| Summary: | Graphics and visual communication are prone to be influenced by elites and art movements. This paper suggests that the needs of the elites naturally drive them to maximize the symbolic effectiveness of ideologically-oriented communication tools. This leads them to question the ability of avant-garde artists to meet those needs. Based on the hypothesis of an homology between the political and the artistic fields, this paper addresses two main questions: can avant-garde artists function in an elitist fashion? Does being part of the elite drive individuals to invest in avant-garde artists or, rather, does the fact of investing in avant-garde artists constitute the elite itself, in what would appear like a reversal between symbolic attributions?
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