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The ideology of art as a consumption
good is supported by t he increased
prom inence of the middlemen (art dealers,
critics, museum directors) in the
organization of the artist ic enterprise.
The middlemen are, especially in market
economies, in a stronger position to
influence the consumption of art than to
stimulate the production of aesthetic values.
The magnates of the past who ordered art
to immortalize themselves, or the
churchmen who required it to celebrate
a myth, had inherently more need to
be concerned with the production of lasting
values than the modern salesman, critic,
or exhibitor of art does. An artistic
enterprise dominated by middlemen is
concerned primarily with the supply of
momentary consumption experiences.
When the contempory avantgarde conceives
of works of art as obsolescent immediately
after the artist has experienced t hem
("th row-away art," "self-destroyin g
art"), it aligns itself with the
intermediaries rather than the users
of art. In this respect, the artistic ideology
of people like Lichtenstein and Kaprow
has been shaped by the economic
207
NOTES
*) Read the at 27th annual meeting of
The American Society for Aesthetic s on
October 23, 1969, in Charlotte sville, Va.
') Nathan Adler, "The Antinomia n
Personali ty: The Hippie Character
Type," PSYCH lATRY, 31 (Novembe r,
1968), pp. 325-338.
2
)
Vytautas Kavolis, "Econom ic Correlates
of Artistic Creativity ," THE AMERICAN
JOURNAL OF SOCIOLOGY, 70
(Novembe r, 1964), pp. 332-341;
"Religiou s Dynamics and Artistic
Creativity ," INDIAN SOCIOLOGICAL
BULLETIN, 4 (January, 1967), pp.
133-145; "Sex Norms, Emotion ality, and
Artistic Creativity : Psycho-H istorical
Exploratio ns," THE PSYCHOANALYTIC
REVIEW, forthcom ing.
.
') James S. Ackerman , "The Demise of the
Avant-Gar de: Notes on the Sociology
of Recent American Art," COMPARATIVE
STUDIES IN SOCIETY AND HISTORY,
11 (October, 1969), pp. 3 71-384.