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Journal articles on the topic 'Art and Commodification'

Author: Grafiati

Published: 20 February 2023

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1

Wibowo, Arining, Aquarini Priyatna, and Cece Sobarna. "The Malangese Mask Wayang:The Process of Art Commodification at Asmorobangun Art Center, Pakisaji, Malang." KOMUNITAS: INTERNATIONAL JOURNAL OF INDONESIAN SOCIETY AND CULTURE 11, no. 1 (April 23, 2019): 149–57. http://dx.doi.org/10.15294/komunitas.v11i1.18478.

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The article aims to describe the process of commodification of the Malangese Mask Wayang Art at Asmorobangun Art Center, Pakisaji Sub-district, Malang, Indonesia. Asmorobangun Art Center is one of the surviving art centers engaged in the efforts to preserve and develop the Malangese mask wayang art. The data used in this qualitative study were collected by means of interview, observation, and examination of relevant documents. The results show that the process of commodification of the Malangese mask wayang art manifests in three practices namely the gebyak senin-legian mask wayang performances, art tourism packaging, and mask production. Commodification has transformed the art into commodities/products that are part of the local tourism industry.

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2

Ganahl, R. "Free Markets: Language, Commodification, and Art." Public Culture 13, no. 1 (January 1, 2001): 23–38. http://dx.doi.org/10.1215/08992363-13-1-23.

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3

Cohen, I. Glenn. "Complexifying Commodification, Consumption, ART, and Abortion." Journal of Law, Medicine & Ethics 43, no. 2 (2015): 307–11. http://dx.doi.org/10.1111/jlme.12246.

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Like all her work, Jody Madeira’s “Conceiving of Products and the Products of Conception: Reflections on Commodification, Consumption, ART, and Abortion,” is a rich, nuanced discussion that mixes various conceptual vocabularies (Marxist, semiotics, legal) into a complex dish. If her work is like the best of French cooking, my comment, I fear, will be more like fast food. In the short space I have, I want to pick off a few items of common interest and discussion and reconfigure them.

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4

Letiche, Hugo. "Doubling: there’s no escape from terror/doubling: there’s an escape from commodification …?" Society and Business Review 11, no. 2 (July 11, 2016): 174–92. http://dx.doi.org/10.1108/sbr-04-2016-0028.

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Purpose Commodification doubles self and work, life and object, uniqueness and standardization and art and management. For the artist, the unicity, beauty, inspiration and creativity of art is doubled in the sale, marketing, display, distribution and mass production of “art works”. Making art is intimate, personal and individual; selling art requires public display, pleasing the all important customer(s) and dealing with many sorts of in-betweens. What commodification is on the artist/art work level is doubling on the I/me, self/persona, private/public and in-group/out-group level. This paper aims to examine the commodification and doubling in the case of the Gee’s Bend quilt makers. The quilts foreshadowed the modernist aesthetic and are of the highest aesthetic quality. But, they were made in a traditional rural society by very poor, uneducated black women. The quilts were not made to be sold but were dedicated to familial remembrance and to immediate aesthetic pleasure. But now that they are on display: is escape from commodification possible? Design/methodology/approach Reprint for special issue. Findings Doubling, in the original article below, was tendentious but artistically and politically to be overcome; doubling currently seems much more ominous, omnipresent and out of control. Signifyin(g) has become bomb throwing. Present day doubling apparently produces terror and not just commodification. Originality/value Invited for publication.

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Azatyan, Vardan, Frederic J. Schwartz, T. J. Clark, Sami Khatib, Miško Šuvaković, and Ursula Frohne. "Art and Scholarship in Moments of Historical Danger." ARTMargins 10, no. 3 (October 2021): 159–90. http://dx.doi.org/10.1162/artm_a_00304.

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Abstract Consider the nature and function of art and art historical scholarship in the present: Is there still a line—even fine or porous—securing the fragile autonomy of the arts and humanities from commodification in late capitalism? Can art still serve as a negative and critical mirror for reality under the seemingly complete commodification and technological mediation of social life? Is there any real need for art and art historical scholarship even to exist today? Can the arts and humanities serve an emancipatory social agenda, and, if so, how? What role might the humanist ideals once shared by liberals and communists play in the reformulation of art and scholarship today?

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Oliinyk, Oleksandra. "Commodification as the Means of Cultural Production." Culturology Ideas, no. 18 (2'2020) (2020): 156–64. http://dx.doi.org/10.37627/2311-9489-18-2020-2.156-164.

