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Subversive Art and Institutional Vulnerability

George Dickie’s Institutional Theory of Art satisfies necessary and sufficient conditions for definition, but by leaving evaluation open cannot address artistic capacities to outstrip the usefulness of the theory for appreciating the concept of art comprehensively or meaningfully. Artworks that are known to members of the central and peripheral artworld seep into the general purview of the population at large as known “great works” of art. Upon examination of works that garner significant cultural influence, works broadly appreciated as great works, we find that their resistance to Dickie’s concept of “the artworld” and its associated behaviors is that which makes them conspicuously significant.

Identiferoai:union.ndltd.org:uno.edu/oai:scholarworks.uno.edu:honors_theses-1062
Date01 August 2013
CreatorsHanzalik, Kathryn A.
PublisherScholarWorks@UNO
Source SetsUniversity of New Orleans
Detected LanguageEnglish
Typetext
Formatapplication/pdf
SourceSenior Honors Theses
Rightshttp://creativecommons.org/licenses/by-nc-sa/4.0/

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