… to the work, and thereby make it art. (1982: 35) The concept of the art world—with its central
focus on the collective, social, and conventional nature of artistic production, distribution, and …

… This overview reveals that outsider art flourishes or languishes depending on the political …
a process that we extend beyond the bounded art world of objects that can be bought and sold…

… By defining art as a way of life we will also … art belongs, will enable us to make a distinction
between art available to everyone, art that can be qualified as art on the margins, and art that …

… the reservation is congruent with the institutional structure of the official, elite art worlds. These
professional art worlds (Becker, 1982) are structured mostly around (supposedly) singular …

… art conventions in the margins of world encounters; appropriating and resisting the global art
world; and new forms of art … As indicated, we focus on visual and performative arts. In doing …

… art, since reversing the hierarchy of art and craft or dismissing it outright seems to be a mistake.
Rather, it will focus on the changing dynamics of the hierarchy of art … in the art world. The …

… context for a work in order to consider it art – has very quickly been banished to the
margins of the Anglo-Saxon discussion in order to make room for an institutional attack …

… art world with which we are familiar, and secondly because they seem to have none of the
usual motives for making art (… and a range of psychological responses on our part that include …

… art not an object on which we look and contemplate, but an event that appropriates us into
itself and reveals the world. … changes our ways of perceiving the world. Further, building upon …

… Focusing on the Parisian case and drawing on research carried out over the past 20 years,
… Specifically, like other social worlds, artistic worlds are permeated by contradictions and …