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The paper discloses the phenomenon of the commodification of cultural production in course of evolutionary transformation of technic, technologic and economic capacities of society. Economic issues, including the definition of cultural product as a commodity, form the apparatus for the objectification of creative intention that does not impact directly on the creativity as freedom. Albeit the tension of social apprehension, spoken in words by either intellectual critics or market demand, and dependence on the market laws, reflecting either the labor issues or distribution and consumption, evoke the shift in the function of art, in particular, the loss of critical and regulative functions. Thus, the article seeks the logic dependence of the functional shifts in art on the phenomenon of commodification. The paper aims to justify the hypothesis that the commodification is an auxiliary tool for communication between the artist and audience, barely directly causing the leveling of aesthetic artistic value. Considering that the comprehension of commodification relies mostly on the philosophic criticism leaving the economic research of cultural production aside and missing the discourse of aesthetic and artistic essence, this paper concludes that the commodification of symbolic production, as the consequence of social and economic development, rather implies communicative capacity for artistic value than the destructive or leveling impact factor causing the shift of social functions of art.

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Vail, D. Angus. "The Commodification of Time in Two Art Worlds." Symbolic Interaction 22, no. 4 (November 1999): 325–44. http://dx.doi.org/10.1525/si.1999.22.4.325.

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Lee, Wendy Lynne, and Laura M. Dow. "QUEERING ECOLOGICAL FEMINISMEROTOPHOBIA, COMMODIFICATION, ART, AND LESBIAN IDENTITY." Ethics & the Environment 6, no. 2 (September 2001): 1–21. http://dx.doi.org/10.2979/ete.2001.6.2.1.

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9

Farkhatdinov, Nail. "Commodification of Art: Old and New Research Perspectives." Journal of Economic Sociology 12, no. 3 (2011): 127–44. http://dx.doi.org/10.17323/1726-3247-2011-3-127-144.

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10

Ozdemir, Derya. "A Conceptual Framework on the Relationship of Digital Technology and Art." International Journal on Social and Education Sciences 4, no. 1 (January 15, 2022): 121–34. http://dx.doi.org/10.46328/ijonses.313.

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The ‘new digital art’ genre has emerged to describe various works of art that have evolved with the development of digital technologies. In its broadest sense, digital art encompasses everything from high-end machine learning applications to the use of interactive elements in traditional media. There is also an increase in the interaction between information technologies and art. Science, art and technology has been increasing and becoming widespread since the 60s, when scientists, artists and inventors began collaborating and using electronic devices to create art. The experience that results from consuming art and culture is multifaceted in nature. It can be individual or collective, physical or virtual, active or passive, public or private, on-site or in private places, open-air or indoor. With the spread of digital art, there is a remarkable increase in the commodification of art. This article, in this context, analyzed and discussed digital art, its positive and negative aspects, and the commodification of this art type on the basis of literature.

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Madeira, Jody Lyneé. "Conceiving of Products and the Products of Conception: Reflections on Commodification, Consumption, ART, and Abortion." Journal of Law, Medicine & Ethics 43, no. 2 (2015): 293–306. http://dx.doi.org/10.1111/jlme.12245.

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Thorny and difficult questions permeate the issue of commodification of assisted reproductive technologies (ART) and abortion. Are ART and abortion services or medical treatment? Are those who seek them patients or consumers? How should we understand the complex relationship between money, markets, choice, and the care relationship?This paper rejects the dichotomy between patient and consumer roles and focuses instead on how attributes of each are meaningful to those seeking health care. Arguing that health care is already commodified, it suggests that both medicine and the market offer strategies for handling commodification. The important questions are how we understand these attributes and their role in care relationships, and which attributes we should encourage. The medical profession and patient role have long accommodated commodification, using fiduciary roles, flat fees and opaque pricing to distance payment and pricing from care provision.

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Kasiyan and Nomusa Makhubu. "Art, art education, creative industry: Critique of commodification and fetishism of art aesthetics in Indonesia." Cogent Arts & Humanities 6, no. 1 (January 1, 2019): 1586065. http://dx.doi.org/10.1080/23311983.2019.1586065.

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Lee, Wendy Lynne, and Laura M. Dow. "Queering Ecological Feminism: Erotophobia, Commodification, Art, and Lesbian Identity." Ethics & the Environment 6, no. 2 (2001): 1–21. http://dx.doi.org/10.1353/een.2001.0015.

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Firstenberg, Lauri, and Sidney Littlefield Kasfir. "Negotiating the Taxonomy. Contemporary African Art: Production, Exhibition, Commodification." Art Journal 59, no. 3 (2000): 108. http://dx.doi.org/10.2307/778033.

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Zhang, Jun. "Commodifying art, Chinese style: The making of China’s visual art market." Environment and Planning A: Economy and Space 49, no. 9 (June 12, 2017): 2025–45. http://dx.doi.org/10.1177/0308518x17713993.

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The economic value of art to cities and regions has recently been vigorously pursued and actively studied. The rapid ascendance of China as a superpower in the global art market and associated transformation of China’s art space, however, are yet poorly understood. This paper develops a Polanyian framework to interpret the spatial and institutional evolution of China’s art market, seeing the (de)commodification of art as a cumulative process embedded in geo-historical interplays of triple logics—cultural, capital, and political, unfolding within, and reshaping in turn, historically inherited spatial structures.

