A central theme of this article is the developing tension between art specialists and non-specialists as a function of complex, differentiated figurations. Bourdieu’s sociology of symbolic revolutions is allied to Elias’s model of the relative autonomy of the artistic figurations within lengthening relations of interdependencies and shifting cognitive-emotional tension balances of feeling and reasoning and spontaneity and self-restraint. Within the sociology of art, the field positionings, power, interdependencies, language and habitus of art critics remain a relatively underdeveloped area of enquiry. Art critics function as ‘professional explicators’ in Bourdieu’s terms or ‘specialists in verbalisation’ in Elias’s to communicate standard-setting models of value and taste of specialists to non-specialists. Clement Greenberg emerged as a socially mobile oblate from a position of artworld outsider to hegemonic dominance as the leading notable of Modernist art criticism. The article examines the social conditions of possibility for Greenberg’s standard-setting codes as they came to be established and sustained by particular figurations of people (a self-conscious avant-garde) at particular times (late 1930s–1970s) and places (New York).

中文翻译：

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艺术评论家的过程关系社会学：克莱门特·格林伯格的现代主义理论与实践


本文的一个中心主题是艺术专家和非专家之间日益增长的紧张关系，这是复杂、差异化的具象的功能。布迪厄的象征性革命社会学与埃利亚斯的模型相吻合，即在相互依存关系的延长和不断变化的认知-情感张力、感觉和推理、自发性和自我克制的平衡中，艺术形象的相对自主性。在艺术社会学中，艺术评论家的领域定位、权力、相互依存关系、语言和习惯仍然是一个相对不发达的研究领域。用布迪厄的话来说，艺术评论家的作用是“专业的解释者”，用埃利亚斯的话来说，是“语言化专家”，向非专家传达专家的价值和品味的标准设定模型。克莱门特·格林伯格 （Clement Greenberg） 从一个艺术界的局外人转变为现代主义艺术批评的领军人物。本文研究了格林伯格的标准设定准则的可能性社会条件，因为它们是由特定时间（1930 年代末至 1970 年代）和地点（纽约）的特定人物形象（一种自我意识的前卫艺术）建立和维持的。