘learned’ occupations, they accommodated an irreducible manual component. The visual Académie in Paris in particular established literally the first ‘graduate school’ in any field of activity and admitted students on the basis of anonymously scored student competitions. Equivalent activities (...) will not begin to emerge in medicine or law until the mid-19th century. Our historical case, in short, calls into question the received orthodoxy regarding the time and place of the first professionalism projects. Instead of focusing on 19th-century Britain, we are now considering mid-17th-century France and thereby preparing the way for a new start in the sociology of professions. (shrink)

This article takes as its provocation Marx's intriguing statement about the disjunction between the flowering of Greek art and the underdeveloped stage of social and economic development made as an epilogue to the Introduction to the Grundrisse in order to ask what are the relations between that which has been considered art and what Marx calls `production as such'. In the elaborated conditions of contemporary capitalist societies, we can ask: Is art still being made? To examine this question I juxtapose (...) what Bauman has called `thinking sociologically' with a proposition that art thinks aesthetically. So how can art historians deal with that challenge of thinking aesthetic practices both socially and historically? I track a genealogy of art historians (Clark, Antal, Shapiro) who have attempted to think socially about artistic practices. This leads into a section about the necessity for both sociological and aesthetic education if we are to avoid totalitarianism or free-market individualism (Bahro). Finally, thinking sociologically, by taking as a case study the work of Aby Warburg, I explore the technological conditions of art historical production itself particularly in relation to photography and the way this shapes our access to the image. Warburg represents the possibility of another model for art historical thinking about the image as Kulturwissenschaft, a parallel to Sozialwissenschaft in its ambition and relation to the great intellectual revolutions c.1905 (Freud, Bergson, Einstein, Hussserl). Like Marx, Warburg questioned the continuity of the imaginary space of art thinking in the age of technological industrialism. Where art is now, where art history is, are not just sociological questions to which Marx might offer a dismal answer. I conclude that what is necessary is a constructive conversation between thinking sociologically and thinking aesthetically, knowing synthetically and knowing for oneself — curricular issues made more intense by the shared conditions in which all intellectual production is being transformed in contemporary sites of intellectual practice, the university, by `production as such' leading thought to risk the same fate as art in contemporary society, as Marx hypothesized. As a final thought, I suggest that in contemporary art work that confronts trauma and catastrophe, often using new technologies as aesthetic processes, we may find a counter-argument. (shrink)

There has been an intellectual debate at least since the 1960s in business ethics on the role of the media in relation to consumer choice driven by either habits or rationality. If consumers are totally rational, then the global media and global corporations provide just information and knowledge. If consumers are influenced by habit then large corporations and global media can greatly influence consumer choice and create problems of self-control (Ainslie, 1992, Pico Economics: The Strategic Interaction of Successive Motivational States (...) Within the Person, Cambridge University press, Cambridge). In this article, we provide a synthesis and integrated approach to this continuing debate. We provide a more institutional approach to consumer choice based on social conventions, rather than just on individual habits and lapses in self-control. (shrink)

This article develops an analytical framework to study the role of narratives in markets and argues that there is a relationship between the structure and composition of narratives produced by market actors and market dynamics. With respect to theory, the article bridges the perspectives that study markets as cultures and as fields and draws from the organizational studies approach to the analysis of narratives. Two empirical cases of the crises narratives in the emerging contemporary art markets of Russia and India (...) illustrate the use of the framework. The analysis is based on in-depth interviews with artists and art dealers as well as observations in Moscow, Saint Petersburg, New Delhi, and Mumbai conducted between April 2012 and June 2013. The article shows that there is a widely shared crisis narrative with a coherent structure in the Indian art market. In contrast, fragmented and contested stories that lack narrative structure dominate in the Russian art market. The analysis of the first case highlights the narrative structure and shows the productive work it does in the Indian market—it provides a moral justification of existing market norms and produces a perspective for the future. The analysis of the second case focuses on the context of narrative production and connects the conflicting interpretations of the crisis in the Russian art market to contested hierarchies and persistent uncertainty. (shrink)

Previous research has suggested that in cultural production fields the concatenation of eminence explains success, defined as influence and innovation. We propose that individuals in fields as diverse as philosophy, literature, mathematics, painting, or architecture gain visibility by cumulating the eminence of others connected to them across and within generations. We draw on interaction ritual chain and social movement theories, and use evidence from the field of modernist architecture, to formulate a model of how networks of very strong ties generate (...) motivations and emotional enthusiasm, change reputations, and form collective movements that over time transform the structure of cultural fields. Because major aesthetic innovations break sharply with older styles, they need very strong group solidarity over a long period of time to propagate a new standard of practice. We propose mutual halo effects, i.e., the reciprocal reinforcement of upstream and downstream prestige on a given individual node, as the key factor accounting for success in a cultural production field. We discuss the relevance of these results for building a model of influence and innovation in cultural production fields in which networks—reshaped by shifting technological, political, and economic conditions—trigger new styles. (shrink)

Viewing missionary Protestantism and non-governmental organizations (NGOs) as carriers of transnational institutional innovation, this article compares their successes and failures at creating self-sustaining institutions in distant societies. Missionary Protestantism and NGOs are similar in that they attempt to establish formal organizations outside kinship, lineage, and ethnic forms of solidarity. Focusing on institutions as ways to create collective capacities that organize social life, we trace the route whereby Protestant missionaries established congregational religion in Africa and identify social practices that made this (...) enterprise successful but are comparatively absent in current NGO attempts to transform organizational life. Largely ignored by sociologists interested in institutional transformation, the history of congregational religion offers valuable sociological lessons about the conditions for radical institutional innovation. Its success was rooted first, in colonial missionaries’ ability to enforce new ways of life on small exemplary communities; second, in local adaptations (African prophetic movements, Pentecostalism) that deepened and widened the social reach of congregational principles; and third in the incentives Protestantism created for propagating the congregational form. (shrink)

While numerous studies have shown diverse effects of rankings, rather little is known about their production. This article contributes to a broader understanding of rankings in society, and does so by focusing on underlying worldviews. I argue that the existence of a ranking and its concrete methodology can be explained by the producer’s paradigmatic assumptions about a world-to-be-ranked. Referring to the sociology of knowledge and studies on commensuration, comparisons, quantification and valuation, I provide a general heuristic to analyze this relation (...) between underlying worldviews and observational regimes through which order is constructed systematically. Presenting empirical results on a ranking for the most famous artists in the world, I show how the review device’s initial problem and its construction of order derive from consistent assumptions about contemporary art, its symbolic structures and its social embeddedness. These findings have implications for both research on rankings and sociology of the arts. (shrink)