This study critically analyzes Willem Schinkel's article titled "The Autopoiesis of the Artworld After the End of Art," published in the July 2010 issue of Cultural Sociology, which critiques Niklas Luhmann’s perspective on the social art system. In his article, Schinkel argues that while Luhmann’s systems theory falls short in fully explaining the art world, it can nevertheless be related to art sociology. According to Schinkel, changes in the art world’s self-referential nature indicate that contemporary art has embraced social reality as a reference, continuing in the form of sociology during the period referred to as the "End of Art." Luhmann’s theory approaches the art system in a formalist manner and applies the concept of closure inherent in the autopoietic (self-producing) social system to the contemporary art world. Schinkel contends that Luhmann’s view of the art system as a self-sufficient entity overlooks the sociological dynamics of art. He also points out that the roles of art criticism, artists, and art institutions are inadequately addressed within this framework. In conclusion, Schinkel emphasizes the necessity of understanding art as a sociological phenomenon and advocates for a more in-depth examination of the art world as a social system.
Artworld, Social Art, Autopoiesis
| Author : | Lucia Şanko - |
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| Number of pages: | 156-172 |
| DOI: | http://dx.doi.org/10.29228/usved.78147 |
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