<p> <i>Skins</i> is a project that evaluated the impact of art participation on choices regarding food and gardening in a rural Arizona community. The study was structured by an emergent methodological design, making use of survey, interview, and observation in an effort to capture the full richness of participant experience. The purpose of the project was to meet community wide health goals and measure if and how the arts can create conversation that will result in positive social change. Participants were invited to join open public groups and were also generated from existing groups and organizations in the town of Ajo, AZ. As an artist and former teacher, I chose to implement this project in Ajo partly because of its unique geography, history, and culture, and mainly because of my committed role in the community. In addition to proving that the arts can indeed lead to social change, I also implemented the <i>Skins</i> project as a way to practice my community based arts facilitation and leadership skills and put theory to practice. The results of this project support current theories and trends in the community development field including efforts such as building social capital and utilizing asset based strategies. The project exemplified arts education at work in the community and made a strong case for the positive outcomes of involving youth in the arts process. Planning and activities exhibited the value of one of the Community Based Arts field's main tenants of allowing process to dictate product. Statistics and quantitative data showed that by participating in arts activities on the topic of food and gardening, Ajo community members found a desire to change their eating and nutrition habits and manifested this desire in numerous ways. By impacting personal decision making and provoking a shift in thought patterns and in behavior this project contributed to wider community change. This study allowed for many directions for further research and serves as a contribution to the evolving Community Based Arts field.</p>

Politics, economics and social conditions often have great influences on the development of culture and Art. Moreover, politics can lead to economic growth and rapid change of society. In another word, the political environment has directly impact on the development of culture and Art. This study investigates whether the external factor-political environment affects the process of choreography which should be simply conveying artists¡¦ personal images. Thus artists revise the original ideas and styles of choreography due to this factor. This exploration of the relationship between the change of Taiwan history and the development of Art has been done from the point of view of Art sociology. It uses Cloud Gate and its founder-Lin Huai-Ming as an example. Cloud Gate Dance Company is the first contemporary dance company in Taiwan with the largest scheme and the most well-rounded facilities. The creative ideas of Lin Huai-Ming have profound influences on the style of Cloud Gate Dace Company. Through probing into references and interviews, the author inquires the following facts.1.The influence of Lin Huai-Ming on Cloud Gate Dance Company.2.The relationship between Lin Huai-Ming¡¦s choreography and the political environment.3.Discovering the process of the myth of Cloud Gate established in Taiwan society .

Submitted by Oliveira Santos Dilzaná (dilznana@yahoo.com.br) on 2016-06-27T13:11:37Z No. of bitstreams: 1 Dissertação de Adriano Souza Athayde.pdf: 3988617 bytes, checksum: 86e4906dc0bd7121bfdfc3dc97a3e775 (MD5) / Approved for entry into archive by Juarez Cardoso da Silva (juarez.cardoso@ufba.br) on 2016-07-04T17:16:02Z (GMT) No. of bitstreams: 1 Dissertação de Adriano Souza Athayde.pdf: 3988617 bytes, checksum: 86e4906dc0bd7121bfdfc3dc97a3e775 (MD5) / Made available in DSpace on 2016-07-04T17:16:02Z (GMT). No. of bitstreams: 1 Dissertação de Adriano Souza Athayde.pdf: 3988617 bytes, checksum: 86e4906dc0bd7121bfdfc3dc97a3e775 (MD5) / FAPESB / A presente pesquisa situa-se na área da Sociologia da Arte, uma vez que faz reflexões sociológicas sobre as obras xilográficas do artista plástico alemão Hansen Bahia, interessando-se, principalmente, pelas representações sociais contidas em sua criação plástica erótica. A pesquisa compreende a obra de Hansen enquanto xilogravura e a sua relação com a obra de Jorge Amado, preocupando-se, sobretudo, com a relação da arte com os fenômenos sociais, no caso específico do artista pesquisado centra-se sobe uma leitura plástica das principais obras hansiana, produzidas entre as décadas de cinquenta e setenta do século passado, que apresentam como aspectos unificadores de sua composição a corporeidade e as condições sociais da população marginalizada de Salvador, residente do centro histórico da cidade, criando um paralelo entre sua estética e os textos amadianos.This research is located in the Art Sociology of the area, since it makes sociological reflections on the woodcut works of the German artist Hansen Bahia, interesting, mainly due to the social representations contained in its plastic creation erotic. The research comprises the work of Hansen as woodcut and its relationship with the work of Jorge Amado, concerned above all with the art of grating with social phenomena in the specific case of the artist researched focuses rises a plastic reading hansiana major works produced between the decades of fifty and seventy of the last century, which have the unifying aspects of its composition corporeality and social conditions of the marginalized population of Salvador, resident of the historic city center, creating a parallel between their aesthetic and the amadianos texts. / This research is located in the Art Sociology of the area, since it makes sociological reflections on the woodcut works of the German artist Hansen Bahia, interesting, mainly due to the social representations contained in its plastic creation erotic. The research comprises the work of Hansen as woodcut and its relationship with the work of Jorge Amado, concerned above all with the art of grating with social phenomena in the specific case of the artist researched focuses rises a plastic reading hansiana major works produced between the decades of fifty and seventy of the last century, which have the unifying aspects of its composition corporeality and social conditions of the marginalized population of Salvador, resident of the historic city center, creating a parallel between their aesthetic and the amadianos texts. Key words: Hansen Bahia, Woodcut, Eroticism, Art Sociology

