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The institutional theory of art is a theory about the nature of art that holds that an object can only become art in the context of the institution known as "the art ...
Institutional critique is a practice that emerged from the developments of Minimalism and its concerns with the phenomenology of the viewer; formalist art criticism and art history (e.g. Clement Greenberg and Michael Fried); conceptual art and its concerns with language, processes, and administrative society; and the critique of authorship that begins with Roland Barthes and Michel Foucault in ...
He was an influential philosopher of art working in the analytical tradition. His institutional theory of art inspired both supporters who produced variations on the theory as well as detractors. One of his more influential works is The Century of Taste (1996), an inquiry into several eighteenth-century philosophers' treatments of the subject.
Arthur Coleman Danto (January 1, 1924 – October 25, 2013) was an American art critic, philosopher, and professor at Columbia University.He was best known for having been a long-time art critic for The Nation and for his work in philosophical aesthetics and philosophy of history, though he contributed significantly to a number of fields, including the philosophy of action.
Danto had considerable influence on aesthetic philosophy and especially upon George Dickie's institutional theory of art. Dickie defines an art work as an artifact "which has had conferred upon it the status of candidate for appreciation by some person or persons acting in behalf of a certain social institution (the artworld)." [13]
In sociology and organizational studies, institutional theory is a theory on the deeper and more resilient aspects of social structure. It considers the processes by which structures, including schemes, rules, norms, and routines, become established as authoritative guidelines for social behavior. [ 1 ]
George Dickie has offered an institutional theory of art that defines a work of art as any artifact upon which a qualified person or persons acting on behalf of the social institution commonly referred to as "the art world" has conferred "the status of candidate for appreciation". [26]
This institutional theory of art has been championed by George Dickie. Most people did not consider a store-bought urinal or a sculptural depiction of a Brillo Box to be art until Marcel Duchamp and Andy Warhol (respectively) placed them in the context of art (i.e., the art gallery ), which then provided the association of these objects with ...