George Dickie
Early Life and Education
George Dickie was born on August 12, 1926, in Palmetto, Florida. He grew up in a family that valued education and intellectual pursuits, which laid the foundation for his future academic endeavors. Dickie pursued his undergraduate studies at Florida State University, where he earned a Bachelor of Arts in Philosophy. His interest in aesthetics and the philosophy of art began during his undergraduate years, influenced by the works of philosophers such as Immanuel Kant and John Dewey.
After completing his undergraduate degree, Dickie continued his education at the University of California, Los Angeles (UCLA), where he obtained his Master of Arts in Philosophy. His master's thesis focused on the nature of aesthetic experience, a topic that would become central to his later work. Dickie then pursued a Ph.D. in Philosophy at UCLA, where he studied under the guidance of renowned philosophers such as Richard Brandt and Rudolf Carnap. His doctoral dissertation, completed in 1959, was titled "The Nature of Aesthetic Experience."
Academic Career
George Dickie's academic career began in earnest when he joined the faculty of the University of Illinois at Chicago (UIC) in 1965. At UIC, Dickie was instrumental in developing the philosophy department and establishing a strong focus on aesthetics and the philosophy of art. He served as a professor of philosophy at UIC until his retirement in 1995, during which time he published numerous influential works on aesthetics.
Dickie's contributions to the field of aesthetics are characterized by his analytical approach and his commitment to clarifying the conceptual underpinnings of art and aesthetic experience. His work often engaged with and critiqued the ideas of other prominent philosophers, including Arthur Danto and Nelson Goodman.
Institutional Theory of Art
One of George Dickie's most significant contributions to the philosophy of art is his development of the Institutional Theory of Art. This theory, first articulated in his 1974 book "Art and the Aesthetic: An Institutional Analysis," posits that art is defined by the social institutions and practices that recognize and validate it as such. According to Dickie, an object or performance becomes art when it is accepted by the "artworld," a term he borrowed from Arthur Danto to describe the collective institutions, critics, and practitioners that confer the status of art.
The Institutional Theory of Art challenged traditional notions of art as inherently possessing certain aesthetic qualities or being created with artistic intent. Instead, Dickie argued that art is a social construct, and its status is contingent upon the recognition and endorsement of the artworld. This perspective opened new avenues for understanding contemporary art forms and practices that defy conventional aesthetic criteria.
Criticisms and Revisions
While the Institutional Theory of Art was groundbreaking, it also faced criticism from various quarters. Critics argued that the theory was overly reliant on the authority of the artworld and failed to account for the intrinsic qualities of art that might transcend institutional recognition. Some also contended that the theory could lead to a relativistic view of art, where anything could be considered art if the artworld deemed it so.
In response to these criticisms, Dickie refined his theory in subsequent works, including "The Art Circle" (1984) and "Evaluating Art" (1988). He emphasized the role of the artworld as a necessary but not sufficient condition for something to be considered art. Dickie also acknowledged the importance of aesthetic experience and the artist's intention in the creation and appreciation of art.
Legacy and Influence
George Dickie's contributions to the philosophy of art have had a lasting impact on the field. His Institutional Theory of Art has been a focal point for debates about the nature of art and the role of social institutions in defining it. Dickie's work has influenced a generation of philosophers and art theorists, prompting them to reconsider the boundaries and definitions of art.
Beyond his theoretical contributions, Dickie was also a dedicated educator and mentor. He inspired countless students to explore the complexities of aesthetics and the philosophy of art, leaving a lasting legacy in the academic community.
Personal Life
George Dickie was known for his modest and unassuming demeanor, despite his significant academic achievements. He married his wife, Mary, in 1952, and they had two children together. Outside of his academic pursuits, Dickie enjoyed gardening and was an avid reader of both philosophy and literature.