Music and the Sociological Gaze: Art Worlds and Cultural Production (Music and Society)

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The big theme was globalisation. That was reflected not only in the art of the time, but in the institutions that arose from it: the s was the decade when biennials, from Johannesburg to Montreal to the South Korean city of Gwangju, became central nodes in artistic production and transmission. Only a small number of the iconic artists who came of age in the s worked in traditional media: Elizabeth Peyton, say, who won renown for her delicate drawings of Kurt Cobain and Leonardo DiCaprio. Rirkrit Tiravanija served a curry to gallery visitors, gratis.

In , Jeremy Deller collaborated with a brass band in Manchester, who played acid house arranged for tubas and trombones.

I could just do these sort of events, make things happen, work with people and enjoy it. Some of the art of the s looks decidedly dated.

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What if the s, far from being ancient history, are actually still going on? People will still queue for a free curry in an art museum; the only difference is that they snap it with their cameraphones before eating.

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But if we cannot speak of an end of history, can we perhaps speak, in a Fukuyaman sense, of an end of culture? Culture Menu.

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Music and the Sociological Gaze: Art Worlds and Cultural Production

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