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Setyomuryantono, Tunggul, Yosafat Hermawan Trinugraha, and Abdul Rahman. "PERUBAHAN FUNGSI SENI TRADISI RONTEK PACITAN." ETNOREFLIKA: Jurnal Sosial dan Budaya 11, no. 1 (March 7, 2022): 17–33. http://dx.doi.org/10.33772/etnoreflika.v11i1.1143.

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This study aims to analyze the change in the function of the Rontek traditional art in Pacitan Regency, East Java. The changing process is accompanied by the change in the function of rontek art, from being a daily tradition of the people to wake people up during Sahoor in the month of Ramadan formerly into an annual festival. This study also discusses how the process has become a commodification of culture and at the same time describes the influence of cultural commodification process on the preservation of regional arts in the “Festival Rontek Pacitan (Pacitan Rontek Festival)”. This research approach used qualitative research methods. It was conducted in the administrative area of Pacitan Regency, East Java. Data was collected through in-depth interviews, observation, and documentation. The data analysis technique started with selecting the data and writing it down on a field note, then presenting the data in words in paragraphs and matrices, tables or schematics for easy understanding, and lastly drawing conclusions. Based on the results of the research, the Rontek art that appears in the form of “Festival Rontek Pacitan” presupposes the efforts to preserve the regional arts. The commodification of culture as an effort to preserve the Rontek Pacitan regional art is carried out without reducing the value contained within it.

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Irianto, Agus Maladi, Arido Laksono, and Hermintoyo Hermintoyo. "Traditional Art Strategy in Responding Capitalization: Case Study of Kubrosiswo Cultural Art Commodification." Harmonia: Journal of Arts Research and Education 18, no. 1 (August 30, 2018): 1–12. http://dx.doi.org/10.15294/harmonia.v18i1.11363.

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The aim of this study is to describe traditional art capitalization as the cultural identity of a society and a strategy of the society which supports traditional art in developing cultural comodification in line with the demands of the tourism industry. The paper is based on field research presenting a case study of the existence of Kubrosiswo traditional art from Magelang Regency, Central Java, Indonesia which develops the cultural comodification as a strategy to respond to the economic capitalization demands, especially the emergence of the tourism industry which appeared in this globalization era. One alternative strategy which is developed in this research is by making a documentary film. The documentary film is one of the strategies to present the reality based on the description in the field, and it is also expected to create awareness in recognizing and comprehending the knowledge of Kubrosiswo traditional art.

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Ross, Jeffrey Ian, John F. Lennon, and Ronald Kramer. "Moving beyond Banksy and Fairey: Interrogating the co-optation and commodification of modern graffiti and street art." Visual Inquiry 9, no. 1 (September 1, 2020): 5–23. http://dx.doi.org/10.1386/vi_00007_2.

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This editorial reviews the co-optation and commodification of modern graffiti and street art. In so doing, it analyses attempts by individuals and organizations to monetize the creation, production and dissemination of graffiti and street art. The commodification process often starts with attempts by graffiti and street artists to earn money through their work and then progresses to efforts primarily by cultural industries to integrate graffiti and street art into the products and services that they sell. This latter development can also include how selected property owners and real-estate developers invite artists to create works in or on their buildings or in particular neighbourhoods to make the areas more desirable. After the authors have established this context, they draw together the divergent themes from the four articles contained in this Special Issue.

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Meifilina, Andiwi, Darsono Wisadirana, Anif Fatma Chawa, and Siti Kholifah. "Implications of cultural commodification of sinden on authenticity of local culture: a case study in Jimbe Village, Blitar District, East Java, Indonesia." Technium Social Sciences Journal 12 (September 22, 2020): 290–301. http://dx.doi.org/10.47577/tssj.v12i1.1683.

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This article is a critical review of the impact of tourism that causes the commodification of local culture. Through a study in the Sinden Village in Jimbe Village, as the pioneer of the development of the Sinden art in Blitar District that has been established as pioneering village by the Tourism, Culture, Youth and Sport Services (DISPARBUDPORA) of Blitar Regency, this article attempts to discuss the cultural commodification of Sinden art as one of the Intangible Cultural Heritage. This article uses a qualitative method with a case study approach. Therefore, the data in this article was obtained by the researcher by using the interview techniques and direct observation. The findings show that the commodification of the Sinden culture does not completely change the authenticity of the Sinden culture. It is because the people of Jimbe village only commodify the supporting facilities of the Sinden culture, such as songs, the use of musical instruments, and wardrobes. Whereas, the authenticity of the Sinden culture itself is not determined by those, but rather from the delivery of messages and special singing techniques.

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Appadurai, Arjun, Johanna Bockman, Nathalie Heinich, Martijn Konings, Leigh Claire La Berge, Geert Lovink, Ignacio M. Sánchez Prado, and Willy Thayer. "Art under Neoliberalism." ARTMargins 10, no. 3 (October 2021): 126–58. http://dx.doi.org/10.1162/artm_a_00303.

