ABSTRACT

In this paper, I will explore the sociological possibility of the concept "artworld". I will argue that this concept was initially suggested by art philosopher Arthur C. Danta, but should be regarded as sociological one. Artworld goes beyond all kinds of artistic essentialism which emphasize "media in itself"(Clement Greenberg), "general style"(Heinrich Wölfflin), or "genius" who is representative of "God"(Giorgio Vassari). It is true that Danto provided the proper conceptual tool that could explain and understand radically experimental attempts of contemporary art. But Danto, and his fellow art philosopher George Dickie who elaborated the concept in the form of "institutional approach of art" couldn"t do justice to the sociological character of this concept. They place limit upon the concept mainly to the hermeneutic area of recognition and appreciation of art. They devoted themselves to the mission of art philosophy, but their devotion only to fail to fullfill the whole possiblilities ot the concept "artworld", because the rest halves of the concept doesn"t reveal itself through their perspective of art philosophy. On the other hand, Howard S. Becker, the sociologist, doesn"t agree with his fellow art philosoper who use the concept together with him. To Becker, the concept "artworld" is the social convention and pressure that restrict the practice of artist. It is far more subtantial condition that enables the artistic institution to operate. Therefore, at least in my opinion, the concept "artwortd" has been in antagonistic and contradictory situation between art philosophy and sociology. In this situation, this concept that is not only aesthetical but also sociological can neither be sociological nor aesthetical, unfortunately. In this context, I pay attention to Pierre Bourdieu"s social theory. Boudieu"s concepts like "habitus" and "field" give so much benefit to synthesizing the irreconcilable characters between sociological and philosophical perspectives to the concept "artworld". In criticizing Dante"s approach, Bourdieu suggests that this concept should be regarded as concrete effect of coincidence of two histories, one is a history of habitus, the other is a history of field. Bourdieu defines Dante"s interpretation of artworld as embodied understanding, namely habitus. And also he put this artworld as habitus on the obective condition of producing such em bodied artistic meaning in particular way. Bourdieu attempts to reorganize the aesthetical and sociological character of the concept in terms of relation of habitus and field. In doing so, Bourdieu"s reinterpretation of Dante"s concept of "artworld" makes contritribution to present situation of debate on the concept.

KEYWORD

artworld, Arthur C. Danto, Pierre Bourdieu, habitus, field, embodiedness

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