This doctoral study is concerned with identifying the determinants of the institutionalisation of art (IoA) in general and institutionalisation of contemporary art (IoCA) in particular. It focuses on the influence of the state and the private sector on economics and politics of arts as artworld in Turkey. The proposed relational framework is based on the current controversial problematisation of social theory in terms of various understandings of modernity and post-modernity. Here, modern art is taken to be based on an orthodox (classical) modernity understanding. In contrast, contemporary art (CA) is regarded as either a rejection of modern art from a post-modernity perspective or an intensive criticism of it from inside modernity. Both positions direct their criticisms to the basic assumptions, methodological tools, epistemological sources and ontological basis of the classical understanding of modernity. Within this scope, this study formulates and operationalises the research problem in terms of relational sociology and uses grounded-theory to establish the significant interactive relations that define IoA. The unit of analysis is the interactive relations of individuals as artists. The boundaries of the study are primarily limited to national level. The research questions are, in general, framed with qualitative research techniques and specifically substantiated with data sources primarily obtained from a self-employed semi-structured survey method complemented by observations and an extensive review of the relevant literature as documentary-historical data. The analysis of the data and the interpretations of the findings are undertaken within the scope of relational sociology and using the tools of grounded-theory methodology. The empirical data collected from a sample of artists actively involved as producers of works of arts and/or academicians, advisors and art critics from Turkey. Within this conceptual framework, the roles of the state and the private sector are questioned in terms of the economics and politics of arts, including their cultural couplings. The domain of social relations remaining outside the private sector, specifically the art public and the groups, collectives and initiatives of arts are assessed as the civil domain of arts. Knowledge of the arts and its formal (institutional) and informal relations provide an essential source and play a central role in this study. Within this framework, the art market is considered as an emerging hegemonic construct in the economics and politics of arts. Furthermore, artists and artworks are considered as the primary constituting components of the interactive relations of IoA. The findings of this thesis have implications for increasing the knowledge about and practices of IoA and contribute to the development of a framework of research questions that explains the interactive relations of the IoA in Turkey and offers an insight into a growing body of literature on art and includes recommendations for the directions of future research. The proposed relational framework is based on the current controversial problematisation of social theory in terms of modernity and post-modernity understandings. Here, modern art is considered to be based on orthodox (classical) modernity understanding. In contrast, contemporary art (CA) is regarded as either a rejection of modern art from post-modernity perspective or an intensive criticism of it from inside modernity. Both positions direct their criticisms to the basic assumptions, methodological tools, epistemological sources and ontological basis of classical understanding of modernity. Within this scope, this study formulates and operationalises its research problem in terms of relational sociology and uses grounded-theory to establish the significant interactive relations defining IoA. The unit of analysis is the interactive relations of individuals as artists. The boundaries of the study primarily remained at national level. The research questions are framed in general with qualitative research techniques and substantiated specifically with data sources primarily obtained by self-employed semi-structured survey method in addition to observations and extensive review of the relevant literature as documentary-historical data. The analysis of the data and the interpretations of the findings made within the scope of relational sociology and with the tools of grounded-theory methodology. The empirical data collected from a sample of artists actively involved as producers of works of arts and/or academicians, advisors and critics of arts from Turkey. Within this conceptual framework, the role of the state and the private sector is questioned in terms of economics and politics of art, including their cultural couplings. The domain of social relations remaining outside of the private sector, specifically the art public and the groups, collectives and initiatives of arts are inquired as the civil domain of arts. Knowledge of arts and its formal (institutional) and informal relations provide an unavoidable source and play a central role in this study. Within this framework, art market is considered as an emerging hegemonic construct in the economics and politics of arts. Furthermore, artists and artworks were taken as primary constituting components of the interactive relations of IoA. The findings have implications for knowledge and practices of IoA and contribute in the developing a framework of research questions that explains the interactive relations of the IoA in Turkey and adds an insight to a growing body of literature on art including recommendation for future research directions.