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Abstract Apart from the longstanding and much-debated problem of art's commodification, how does neoliberalism transform and determine the conditions of artistic practice? Further, if neoliberalism is a substantially distinct stage in the history of capitalism, and not merely its intensification, what are the implications of this new condition for the practice and criticism of contemporary art? What does it mean to practice and theorize art, to be an artist or critic, under neoliberalism? Drawing on the central topic of this issue, is aesthetic, artistic, or political radicality in art still possible under the neoliberal condition? Can, or should, artistic practice constitute a significant site of resistance? Conversely, is the contemporary art world a paradigmatic case of, and even a model for, neoliberal capitalism?

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Ahani, Laleh, Shahryar Shokrpour, Mohammad Abbaszadeh, and Mehdi Keshavarz Afshar. "Commodification as a violence against art (case study: pictorial carpets)." Journal of Islamic Crafts 5, no. 2 (December 1, 2021): 2–0. http://dx.doi.org/10.52547/jic.5.2.2.

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Kılıç, Zeynep, and Jennifer Petzen. "The Culture of Multiculturalism and Racialized Art." German Politics and Society 31, no. 2 (June 1, 2013): 49–65. http://dx.doi.org/10.3167/gps.2013.310205.

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This article invites scholars of race and migration to look at the visual arts more closely within the framework of comparative race theory. We argue that within a neoliberal multicultural context, the marketing of art relies on the commodification and circulation of racial categories, which are reproduced and distributed as globalized racial knowledge. This knowledge is mediated by the racial logic of neoliberal multiculturalism. Specifically, we look at the ways in which the global art market functions as a set of racialized and commodified power relations confronting the “migrant“ artist within an orientalizing curatorial framework.

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23

ROWDEN, CLAIR. "Memorialisation, Commemoration and Commodification: Massenet and Caricature." Cambridge Opera Journal 25, no. 2 (June 4, 2013): 139–63. http://dx.doi.org/10.1017/s0954586713000049.

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AbstractThis article addresses the physical presence of Jules Massenet in the media during the Third Republic in France through the lens of the caricatural press and the cartoon parodies of his operas which appeared in journals such asLe Journal amusantandLe Charivari. Although individual works were rarely outright successes in critical terms during his lifetime, Massenet's operas always stimulated debate and Massenet, as a figure head for a national art, was revered by both the state and its people. Drawing on theories of parody and readership, I argue that despite the ‘ephemeral’ nature of these musical artefacts, they acted as agents of commemoration of the composer and of memorialisation and commodification of his works for both operagoers and those who rarely entered the opera theatre.

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Little, Kenneth. ": Cannibal Culture: Art, Appropriation, and the Commodification of Difference . Deborah Root." American Anthropologist 98, no. 4 (December 1996): 920–21. http://dx.doi.org/10.1525/aa.1996.98.4.02a00670.

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Larsen, Gretchen, Maurice Patterson, and Lucy Markham. "A Deviant Art: Tattoo-Related Stigma in an Era of Commodification." Psychology & Marketing 31, no. 8 (July 9, 2014): 670–81. http://dx.doi.org/10.1002/mar.20727.

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Subiyantoro, Slamet, Kristiani Kristiani, Dwi Maryono, Dimas Fahrudin, and Yasin Surya Wijaya. "Commodification and Authenticity of Traditional Panji Bobung Mask Art in Putat Tourism Village, Patuk, Gunung Kidul, Yogyakarta." Jurnal Antropologi: Isu-Isu Sosial Budaya 24, no. 2 (December 9, 2022): 232. http://dx.doi.org/10.25077/jantro.v24.n2.p232-240.2022.

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Panji has evolved into a well-known folklore and an art form that provides a source of income for its conservationists. The purpose of this research is to examine the commodification and authenticity of Topeng Panji art in Bobung as an effort to face the era of globalization and localize the nation's cultural arts. The research was conducted in Bobung, Putat, Patuk, Gunung Kidul, Yogyakarta. This study uses a qualitative descriptive approach with a single case strategy. Data is sourced from informants, venues and documents/archives collected with in-depth interview techniques, participatory observations, and content analysis. The validity of the data is tested by source triangulation techniques and informant reviews. Data analysis is conducted with interactive analysis models with data reduction, data display, and verification procedures. The results of this study show that the Commodification of Topeng Panji is based on the increasing and complex needs of the community where the source of income from agriculture and plantations is not enough. The authenticity or art of Topeng Panji tradition in Bobung is maintained by the community by introducing it to the younger generation from an early age.

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Gritzner, Karoline. "Between Commodification and Emancipation: The Tango Encounter." Dance Research 35, no. 1 (May 2017): 49–60. http://dx.doi.org/10.3366/drs.2017.0182.

