| Abstrakt: |
The elective antimony between art and market has been studied via cultural history, social theory, and institutional production, but rarely from the perspective of arts makers themselves (Weber, 1968, 1998). I address this gap by examining the everyday processes by which creative professionals at ArtCorps, an entertainment-industry advertising firm, design the movie posters and billboards that market films to the public. Analyzing data from two years of participant observation and interviews with 47 creative professionals, I find that, though both art and marketing are "co-present" in the everyday practice of design at ArtCorps, they are attended to one at a time, as a matter of background and foreground (Husserl, 1983 [1913]). When either art or market is foregrounded in the work of creatives, the other tends to recede to the background "scenic" context of interaction, clarifying foreground action, but not constituting it (Garfinkel, 1967). I find that art is a particularly vivid foreground in the work of creatives, nearly obscuring the background context of marketing (Schutz, 1967). Interpreting these results in light of cultural sociology's concern with the relationship between art and market, I argue that phenomenological research makes a distinct contribution to the sociological analysis of arts and culture. [ABSTRACT FROM AUTHOR] |