Dans cette thèse, le graffiti désigne, négativement, toute pratique d’inscription murale qui contribue à altérer l’« ordre esthétique » d’une ville, produit par les pouvoirs publics. Cette expression permet de désigner d’un côté l’ordre, c’est-à-dire le pouvoir politique, que l’inscription d’un graffiti sur un mur vient troubler. De l’autre la dimension esthétique de ce pouvoir, c’est-à-dire quelque chose qui dépasse la simple régulation de l’expression politique et s’inscrit, plus largement, dans le gouvernement des espaces publics. Ainsi défini, le graffiti n’est pas seulement analysé comme un message, une déviance, un dommage aux biens, une pratique culturelle ou un art, mais il devient un concept opératoire pour la science politique. Cette définition en termes de « désordre esthétique » permet d’interroger les dispositifs d’action publique qui contribuent à produire l’ordre esthétique propre à la ville. Elle permet aussi de questionner les catégorisations, les problèmes véhiculés par ces dispositifs ainsi que leurs effets sur la construction du sens commun, sur les représentations associées au graffiti, et surtout sur l’aspect physique, matériel, et donc esthétique de la ville.Inscrite dans la perspective d’une socio-histoire de l’action publique, cette thèse retrace l’histoire de la « mise en administration » du graffiti à Paris, la production d’un « ordre esthétique » dans cette ville de 1977 à 2017. À Paris, la municipalité administre ces peintures comme des « souillures » à travers des dispositifs d’effacement portés par les politiques de propreté, mais aussi comme des objets culturels à travers des dispositifs d’encadrement culturel, portés par différents domaines d’action publique (aménagement, culture, tourisme). En retraçant la genèse des dispositifs de répression et de promotion des graffitis au sein de l’administration parisienne, cette thèse propose de comprendre la manière dont s’articulent plusieurs domaines d’action publique et d’analyser la construction municipale d’un problème du graffiti. Dommage aux biens, nuisance visuelle, facteur du sentiment d’insécurité, culture populaire ou art urbain symbole de la vitalité artistique de Paris, le graffiti est un problème public qui, de 1977 à 2017, connaît plusieurs redéfinitions dans lesquelles les acteurs publics municipaux jouent des rôles variables. S’appuyant sur des archives, des entretiens semi-directifs, des observations et des photographies, ce travail s’attache à rendre compte de la variété de ces rôles, des conditions de la redéfinition du problème et ses mises à l’agenda successives. Au cœur de cette socio-histoire de la « mise en administration » du graffiti, une hypothèse : la saisie du graffiti par les acteurs municipaux est révélatrice de l’ambition municipale de monopoliser la définition légitime du « bel » espace public, de l’image de la Ville, au propre comme au figuré. L’enjeu de la thèse est alors de mettre en lumière les conditions historiques, sociales et politiques de la construction de cette légitimité.La démonstration s’organise en deux parties qui retracent chronologiquement la genèse des deux facettes du problème public qui se construit autour du graffiti. Dans la première partie, on montre la manière dont les pouvoirs publics norment l’esthétique des espaces urbains à travers les politiques de propreté qui font du graffiti le résultat d’un acte déviant, une source de désordre. La seconde partie analyse la manière dont différentes actions culturelles promeuvent progressivement certaines formes de graffitis et opèrent ainsi une normalisation de l’esthétique urbaine. Il s’agit finalement de montrer quels comment les acteurs urbains organisent le contrôle de l’esthétique urbaine, quels sont les enjeux sociaux et politiques contenus dans la production d’un certain « ordre esthétique ». / In this PhD, the “graffiti” refers negatively to every practice of wall/mural inscription, which contributes to degrade the “aesthetic order of a city produced by the public authorities. This expression encompasses both the notion of order, that is the political power which is troubled by any graffiti and the aesthetic dimension of this power, something that overtakes the only public expression regulation and is part of the broader government of public spaces. With such a definition, graffiti refers not only to a message, a deviance, a degradation, a cultural practice or even an art, but it also becomes an operating concept for a political science study. This definition as an « aesthetic disorder » leads us to examine the public policies measures which contribute to produce an aesthetic order proper to the city. This reflection also allows to question categorisations, public problems and their effects on common sense constructions, graffiti representations and on the physical, material, aesthetic aspect of the city.As a socio-historical study on public policies, this PhD traces the history of the graffitis’ “administrativisation” in Paris, the production of an aesthetic order in this city from 1977 to 2017. The local council of Paris regulates those paintings as stains, through cleaning policies, with erasure measures, but it also regulates graffitis as cultural objects, through many cultural measures, carried by different sectors of the administration (urban planning, cultural and touristic policies). Tracing the genesis of those measures in the public local administration, we try to understand how the coherence between several administration areas is built, and we show how the graffiti becomes a public problem in this context. Degradation, visual pollution, source of insecurity, popular culture or urban art: from 1977 to 2017, the public problem of “graffiti” has been built around several definitions by local actors. Based on archives, interviews, observations and photographs, this work attempts to outline the diversity of the public local actors’ roles, the problem redefinition’s conditions and its successive agenda settings. In this socio-history of the graffiti’s “administrativisation”, our hypothesis is the following: the graffiti seizure by local authorities is revealing their ambition to monopolise a legitim definition of “the beautiful” public space, a legitim city image. The aim of this PhD is then to identify this legitimacy construction, its historical, social and political conditions of appearance. The demonstration is built on two parts, tracing chronologically the history of two aspects of the graffiti public problem. First, we clarify how local public authorities try to standardize (to norm) the aesthetic of public spaces through cleaning policies that tag the graffiti as a deviance, a source of disorder. Secondly, this analyse will focus on how different public cultural measures progressively promote some forms of graffitis and lead to a normalisation of the urban aesthetic. Finally, we show how urban actors organise the control of urban aesthetic, and which are the social and political issues hold into the production of a certain aesthetic order.