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This article offers an examination of the aesthetics and philosophy of Argentine tango, arguing for tango's contradictory power of resistance to the tendency of cultural commodification in contemporary society. The dancing couple achieves a sense of sovereignty and improvisational freedom which is in tension with the increasing commodification and standardisation of art in the age of globalisation. Written partly from an auto-ethnographic, experience-based perspective, the article foregrounds tango's choreography of otherness, relationality, passion and playful improvisation in an attempt to elaborate on tango's significance as a dance of intimate resistance to political economy. What is produced in tango's ‘space of touch’ remains unproductive, unexplainable, and non-commodifiable. It is argued that Argentine tango might be able to resist total codification due to its improvisational nature and the politics of touch, passion and transgression that emerge from the ephemerality of the encounter, the ineffable ‘tango moment’. Tango here is considered as a subversion of the social framing which it nevertheless needs in order to function; it performs the possibility of a transgression, intimately yet publicly.

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Salvador i Almela, Marta, and Núria Abellan Calvet. "Las tejedoras mayas de Guatemala: un proceso activo para la salvaguardia de su patrimonio cultural inmaterial." Tourism and Heritage Journal 2 (October 5, 2020): 93–109. http://dx.doi.org/10.1344/thj.2020.2.7.

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Currently, many are the phenomena that occur around intangible cultural heritage (ICH), related to its politics and legacy. With a critical analysis perspective, this article aims to describe the processes of patrimonialisation, commodification, and touristification of ICH, especially of the Guatemalan Mayan fabrics. The ongoing movement of Guatemalan weavers to protect and vindicate the cultural value of this art brings to light the role of different actors that intervene in intangible cultural heritage and, of greater relevance, indigenous communities. The following analysis framework on the diverse conceptualisations of heritage, authenticity, commodification and touristification allows for a deeper understanding of the Mayan weavers’ situation. The methodology used in this article consists on a case study, through which the following main conclusions arise: the lack of protection of ICH of this case study given the complex definitions and categorisations; the need to identify the consequences of commodification and touristification of ancestral tapestries, highlighting the importance of tourism management from the communities; and, finally, the key role of women as transmitters and protectors of ICH, who have headed a process of movement and empowerment.

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Suwartini, Ni Putu, I. Made Sendra, and Yohanes Kristianto. "SIMBOL AGAMA HINDU SEBAGAI PRODUK TATO DI KUTA." Jurnal IPTA 8, no. 1 (July 16, 2020): 46. http://dx.doi.org/10.24843/ipta.2020.v08.i01.p07.

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Tourists are interested in creative industry products with Balinese style and culture. The symbol of religion is a business opportunity developed by Bali's creative industries. Commodification of the sacred symbol of Hinduism in the form of tattoos occurs because of the tourist demand for tattoos in the form of Hindu religious symbols. This research was conducted in Kuta. Determination of informants using basic informant techniques and key informants. Data was collected through interviews conducted with Jero Bendesa Adat Kuta as the base informant and tattoo artist as the key informant. The data analysis technique used is descriptive qualitative. The results of this study indicate that the commodity of Hindu holy symbols in the form of tattoos as creative industrial products in Kuta occurs because of the demand for tourists and because there are no rules regarding the use of Hindu symbols in the form of tattoos. Commodification occurs in the value of the sacred symbols of Hindu religion which are sacred to commercial value. Commodification occurs in the function of the sacred symbol of Hinduism which functions as a sacred object into an object that functions as an art. This commodification does not change the original form of the sacred symbol of Hinduism, only a few variations are added such as flowers, lines, circles and so on.

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Illman, Ruth. "Response to Melissa Raphael." Approaching Religion 6, no. 2 (December 14, 2016): 23–25. http://dx.doi.org/10.30664/ar.67588.

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A response to Melissa Raphael’s article ‘The creation of beauty by its destruction: the idoloclastic aesthetic in modern and contemporary Jewish art’. Key themes discussed include the notion of human beings as created in the image of God, Levinas’s understanding of the face and its ethical demand as well as the contemporary issue of the commodification of the human face in digital media.

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Másdóttir, Vigdís Þóra. "Fashion and Neoliberalism: How Self-commodification Becomes Integral to the Entrepreneurial Ethical Fashion Designer." Journal of Extreme Anthropology 1, no. 2 (September 7, 2017): 54–58. http://dx.doi.org/10.5617/jea.4899.

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A student essay for the Special Student Issue of the Journal of Extreme Anthropology accompanying the art exhibition 'Artist's Waste, Wasted Artists', which opened in Vienna on the 19th of September 2017 and was curated by the students of social anthropology at the University of Vienna. This essay discusses the challenges faced by fashion designers within the contemporary neoliberal fashion and art market, in particular the neccessity to self-commodify and brand oneself if one wishes to succeed. The article builds also on interviews with the New York based fashion designer Arna Lísa.

