ARTIFACTUALITY IN THE INSTITUTIONAL THEORY OF ART

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MOSAYEBI MANSORE

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Journal: Kimiya-ye-Honar Year:2015 | Volume:4 | Issue:16 Page(s): 43-55

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Information Journal Paper

Title

ARTIFACTUALITY IN THE INSTITUTIONAL THEORY OF ART

Author(s)

MOSAYEBI MANSORE | Issue Writer Certificate

Keywords

GEORGE DICKIEQ2

ARTIFACTUALITYQ2

CONFERRING THE STATUS OF ARTIFACTUALITYQ2

ANTIESSENTIALISMQ2

Abstract

GEORGE DICKIE formulates the institutional theory of art based on two necessary conditions which are sufficient for artmaking. The first condition in various versions of theory claims, primarily, that a work of art has to be an artifact. Dickie intends to use this unexhibited and nonconventional property as the beginning step for taking an argument against antiessentialists, like Weitz, and thus introduce ARTIFACTUALITY as the essential characteristic of art. Holding traditional meaning of ARTIFACTUALITY which is associated with traditional crafts and altering the materials, Dickie developes another meaning which is more suitable for contemporary art. In earlier version of theory he describes it by conferring the statue of ARTIFACTUALITY by some person on behalf of artworld, but in later version he abandons the notion of conferral status and describes it by the notion of using an object as an artistic medium in context of artworld. Despite objection critics consider this argument on ARTIFACTUALITY as an effective factor in defeating anti-essentialism and revival of desire for definition of art.

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APA: Copy

MOSAYEBI, MANSORE. (2015). ARTIFACTUALITY IN THE INSTITUTIONAL THEORY OF ART. KIMIYA YE HONAR, 4(16), 43-55. SID. https://sid.ir/paper/260653/en

Vancouver: Copy

MOSAYEBI MANSORE. ARTIFACTUALITY IN THE INSTITUTIONAL THEORY OF ART. KIMIYA YE HONAR[Internet]. 2015;4(16):43-55. Available from: https://sid.ir/paper/260653/en

IEEE: Copy

MANSORE MOSAYEBI, “ARTIFACTUALITY IN THE INSTITUTIONAL THEORY OF ART,” KIMIYA YE HONAR, vol. 4, no. 16, pp. 43–55, 2015, [Online]. Available: https://sid.ir/paper/260653/en

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