The sociology of art has experienced a significant revival during the last three decades. However, in the first instance, this renewed interest was dominated by the ‘production of culture’ perspective and was heavily focused on contextual factors such as the social organization of artistic markets and careers, and displays of ‘cultural capital’ through consumption of the arts. In this article, I outline a new mode of approaching art sociologically that begins with Alfred Gell’s (1998) Art and Agency, but comes to (...) full fruition in what I am calling the ‘new sociology of art’. A major theoretical statement that captures many of the aspirations of the new approach is Jeffrey Alexander’s essay: ‘Iconic Consciousness: The Material Feeling of Meaning’. It is suggested that the new sociology of art has much in common with material culture studies, and that a more robust concept of the artwork’s agency is needed now that art has well and truly taken on a social and cultural life well beyond those institutions traditionally understood as the ‘art world’. (shrink)

Based on archival and ethnographic data, this article analyzes the iconic-making, iconoclastic unmaking, and iconographic remaking of national identifications. The window into these processes is the career of Saint John the Baptist, patron saint of French Canadians and national icon from the mid-nineteenth century until 1969, when his statue was destroyed by protesters during the annual parade in his honor in Montréal. Relying on literatures on visuality and materiality, I analyze how the saint and his attending symbols were deployed in (...) processions, parades, and protests. From this analysis, I develop the sociological concept of aesthetic revolt, a process whereby social actors rework iconic symbols, redefining national identity in the process. The article offers a theoretical articulation and an empirical demonstration of how the context, content, and the form of specific cultural objects and symbols—national icons—are intertwined in public performance to produce eventful change, and shows why and how the internal material logic and the social life of these icons shape the articulation of new national identities. (shrink)

How did cultural factors participate in the event of October in Chile? How were these factors related to each other? What implications did they have for collective action and social life? The purpose of the article is to carry out a cultural reading of the October event. To do this, a dialogue is proposed between cultural sociology and cultural studies, applied to the October protest movement, resorting to interpretive research tools. The appropriation of Plaza Italia, in Santiago, by the protesters, (...) is used in an illustrative way to highlight the cultural elements and their interactions. Among the findings, the production of meaning based on motifs and frames stands out, the production of its own symbolism and iconography and the deployment of performances that allow defining the Plaza itself as an artifact of protest. Then certain scopes of the above for civil society are discussed. It concludes with a projection of the work and a brief reflection on the relationship between social sciences and humanities to deploy an interpretive strategy of empirical research. (shrink)

The aim of this article is to theorize how materials can play an active, constitutive, and causally effective role in the production and sustenance of cultural forms and meanings. It does so through an empirical exploration of the Museum of Modern Art of New York (MoMA). The article describes the museum as an “objectification machine” that endeavors to transform and to stabilize artworks as meaningful “objects” that can be exhibited, classified, and circulated. The article explains how the extent to which (...) the museum succeeds in this process of stabilization ultimately depends on the material properties of artworks and, more specially, on whether these behave as “docile” or “unruly” objects. Drawing on different empirical examples, the article explores how docile and unruly objects shape organizational dynamics within the museum and, through them, the wider processes of institutional and cultural reproduction. The article uses this empirical example to highlight the importance of developing a new “material sensibility” that restores heuristic dignity to the material within cultural sociology. (shrink)

This essay provides an intellectual history for the cultural turn that transformed the human sciences in the mid-20th century and led to the creation of cultural sociology in the late 20th century. It does so by conceptualizing and contextualizing the limitations of the binary primitive/modernity. In the 19th and early 20th centuries, leading thinkers – among them Marx, Weber, Durkheim, and Freud – confined thinking and feeling styles like ritual, symbolism, totem, and devotional practice to a primitivism that would be (...) transformed by the rationality and universalism of modernity. While the barbarisms of the 20th century cast doubt on such predictions, only an intellectual revolution could provide the foundations for an alternative social theory. The cultural turn in philosophy, aesthetics, and anthropology erased the division between primitive and modern; in sociology, the classical writings of Durkheim were recentered around his later, religious sociology. These intellectual currents fed into a cultural sociology that challenged the sociology of culture, creating radically new research programs in the late 20th and early 21st centuries. (shrink)

Inspired by Weber’s charismatic carrier groups, Eisenstadt coined the term institutional entrepreneur to capture the rare but epochal collective capable of reorienting a group’s value-orientations and transferring charisma, while making them an evolutionary force of structural and cultural change. As a corrective to Parsons’ abstract, ‘top-down’ theory of change, Eisenstadt’s theory provided historical context and agency to moments in which societies experienced qualitative transformation. The concept has become central to new institutionalism, neo-functionalism, and evolutionary-institutionalism. Drawing from the former two, a (...) more robust theory of institutional entrepreneurship from an evolutionary-institutionalist’s perspective is posited. In essence, entrepreneurs formulate institutional projects with dual logic: a collective side focused on innovation where efforts are directed towards organizational symbolic mechanisms of integration and a self-interested side directed towards resource independence, monopolization, mobility, and power-dependence. While outcomes vary based on numerous environmental factors, success leads to greater structural/symbolic independence and ability to reconfigure physical-temporal-social-symbolic space. (shrink)

The article is dedicated to the revelation of heuristic potential of hermeneutic image conception within discussions on contemporary visual culture. H. G. Gadamer has analysed the image as the visual, spatial and social phenomenon expanding and thereby transforming the accustomed notion of iconic experience. The image is not primarily an object of research for aesthetics and art criticism, but a social phenomenon which has to be considered in its real and imagined character as well as in its interrelations with the (...) lived world structures. By blurring boundaries between art and life in his image theory Gadamer opens up an array of opportunities for the analysis of iconic practices in all their variety: from science to theater. (shrink)