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Lopes, Fernando Augusto Silva. "Media, art and technology: a contemporary reflection." Comunicação e Sociedade 31 (June 29, 2017): 299–310. http://dx.doi.org/10.17231/comsoc.31(2017).2619.

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This article is based on a report about cultural industries and their reflexes on media saturation. From that point, a reflection on technology, media and contemporary arts is presented, especially on the role of the body in the manifestation of art. This work seeks to ratify the influence of technology, of mass media and of information over the construction of the contemporary cultural values. It also provides a reflection on current contemporary artistic practices as elements that seek to evidence and question the standardizing influence of mass media and of the market. The background for the development of this article is the evolution of technologies, which expand the commodification of culture and make possible the deep social and cultural changes experienced in contemporary Western society. Finally, it is outlined a brief analysis of cultural identities and diversities in the teleinformatics era.

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Korom, Frank J. "Cannibal Culture: 93 Art, Appropriation, and the Commodification of Difference:Cannibal Culture: Art, Appropriation, and the Commodlfication of Difference." Museum Anthropology 21, no. 2 (September 1997): 93–95. http://dx.doi.org/10.1525/mua.1997.21.2.93.

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Trumble, Ruth, and Micheline van Riemsdijk. "Commodification of art versus creativity: The Antagonist Art Movement in the expanding arts scene of New York City." City, Culture and Society 7, no. 3 (September 2016): 155–60. http://dx.doi.org/10.1016/j.ccs.2016.06.003.

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Kim, Yeonman. "Commodification of Art: The Tragic Vision in Sam Shepard’s The Tooth of Crime." Modern Studies in English Language & Literature 65, no. 1 (February 28, 2021): 287–302. http://dx.doi.org/10.17754/mesk.65.1.287.

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Bradshaw, Melissa. "Outselling the Modernisms of Men: Amy Lowell and the Art of Self-Commodification." Victorian Poetry 38, no. 1 (2000): 141–69. http://dx.doi.org/10.1353/vp.2000.0002.

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Reyes, Dan. "Certifying Commodification and “The Work of Art” in an Age of Mass Consumption." Review of Education, Pedagogy, and Cultural Studies 25, no. 4 (January 2003): 357–74. http://dx.doi.org/10.1080/10714410390251110.

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Harsono, Jusuf, Ishomuddin ., Rinikso Kartono, and Tri Sulistyaningsih. "Commodification of Reyog Art in the Dynamics of Local Politics in Ponorogo, Indonesia." International Journal of Humanities, Social Sciences and Education 9, no. 2 (2022): 22–29. http://dx.doi.org/10.20431/2349-0381.0902003.

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Keturakis, Saulius. "Commodity, Trading, and Commerce in the Contemporary Lithuanian Literature." Respectus Philologicus 27, no. 32 (April 25, 2015): 64–73. http://dx.doi.org/10.15388/respectus.2015.27.32.6.

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The paper analyses how the discourses of a commodity, trade, and shop become, on the one hand, the subjects of literary reflection and, on the other hand, the certain structures of meaning that form the existential and cultural practices moulding the commodity into a form of reality, trade as a relationship with reality, and shop as a kind of a reality genre in the modern Lithuanian literature. Although the history of a commodity, trademark, or other related subjects in the Lithuanian literature have not been traced on the paper, it is claimed, more out of the feeling, that a commodity and the phenomena related to it are more likely to appear in the modern literary texts. The feeling is based on the theory of a commodity and the trade as a model of a certain culture; the theory, starting with the works of Karl Marx, explains the transformations of the art creation and reception in accordance with the demand / supply forces that started to determine the processes of the art in the Western culture from the middle of the nineteenth century. The theoretical core of cultural commodification enables to speak about a commodity as a literary top not as a coincidence, but as a process, which came to be discussed and reflected long before the market economy in the last decade of the XXth century, in the “non-commodity” Soviet political system, as the documents of the Lithuanian Association for Writers suggest. The combination of the archival data, the facts of the modern literature, and the theory of cultural commodification detects the evolving discourse of commodification reflection and its character in the Lithuanian literature.

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Sigurjónsdóttir, Æsa. "Óræð inngrip og pólitísk orðræða í borginni." Ritið 18, no. 2 (September 4, 2018): 75–103. http://dx.doi.org/10.33112/ritid.18.2.4.

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In this article I discuss how various collective art projects involving artists and curators using the city as an exhibition site have transformed artistic discourse in Iceland. Chantal Mouffe´s conception of public space as a battleground and art practices as agnostic interventions into this space raise questions about the branding and commodification of art and cultural institutions. Mouffe believes that despite the unrestrained commercial control of the urban landscape, artists still have the possibility of intervening in the political and economic status quo. Employing Mouffe´s analyses as a guiding principle, the study confirms that the permanent value of art in public spaces need not be limited to individual artists’ form, style or content, but may be capable of mobilizing political, critical and artistic discussions within the urban community.

