Philosophy
The Definition of Art and Institutional Theory
Quick fact
The phrase 'artworld' was coined by philosopher Arthur Danto in 1964, but the full 'institutional theory of art' was developed by George Dickie in the 1970s.
Why this is interesting
Why is Marcel Duchamp's signed urinal considered a masterpiece while an identical urinal in a hardware store is just plumbing?
Read the full explanation
Understanding The Definition of Art and Institutional Theory
For centuries, philosophers tried to define art by looking at the object itself: art must be beautiful, expressive, or skillfully made. But modern artists like Duchamp challenged this by exhibiting everyday objects (readymades) as art. The institutional theory, proposed by George Dickie, argues that art is defined not by any property of the object, but by its status within a social institution—the 'artworld'. This includes museums, galleries, critics, artists, and historians. For something to become art, it must be presented for appreciation by someone acting on behalf of the artworld. Think of it as a ceremony: a urinal is just a urinal until it is designated 'art' in an art context. This theory explains why a pile of candy or a blank canvas can be art: the institutional framework confers that status.
A deeper explanation
At its core, institutional theory shifts the definition of art from essential properties to social attribution. It emerged from the failure of earlier theories to account for avant-garde works that lacked beauty, skill, or representation. The theory is intentionally anti-essentialist: it refuses to list necessary and sufficient conditions for arthood. Instead, it highlights that the artworld is a 'practice' or 'game' with its own norms and conventions. A key insight is that the artworld is self-perpetuating—something becomes art because those in power say so, and those in power are recognized because they participate in the artworld. Critics point to a circularity: the artworld defines art, but who defines the artworld? Defenders respond that social institutions work exactly like this (e.g., money, marriage). This theory forces us to examine gatekeeping, cultural authority, and the role of institutions in shaping value. Applications include debates about censorship, public funding, and the legitimacy of outsider art. Understanding institutional theory is crucial for grasping contemporary art's provocative nature.