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      • One distinctively modern, conventionalist, sort of definition focuses on art’s institutional features, emphasizing the way art changes over time, modern works that appear to break radically with all traditional art, the relational properties of artworks that depend on works’ relations to art history, art genres, etc. – more broadly, on the undeniable heterogeneity of the class of artworks.
      plato.stanford.edu › entries › art-definition
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  2. Oct 23, 2007 · One distinctively modern, conventionalist, sort of definition focuses on arts institutional features, emphasizing the way art changes over time, modern works that appear to break radically with all traditional art, the relational properties of artworks that depend on works’ relations to art history, art genres, etc. – more broadly, on ...

    • Conceptual Art

      As a direct result of its examination of what may properly...

  3. Communication theory of art: an approach to defining art as a transfer of feeling from artist to spectator. Convention: group consensus about the way something is usually done. Icon: a person or thing regarded as representative of something, often religious.

  4. Oct 23, 2007 · One distinctively modern, conventionalist, sort of definition focuses on art's institutional features, emphasizing the way art changes over time, modern works that appear to break radically with all traditional art, and the relational properties of artworks that depend on works' relations to art history, art genres, etc.

  5. Art Theory: A Very Short Introduction is an exploration of art, what it means, and why we value it. It examines topics in the field loosely called art theory: ritual theory, formalist theory, imitation theory, expression theory, cognitive theory, and postmodern theory.

  6. A theory of art is intended to contrast with a definition of art. Traditionally, definitions are composed of necessary and sufficient conditions and a single counterexample overthrows such a definition.

  7. Dec 21, 2013 · Borrowing from Danto's representational theory, Andina asserts that artworks are something more than purely material artifacts with aesthetic properties. They are, she argues, semantic vehicles of meaning. Artworks are thus representational and as such have particular meanings inscribed upon their physical surfaces.

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