Mental Maps: Social Networks and the Language of Critical Reviews

Abstract

This study uses network analysis to examine the correspondence, based on Bourdieu's theory of cultural production, between artists’positions in a structure of social relations and the critics’conceptions of their work. Shared gallery memberships among fine art photographers yield person‐by‐person matrices that are partitioned into structurally equivalent blocks. Three types of actors emerge: “stars” who have large loose‐knit networks of bridge ties, “invisible collegians” who inhabit small dense cliques, and “stragglers” who have difficulty maintaining any sort of foothold in the network. Critical reviews of the photographers in the population are then analyzed for stylistic references, and the photographers are matched to stylistic categories. A match emerges between the types of networks and the stylistic perceptions of the critics. “Stars” are categorized with a wide variety of stylistic terms, often contradictory in nature. “Invisible collegians” and “stragglers” are routinely fit into one stylistic camp or another. Multiplying the person by style matrix by its transpose yields a person‐by‐person matrix of perceived shared stylistic affinity. “Stars” in this matrix have higher scores of both degree and “betweenness” centrality.