By Malcolm Barnard
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Additional resources for Art, Design and Visual Culture: An Introduction
19 understood in the term 'visual culture', would be 'the everyday objects and practices of a group of people, or of an entire way of life', or 'anything that is meaningful to more than one person'. The narrowest such conception or definition would be something like 'that which a dominant social group finds meaningful', or 'the serious music and the fine art of a social elite'. These different conceptions of culture and the cultural will be explored by looking at the different contents and concerns of three books.
Working-class cultures, whether they survived for long as working-class or not, are found in the styles and attitudes of Skinheads, Oil and Casuals, for example. And the place of women is filled by flygirls, cuties andriot-grrrls. These groups are not and would not be considered cultural groups in Clark's book; they are marginalised, patronised or simply ignored. Sudjic's book also makes no reference to how such cult objects are received by consumers who are not white, male and middle-class. While there is no explicit mention of gender, the objects he deals with are resolutely masculine.
Punks, then, were giving these materials and objects their own interpretations, rather than simply accepting those of the dominant culture. They were actively consuming these objects and materials, rather than passively consuming them. Neither Clark nor Sudjic includes any such conception of active consumption in their accounts of visual culture. In terms of cultural institutions, leisure and the music business, along with the various forms of clubs, discos, raves, festivals and parties, loom largest.
Art, Design and Visual Culture: An Introduction by Malcolm Barnard