Submitted by Julia Baker Valls Pereira (juliabvp@gmail.com) on 2018-06-11T19:04:13Z No. of bitstreams: 1 DISSERTACAO_QUEM VAI FICAR COM LAURA.pdf: 1993983 bytes, checksum: ff83e111494fe95b2f75fa4064591326 (MD5) / Approved for entry into archive by Diego Andrade (diego.andrade@fgv.br) on 2018-07-02T18:56:43Z (GMT) No. of bitstreams: 1 DISSERTACAO_QUEM VAI FICAR COM LAURA.pdf: 1993983 bytes, checksum: ff83e111494fe95b2f75fa4064591326 (MD5) / Made available in DSpace on 2018-07-16T20:23:04Z (GMT). No. of bitstreams: 1 DISSERTACAO_QUEM VAI FICAR COM LAURA.pdf: 1993983 bytes, checksum: ff83e111494fe95b2f75fa4064591326 (MD5) Previous issue date: 2016-09-09 / The text analyzes one of agents from the art market: the commercial gallery. It was a conscious choice to work with only one gallery and, through this, to understand its microcosms. Beginning with the review of the main authors that work with sociology of art, it was possible to delineate which agents belonged to the field of art and how its relations could happen. The first chapter summarize the theories used through the work, and brings the history of the commercial galleries in Rio de Janeiro. The next two chapters will concentrate in the object of this study: the story of the gallerist Laura Marsiaj and her experiences in the work of art galleries. The construction of these chapters was based in a vast research in newspaper archives, field research and interviews with some important elements from the art’s field that had different connections with Laura. The focus of this dissertation is to create a case study of an art gallery and, through it, see how the relations in the art market occur. / O trabalho analisa um dos agentes do mercado de artes: a galeria comercial. Foi uma escolha trabalhar apenas com uma galeria e entender seu microcosmos. Partindo de uma análise dos principais autores a tratar do tema de sociologia da arte, foi possível delimitar os agentes pertencentes ao campo das artes e como suas relações são traçadas. O primeiro capítulo sintetiza as teorias utilizadas assim como discorre sobre a história das galerias no Rio de Janeiro. Os dois seguintes capítulos se concentram no objeto de estudo dessa dissertação: a história da galerista Laura Marsiaj e de suas experiências como galerista no Rio de Janeiro. A construção dos capítulos se deu a partir de pesquisas em acervos de jornais, pesquisa de campo e entrevistas com sujeitos do campo das artes que possuíam ligações de diferentes âmbitos com Laura. O objetivo da dissertação é realizar um estudo de caso da galeria e, através dele, ver como ocorrem as relações na esfera do mercado de artes.

When Nationalmuseum 2018 reopened after a thorough renovation, a cultural debate arose in Sweden about the extent to which norm criticism has taken over the museum's permanent exhibition. The intention of norm criticism is to act as an inclusive tool, by, among other things, making visible, criticizing and changing structures. However, can the inclusive norm criticism also inhibit freedom of expression by causing an exclusion of certain art expressions and performers? In other words, does there arise a paradox in applying norm-critical requirements on artistic freedom? The purpose of this essay has been to present an answer to this question and thereby making a contribution to the discourse within the science of Arts, regarding the prerequisites of artistic freedom. The study was conducted through semiotic image analysis by the artwork: Anders Zorn – Badande kullor, Bruno Liljefors - Orrspel i mossen and Carl Larsson – Till en liten vira. The analysis were further developed through commutation tests, where the artist's gender affiliation changed from male to female with the intention of, from a norm-critical perspective, studying whether and how the artist's gender affiliation in a transmitter context influences the meaning and signification of the artwork. The results from the image analysis show that the meaning in the interpretations of the works shifts in a varying degrees, which can contribute to both confirm, creating new and challenging already known oppressive norms and structures. To summarize, the study concludes that in norm criticism such a paradox can arise, which can have limiting and exclusionary consequences for the prerequisites of artistic freedom in the form of, for example, self-censorship and discrimination.