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Santiago, Patrick Neil M. "The Transition of Art Production: From Ritual Representation to Economical Commodification to Technological Expression." Open Journal of Social Sciences 10, no. 10 (2022): 175–84. http://dx.doi.org/10.4236/jss.2022.1010011.

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Greeley, Robin Adèle. "The Logic of Disorder: The Sculptural Materialism of Abraham Cruzvillegas." October 151 (January 2015): 78–107. http://dx.doi.org/10.1162/octo_a_00209.

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Two models of object experience dominate definitions of sculpture today. One argues that commodification is a universally uniform experience of relentless violence that frames all materialities everywhere within the demands of the globalized market. The second argues that the "unruliness of things" can still disrupt the "rule of the commodity." The autoconstrucción sculptural practice of Abraham Cruzvillegas, argues Greeley, marks a third position. Derived from the "self-building" architecture of the squatter settlement on the edge of Mexico City where he grew up, Cruzvillegas’s work is located in the dialectic between object experience in developing countries and object experience in the hegemonic 'centers' of developed countries and the market-driven international art circuit. Under the rubric of autoconstrucción, Cruzvillegas exploits this dialectic, not to claim any utopian redemptive space outside the world market system, nor to insist on a universally uniform experience of commodification within it, but rather to assert the asymmetries of object experience induced by global economic integration.

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Kemp, Anna. "Selling Yourself: The Commercialization of Feeling in the Work of Sophie Calle." Nottingham French Studies 52, no. 3 (December 2013): 308–21. http://dx.doi.org/10.3366/nfs.2013.0062.

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This article argues that Sophie Calle's desire to become her own work of art exists in tension with the fear of becoming a mere product for consumption. Recognising this fear of commodification allows us to view Calle's work from a couple of new angles. Firstly, it tells a compelling story about contemporary emotional life, in particular, the emotional demands made of women. Drawing on sociological perspectives, this article will explore Calle's work in relation to a commercial culture that turns the traditionally ‘feminine’ emotional domain into a lucrative resource. Secondly, it allows us to see Calle's art-making as a form of defence against this injunction to ‘sell oneself’. In a consumer culture in which one's sense of a private self is pushed further and further into a corner, art appears as a refuge in which one's creative singularity may be preserved.

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Mudana, I. Wayan, and I. Nengah Wirakesuma. "Phyticism of the Painting of Wayang Kamasan: the Struggle of Distribution Structure and Order Idealism in Fulfilling Needs Tourism Industry." Journal of Social Research 2, no. 3 (February 3, 2023): 661–70. http://dx.doi.org/10.55324/josr.v2i3.714.

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Phytism is an expression of the thoughts of capitalist society to produce duplicating ideas so that producing similar merchandise can generate economic benefits in the form of money. The timeless symbols of the great and noble tradition of wayang Kamasan painting are commodified into physical art, resulting in a struggle between the idealism of a structure that is binding and standard with the idealism of an order that deifies money. Commodification is a feature of capitalism which is able to transform objects, qualities and signs into commodities to be distributed to the market. Commodities that are distributed to the market are the consumption idealism of the tourism industry. The order practice of capitalist society that works in the realm of habitus and the capital and networks that have been built is very broad. Capital relates to the ability to duplicate, while the network seeks to distribute consumer needs with producers. The physical product of the tourism industry which is distributed to the market is in the form of market paintings, handicrafts and souvenirs. To analyze physical aesthetics, the struggle for order structure, and the production of physicalism, theories and methods are used, namely: commodification theory, cultural-industry physicalism theory, and social practice theory. Discussion: The distribution of ethical ethics discusses; capital (money power), habitus (capital society's desire), image and media. Conclusion: Kamasan wayang painting has been made into a physical art alienated from capital society to get money from the tourism industry. The form of fististic art is obscured into a similar new creativity, interchanging the structure of struggle for order and mass production. Findings: Phitism of wayang Kamasan painting is barter oriented to make money.

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Chmielewski, Adam J. "Uses of art in the urban space." International Journal of Social Economics 42, no. 9 (September 14, 2015): 841–51. http://dx.doi.org/10.1108/ijse-03-2015-0073.

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Purpose – The purpose of this paper is to argue that for many urban dwellers in developed societies proximity of the arts in the urban space is not tantamount to their availability. Design/methodology/approach – The method applied is based upon the conception of capabilities and the concept of the Human Development Index; an analysis of the available cultural statistics, as well as a study of two revealing case studies, that of Bilbao, Spain and Santa Fe, New Mexico, USA, as distinct and alternative examples of the employment of arts as a stimulus for the urban growth and regeneration. Findings – The findings suggest that the current urban policies are not conducive to an equal access to the arts of the urban dwellers. Originality/value – The author provides an innovative explanation of this phenomenon from his own perspective of the political aesthetics, which includes, inter alia, the concepts of the public agoraphobia, commodification and interpassivity. Making use of the distinction between the intrinsic and instrumental values, the author argues in favour of the participative approach to the arts in the urban social life, and formulates a policy recommendation according to which small- and medium-sized cities are possibly better suited to satisfy the need for the enjoyment of the arts in a more egalitarian way.

