The following text discusses aesthetics.
The institutional theory of art, developed by George Dickie, defines art not through inherent properties but through relationship to the "artworld"—a loose network of artists, critics, galleries, and audiences. Something becomes art when an artworld representative confers that status upon it. This explains how Duchamp's urinal became art when presented as such, despite lacking traditional artistic properties. Critics object that the theory is circular—art is what the artworld says is art—and fails to explain why certain things, rather than others, get selected. Defenders argue the theory accurately describes how art actually functions as a social practice.
What is the central claim of the institutional theory of art?
Art is defined by inherent aesthetic properties of objects
Art status is conferred by social institutions rather than determined by object properties
Only traditional artworks like paintings count as art
The artworld has no influence on what becomes art
Correct Answer: B
Choice B is the correct answer. The theory defines art "not through inherent properties but through relationship to the 'artworld'" and "something becomes art when an artworld representative confers that status."
- Evidence: Status conferred by artworld; not inherent properties.
- Reasoning: Social designation, not object features, defines art.
- Conclusion: Institutional conferral creates art status.
Choice A is incorrect because inherent properties are explicitly rejected as the basis. Choice C is incorrect because Duchamp's urinal became art. Choice D is incorrect because artworld conferral is central.