The Sociological Determinants of the Artist-Audience Relationship in Isfahan's Visual Arts Scene: A Grounded Model of Artistic Transformation and Institutional Confusion

Abstract

Art is fundamentally a product of society. Artworks require social feedback and engagement to refine and develop their quality, which occurs through the interaction between the artist and the audience. In the pre-modern era, this relationship between the artist and audience was generally unidirectional. However, in the modern era, this dynamic has been transformed by the rise of network societies and new social media platforms. Art has become far more interconnected with the audience in the modern context. In Iranian society, the relationship between the artist and audience has fluctuated and evolved over time. Isfahan has long been one of Iran's premier centers for artistic production and creation. Isfahani culture has played a vital role in shaping these artistic works, underscoring the inherently social nature of art in this city and the deep bonds between artists and their audiences. Regrettably, this artist-audience relationship appears to have weakened in contemporary times. Rebuilding and reinvigorating this connection is essential for improving the quality of artworks in Isfahan and strengthening the cultural capital of the city's citizens. Accordingly, the present study sought to identify the key sociological determinants governing the relationship between visual artists and their audiences in Isfahan based on interpretations and insights from experts in the local visual arts scene. Ultimately, a grounded model outlining these crucial determinant factors was presented. Materials & MethodsThis study employed a qualitative research methodology utilizing the grounded theory approach. The participants comprised a total of 14 art experts. Data were collected through purposive-theoretical sampling techniques and in-depth, semi-structured interviews. The data analysis process involved open, axial, and selective coding, as well as the use of the paradigm analytical tool. To ensure the validity and rigor of the data collection, analysis, and resultant findings, the researchers leveraged a range of conventional validation techniques common to qualitative research, such as Member Checking, Analytical Comparison, and External Audits. Discussion of Results and ConclusionThe findings revealed that the key impact factors governing the relationship between artists and audiences in Isfahan could be categorized as fragmented interaction, professional-ethical order, and technological transformation (causal conditions), institutional inefficiency and institutionalized corruption (contextual conditions), and art economy and audience transformation (intervening conditions). These various factors collectively contributed to the deterioration of the artist-audience dynamic. To address this concerning situation, the study participants proposed several strategic interventions, including fostering empathic interaction, continuous audience analysis, institutional restructuring, artistic cultivation, and reconstruction of the local art economy. Implementing these strategies was expected to yield positive consequences, such as artistic-intellectual advancement, re-creation of art's cultural arena, and social re-construction of art.Fundamentally, the results illustrated the mutually interactive nature of the relationship between artists and audiences. This reciprocal dynamic could significantly influence the creation and quality of artworks. On the one hand, the semantic frameworks of audiences were transferred to and shaped the artistic mentalities of creators through their interactions. Conversely, the semantic systems of artists were also conveyed to audiences, enhancing their understanding and appreciation of art. Interestingly, the findings suggested that the existing theoretical approaches failed to adequately explain this complex, multifaceted relationship. Artists were inherently impacted by the cultural, social, political, and economic dynamics of the society, while simultaneously exerting influence over these very societal relationships. Consequently, it appeared that by synthesizing the theoretical perspectives of 'formation' and 'reflection' in the art-society relationship, a more comprehensive and effective understanding of the artist-audience dynamic could be achieved.

Keywords

• visual arts
• audience
• humanistic interactions
• sociology of art
• isfahan