Misrecognising Misrecognition: the Capacity to Influence in the Milieux of Comics and Fine Art

Hdl Handle:
http://hdl.handle.net/10034/603533
Title:
Misrecognising Misrecognition: the Capacity to Influence in the Milieux of Comics and Fine Art
Authors:
Grennan, Simon
Abstract:
This paper will consider some of the relationships between subjects, social institutions, media and ideas that characterise differences between the environments in which both comics and fine art are produced, used and become comprehensible. It will outline a specific theoretical framework encompassing these differences, describing the discursive co-dependency between forms of media, the uses to which they are put and the habits of thought and expectation engendered by these uses. This encompassing theoretical frame draws in particular upon Althusser, Bourdieu and Hodge and Kress, describing these relationships as ideology, deriving from Karl Mannheim’s and Marx and Engels’ critiques of ideocracy, the promotion of or resistance to ideas on the grounds of the degree to which they reproduce or contradict a dominant social structure. Utilising examples in the productions and social histories of fine artists Jean-Michel Basquiat, Billy Childish, Raymond Peittbon, Lichtenstein and Manet and comics artists Grennan & Sperandio, Janette Parris and Gary Panter, the paper will explore how the relationships between the dominant ideas of one group of people, and the world experiences of other groups, include misrecognition. Those ideas that dominate social discourse in any particular circumstance are not actively misrepresented by the dominant order, according to this model, but rather misrecognised and either overlooked or accepted by others for whom they are materially disadvantageous. Referring to social studies of the fine art world by Zolberg, Danto and Dickie, and to Beaty’s recent commentary on the roles of fan culture, authorlessness and the dynamics of ‘outsider’ status, in creating the social environment of comics, the paper will finally suggest that the degrees and types of this misrecognition constitute two distinct, though continually developing, sets of social constraints that underwrite the possible meanings and uses of comics and fine art, by continually substantiating the histories of their own milieux.
Affiliation:
University of Chester
Citation:
Grennan, S. (2015). Misrecognising misrecognition: the Capacity to influence in the milieux of comics and fine art. Paper presented at Amsterdam Comics Conference, Amsterdam, Netherlands.
Publisher:
University of Amsterdam
Publication Date:
15-Jun-2015
URI:
http://hdl.handle.net/10034/603533
Type:
Presentation
Language:
en
Description:
A conference paper presented at the University of Amsterdam Comics Conference 2015
Appears in Collections:
Art and Design

Full metadata record

DC FieldValue Language
dc.contributor.authorGrennan, Simonen
dc.date.accessioned2016-03-23T15:04:28Zen
dc.date.available2016-03-23T15:04:28Zen
dc.date.issued2015-06-15en
dc.identifier.citationGrennan, S. (2015). Misrecognising misrecognition: the Capacity to influence in the milieux of comics and fine art. Paper presented at Amsterdam Comics Conference, Amsterdam, Netherlands.en
dc.identifier.urihttp://hdl.handle.net/10034/603533en
dc.descriptionA conference paper presented at the University of Amsterdam Comics Conference 2015en
dc.description.abstractThis paper will consider some of the relationships between subjects, social institutions, media and ideas that characterise differences between the environments in which both comics and fine art are produced, used and become comprehensible. It will outline a specific theoretical framework encompassing these differences, describing the discursive co-dependency between forms of media, the uses to which they are put and the habits of thought and expectation engendered by these uses. This encompassing theoretical frame draws in particular upon Althusser, Bourdieu and Hodge and Kress, describing these relationships as ideology, deriving from Karl Mannheim’s and Marx and Engels’ critiques of ideocracy, the promotion of or resistance to ideas on the grounds of the degree to which they reproduce or contradict a dominant social structure. Utilising examples in the productions and social histories of fine artists Jean-Michel Basquiat, Billy Childish, Raymond Peittbon, Lichtenstein and Manet and comics artists Grennan & Sperandio, Janette Parris and Gary Panter, the paper will explore how the relationships between the dominant ideas of one group of people, and the world experiences of other groups, include misrecognition. Those ideas that dominate social discourse in any particular circumstance are not actively misrepresented by the dominant order, according to this model, but rather misrecognised and either overlooked or accepted by others for whom they are materially disadvantageous. Referring to social studies of the fine art world by Zolberg, Danto and Dickie, and to Beaty’s recent commentary on the roles of fan culture, authorlessness and the dynamics of ‘outsider’ status, in creating the social environment of comics, the paper will finally suggest that the degrees and types of this misrecognition constitute two distinct, though continually developing, sets of social constraints that underwrite the possible meanings and uses of comics and fine art, by continually substantiating the histories of their own milieux.en
dc.language.isoenen
dc.publisherUniversity of Amsterdamen
dc.rights.urihttp://creativecommons.org/licenses/by-nc-nd/4.0/*
dc.subjectcomicsen
dc.subjectarten
dc.titleMisrecognising Misrecognition: the Capacity to Influence in the Milieux of Comics and Fine Arten
dc.typePresentationen
dc.contributor.departmentUniversity of Chesteren
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