Howard S. Becker Quotes

For any picture, ask yourself what question or questions it might be answering. Since the picture could answer many, questions, we can decide what question we are interested in. The picture will, of course, suggest that some questions are likely to find answers in it. For instance, Owens's pictures of pantries and refrigerators clearly suggest that they will answer questions about what kinds of food the inhabitants of the houses store and presumably eat, while other pictures in Suburbia suggest that they will answer other questions about the housekeeping arrangements of these people.

The dominant tradition in the sociology of art... defines art as something more special, in which creativity comes to the surface and the essential character if the society expresses itself, especially in the great work of the genius.

Photographers learn to interpret photographs in that technical way because they want to understand and use that ‘language’ themselves (just as musicians learn a more technical musical language than the layman needs). Social scientists who want to work with visual materials will have to learn to approach them in this more studious and time-consuming way

Even though no one else discovers the nonconformity or enforces the rules against it, the individual who has committed the impropriety may himself act as the enforcer. He may brand himself as deviant because of what he has done and punish himself in one way or another for his behavior.

[ Folk art, consists of] work done by ordinary people in the course of their lives, work seldom thought of by those who make or use it as art at all.

Deviance — in the sense I have been using it, of publicly labeled wrongdoing — is always the result of enterprise. Before any act can be viewed as deviant, and before any class of people can be labeled and treated as outsiders for committing the act, someone must have made the rule which defines the act as deviant. Rules are not made automatically. Even though a practice may be harmful in an objective sense to the group in which it occurs, the harm needs to be discovered and pointed out. People must be made to feel that something ought to be done about it. Someone must call the public's attention to these matters, supply the push necessary to get things done, and direct such energies as are aroused in the proper direction to get a rule created. Deviance is the product of enterprise in the largest sense; without the enterprise required to get rules made, the deviance which consists of breaking the rule could not exist.

When a rule is enforced, the person who is supposed to have broken it may be seen as a special kind of person, one who cannot be trusted to live by the rules agreed upon by the group. He is regarded as an outsider. But the person who is thus labeled an outsider may have a different view of the matter. He may not accept the rule by which he is being judged and may not regard those who judge him as either competent or legitimately entitled to do so. Hence, a second meaning of the term emerges: the rule-breaker may feel his judges are outsiders.

Maybe the years I spent playing the piano in taverns in Chicago and elsewhere led me to believe that the people who did that mundane work were as important to an understanding of art as the better-known players who produced the recognized classics of jazz. Growing up … may have led me to think that the craftsman who help make art works areas important as the people who conceive them... Learning the "Chicago tradition" of sociology from Everett C. Hughes and Herbert Blumer surely led to a skepticism about conventional definitions of the objects of sociological study.

The idea of an art world forms the backbone of my analysis. "Art world" is commonly used by writers on the arts in a loose and metaphoric way, mostly to refer to the most fashionable people associated with those newsworthy objects and events that command astronomical prices. I have used the term in a more technical way, to denote the the network of people whose cooperative activity, organized via their joint knowledge of conventional means of doing things, produce(s) the kind of art works that art world is noted for.

Imagine you are doing a woodworking project, perhaps making a table. Fortunately, you needn't make all the parts yourself. Some are standard sizes and shapes - lengths of two by four, for instance - available at any lumberyard. Some have already been designed and made by other people - drawer pulls and turned legs. All you have to do is fit them into the places you left for them, knowing they were available. You want to make an argument instead of a table. You have created some of the argument yourself, perhaps on the basis of new data or information you have collected. But you needn't invent the whole thing. Other people have worked on your problems or problems related to it, and have made some of the pieces you need. You just have to fit them in where they belong. Like the woodworker, you leave space, when you make your portion of the argument, for the other parts you know you can get. You do that, that is, if you know that they are there to use. And that's one good reason to know the literature: so that you will know the pieces are available and not waste time doing what has already been done.

The audience is unpredictable, and the people who produce and distribute the artistic work have no real contact with it. They market the work in large quantities as with books and records, or through a mechanical system, as with radio and television, so that they could not, if they tried, know audience members personally.

The normal development of people in our society (and probably in any society) can be seen as a series of progressively increasing commitments to conventional norms and institutions.

(Art worlds) consist of all the people whose activities are necessary to the production of the characteristic works which that world, and perhaps others as well, define as art.

The marketing people don't care about the elegance and perfection that impresses the engineers' peers. They think engineers are impractical cuckoos who would just as soon bankrupt the company by pursuing perfectionist pipe dreams.

The point is professionalization. Academics-in-training worry about whether they are yet, can ever be, or even want to be professional intellectuals of the kind they are changing themselves into. Second or third or fourth year graduate students have not taken binding vows. They may have second thoughts. Nor have they been finally chosen. They might flunk out. Their committee might turn their theses down. Who knows what might happen?