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New perspectives on the role of cultural intermediaries in social inclusion in the UK

New perspectives on the role of cultural intermediaries in social inclusion in the UK Based on interviews with arts administrators responsible for addressing targeted groups labelled “socially excluded,” this paper highlights new understandings of the term “cultural intermediary” (Featherstone 1991; Bourdieu 2000) within art galleries and art centres. It considers the unique role of such figures in crossing the exclusion/inclusion boundary within the arts and developing more personal approaches to marketing activities in their institutions through relationship building. While it is acknowledged here that such workers find themselves in a privileged position in being able to shape questions of taste and particular consumerist dispositions to understanding the art world, little, if not no, effort has been made to understand this process. As such, there remains a void between the cultural policy‐oriented conception of social inclusion, which implies a version of repairing the “flawed consumer” (Bauman 2005), and the way in which such policy is played out on the ground. http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Consumption Markets and Culture Taylor & Francis

New perspectives on the role of cultural intermediaries in social inclusion in the UK

Durrer, Victoria; Miles, Steven
Consumption Markets and Culture , Volume 12 (3): 17 – Sep 1, 2009
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Publisher
Taylor & Francis
Copyright
Copyright Taylor & Francis Group, LLC
ISSN
1477-223X
eISSN
1025-3866
DOI
10.1080/10253860903063238
Publisher site
See Article on Publisher Site

Abstract

Based on interviews with arts administrators responsible for addressing targeted groups labelled “socially excluded,” this paper highlights new understandings of the term “cultural intermediary” (Featherstone 1991; Bourdieu 2000) within art galleries and art centres. It considers the unique role of such figures in crossing the exclusion/inclusion boundary within the arts and developing more personal approaches to marketing activities in their institutions through relationship building. While it is acknowledged here that such workers find themselves in a privileged position in being able to shape questions of taste and particular consumerist dispositions to understanding the art world, little, if not no, effort has been made to understand this process. As such, there remains a void between the cultural policy‐oriented conception of social inclusion, which implies a version of repairing the “flawed consumer” (Bauman 2005), and the way in which such policy is played out on the ground.

Journal

Consumption Markets and Culture – Taylor & Francis

Published: Sep 1, 2009

Keywords: cultural intermediary; social inclusion; consumption; art gallery

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