The Definition of Art

An art work, also known as a piece of art or an artwork, is a creation by an artist. It is a work of art because it is a creation that has aesthetic value. There are several different definitions of art. In this article, we will look at Hegel’s aesthetic definition of art and Dickie’s argument of open concept.

Hegel’s aesthetic definition of art

Hegel’s aesthetic definition of art provides a basic framework for understanding the nature of art. According to Hegel, the ideal beauty is achieved through the highest level of beauty, and this means that the purest works of art are those that express the greatest amount of spiritual freedom. In Hegel’s aesthetic definition, poetry is as much a work of art as sculpture or painting. Its freedom of expression enables it to express spiritual freedom as an action in space and time. In addition, poetry is equally at home in symbolic, romantic, and classical forms of art. As such, it is the most free of all the arts.

While Hegel’s aesthetic definition of art is a great help to those studying art history, many modern artists would find his model limiting. Although Hegel didn’t intend aesthetics to be considered history, many art historians have adopted it as a framework for teaching art history.

Dickie’s institutionalism

Institutionalism, as it has become known, departs from Dickie’s work in some important respects. First, it must provide a non-circular account of the artworld. In contrast to Dickie, David Davies’ approach builds on Nelson Goodman’s notions of aesthetic symbolicfunctions and Gaut’s art-making properties. This coupling provides the basis for an account of artistic value.

Second, Dickie’s institutionalism is based on the principle that “a work of art is an artifact conferred by the artworld.” In short, it is a work of art that is created by an artist and presented to the artworld’s public. Dickie’s institutionalism has several variants and has evolved over the years.

Dickie’s open concept argument

A new institutional theory of art, proposed by George Dickie, looks at art as an artifact intended to be presented to the artworld’s public. The theory rejects the definitionalist and traditional theories of art work. It begins by delineating an “artifact” as something that is altered, manipulated, or created in a certain manner.

This open concept argument for art work has been successfully challenged by aestheticians and philosophers, but its core idea remains relevant nearly four decades later. This essay will examine the core ideas of Dickie’s theory, explore problems with it, and discuss possible solutions. The purpose of this essay is to help guide further discussion on art.

The first objection to Dickie’s open concept argument is the fact that art worlds are not unified. Instead, the art world includes several different art movements and communities. Moreover, many of these communities may not share a common hierarchy.

Weitz’s open concept argument

Essentially, Weitz rejects the idea that an art work is a permanent object. Instead, he claims that the art work is always open to new uses. His argument is based on the history of art, which shows that art has been used in a variety of different ways.

The most basic problem with Weitz’s open concept argument is that he fails to explain what he means by that concept. A closed definition might be vacuous, but an open one can be a powerful tool for creativity. A closed definition can take on new defining characteristics when the artist alters its composition.

While art critics can argue that an art work should have certain characteristics, they often misapply this definition to art. This is a mistaken assumption because art is constantly changing and redefining itself. It’s essential to understand the different kinds of open concepts before you begin analyzing an art work.