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The objective of this article is to open the 'black box' of artistic production in order to describe, in minute detail, culture in the making, that is, the process through which cultural forms grow into being and are materially accomplished. I will do so through the study of the morphogenetic process through which the Spiral Jetty, an earthwork sculpture created by the American artist Robert Smithson, came into being. This study will show that artistic production constitutes an irreducible form of material practice which cannot be adequately understood as an individual activity or as an activity guided or constrained by 'external' social factors. As I shall argue, the attention to the material practice of artistic production reveals a much needed insight into the practices, materials and processes through which culture is actually produced and materially accomplished.

The aim of this article is to develop a different approach to the study of the material world, one that takes seriously the seemingly banal fact that things are constantly falling out of place. Taking this fact seriously, the article argues, requires us to think about the material world not in terms of 'objects', but ecologically, that is, in terms of the processes and conditions under which certain 'things' come to be differentiated and identified as particular kinds of 'objects' endowed with particular forms of meaning, value and power. The article demonstrates the purchase of this ecological approach through the example of the Mona Lisa. It does so by exploring the rather extraordinary processes of containment and maintenance that are required to keep the Mona Lisa legible as an art object over time.

The aim of this article is to theorize how materials can play an active, constitutive, and causally effective role in the production and sustenance of cultural forms and meanings. It does so through an empirical exploration of the Museum of Modern Art of New York (MoMA). The article describes the museum as an "objectification machine" that endeavors to transform and to stabilize artworks as meaningful "objects" that can be exhibited, classified, and circulated. The article explains how the extent to which the museum succeeds in this process of stabilization ultimately depends on the material properties of artworks and, more specially, on whether these behave as "docile" or "unruly" objects. Drawing on different empirical examples, the article explores how docile and unruly objects shape organizational dynamics within the museum and, through them, the wider processes of institutional and cultural reproduction. The article uses this empirical example to highlight the importance of developing a new "material sensibility" that restores heuristic dignity to the material within cultural sociology.Keywords Museums . Materiality . Docile objects . Unruly objects . Cultural sociology Although still incipient and somewhat dispersed, it is nonetheless possible to detect the contours of a novel "sensibility" within cultural sociology that calls for the need to incorporate the material into the study of cultural forms, processes and meanings. This "material sensibility," as one might call it, has slowly emerged over the last years driven by a more or less heterogeneous collection of authors who, despite their methodological and theoretical differences, share the conviction that materials have been unduly neglected in the sociological study of culture. As Chandra Mukerji has put it (1997, p. 36), there is a growing need "to approach material culture without reducing objects to instantiations of discourse or realizations of cognitive representations," and to avoid "the disappearance of the material world behind language." In a similar vein, Harvey Theor Soc (2014) 43:617-645

The paper explores the central role of artworks in the field of contemporary art. It is based on an ethnographic study of the conservation laboratory at the Museum of Modern Art (MoMA) in New York and draws from three detailed case studies where the temporal and spatial trajectory of artworks led to processes of competition, collaboration, and repositioning among the agents involved in the acquisition, exhibition and conservation of these artworks. The study demonstrates the importance of artworks qua physical objects in the field of contemporary art, claiming attention to materiality in field theory and engaging with an object-oriented methodology in field analysis. Artworks are shown to intervene in field processes, both reproducing divisions and re-drawing boundaries within and between fields, and actualizing positions of individuals and institutions.