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Bain, Alison L., and Loren March. "Urban Redevelopment, Cultural Philanthropy and the Commodification of Artistic Authenticity in Toronto." City & Community 18, no. 1 (March 2019): 173–94. http://dx.doi.org/10.1111/cico.12359.

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This article offers a multiscalar, sociohistoric account of the spatial struggles of Toronto artists from 1970 until the present to secure affordable living and work space downtown that foregrounds the contemporary role of the cultural philanthropist–developer. It argues that the cultural capital of artists to identify and embody authenticity facilitated temporary spatial claims that supported the development of a local art scene on Queen Street West, but one that became dependent upon, yet vulnerable to, the sociospatial unevenness of cultural philanthropy. Benevolence in arts and culture is not distributed evenly across time and space. Instead, as the case study of the 401 Richmond arts hub reveals, benevolence in its alliances with the real estate market and property development is concentrated in individualized commitments to particular neighborhoods, buildings, and local relationships, which temporally and operationally constrains its policy–transforming potential.

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Febriana, Kharisma Ayu, Yuliyanto Budi Setiawan, and Firdaus Azwar Ersyad. "Warak Ngendhog Commodification as a Kind of Creative Industry in Semarang City." Jurnal The Messenger 11, no. 1 (March 9, 2019): 27. http://dx.doi.org/10.26623/themessenger.v11i1.925.

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<p class="Default"><em>Warak Ngendhog in Semarang City make it a cultural phenomenon. Some forms of commodification are used in the economic, political and cultural sectors. The purpose of this study is to find out the symptoms of the cultural phenomenon which has transformed into various forms. This research use qualitative analysis with descriptive approach. As for the results of this study, Warak Ngendhog which functions has transformed and changed, can be utilized in the cultural and tourism sectors as one of the cultural icons in the city of Semarang. Warak Ngendhog culture has contributed to the government of Semarang City with the emergence of various forms of its transformation into various forms of art and culture. In addition, this study is expected to give contribution in the field of cultural preservation in Semarang City.</em></p>

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Hudson-Miles, Richard, and Andy Broadey. "‘Messy Democracy’: Democratic pedagogy and its discontents." Research in Education 104, no. 1 (April 16, 2019): 56–76. http://dx.doi.org/10.1177/0034523719842296.

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This paper reflects on a recent participatory installation by the artists’ collective @.ac, entitled Messy Democracy, as a case study to raise questions concerning the ‘distribution of the sensible’ within the neoliberal art school. The project set up a quasi-autonomous artists’ space within Hanover Project gallery 9 April–3 May, 2018 at University of Central Lancashire, Preston. This exhibition functioned as a space of collective pedagogy, co-labour and ‘dissensus’ situated in relation to the wider operation of the department of Fine Art. It also sought to operate as a critical alternative to contemporary models of the art school, rooted in notions of usefulness and romantic self-realisation, but re-structured in the service of ‘commodification’ and ‘financialisation’ in wake of the Browne Report (2010). Most importantly, Messy Democracy represented a ‘theatocractic’ ‘undercommons’ for alternate and counter-hegemonic subjectivities to emerge. However, hierarchical logics, resulting from the hegemonic ‘distribution of the sensible’ stubbornly persisted even within this nascent pedagogic democracy.

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Rytteri, Teijo, and Riikka Puhakka. "The art of neoliberalizing park management: commodification, politics and hotel construction in pallasyllästunturi national park, finland." Geografiska Annaler: Series B, Human Geography 94, no. 3 (September 2012): 255–68. http://dx.doi.org/10.1111/j.1468-0467.2012.00413.x.

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Mironică, Marina. "Cultural Workers from the Paintbrush Factory. Between Institution-Building and Urban Development Challenges." Studia Universitatis Babes-Bolyai Sociologia 64, no. 2 (December 1, 2019): 85–106. http://dx.doi.org/10.2478/subbs-2019-0011.

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Abstract The paper is an ethnography of cultural workers from the contemporary art centre from Cluj-Napoca, Romania – The Paintbrush Factory. The one-decade existence of the alternative space contributed to a range of changes in the local cultural scene and evolved from a physical space into a resource for the city’s culture-led development strategy. It also became affected and reshaped by wider changes in terms of applied cultural policies. Cultural workers’ perspective, their precarity and their involvement in the local art scene influenced the current commodification and entrepreneurialisation of the cultural offer. The Paintbrush Factory’s expansion and contraction are vividly presented through the reflexive lenses of the cultural workers and managers, whose case-study could easily be regarded as a signal and a symbol of the deficient cultural policies mostly oriented to profit and lacking any local and long term-vision.

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