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151 Conclusion
tutional theory of art revolves is: What factors increase the likelihood
that an activity or object will be consensually labeled as art
and. conversely. what characteristics impede this process of artistic
definition?
Art works exist within an historical and cross-cultural context
(Dickie. 1971: 101). Creative practices that have identifiable historical
and cultural roots-which can be connected to a tradition
that notes stylistic precedents. charts the development of defined
value and identifies exemplary practitioners and artifacts-are excellent
candidates for artistic legitimation. As Janson (1964: 15)
observes:
Every work of art occupies its own specific place ... which we
call tradition. Without tradition-the word means "that which
has been handed down to us"-no originality would be
possible; it prOVides. as it were. the firm platform from which
the artist makes his leap of the imagination. The place where
he lands will then become part of the web and serve as a point
of departure for further leaps.... Tradition is the framework
within which we inevitably form our opinions of works of art
and assess their degree of originality (cf.• MukeIji. 1978: 351;
Manfredi. 1982: 120-148).
On the other hand. production activities that cannot be connected
to historical or cultural precedent or that have little or no
demonstrable foundation in accepted theoretical or technical development
are unlikely to achieve institutional certification.
Within the conventional boundaries imposed by historical and
cultural tradition. objects that are unique. original. and. consequently.
scarce and expenSive are prime candidates for artistic
legitimation. Originality is the conventional hallmark of artistry
(Janson. 1964: 12; Dickie. 1974: 47-48). Cultural items that are
mechanically reproduced. widely available. inexpensive. and overtly
designed as commodities for mass consumption are. by definition.
excluded from the category of "real" art. While there is often
an interesting cross-fertiliZing connection between popular cultural
materials and so-called "high" art (see Crane. 1987; Nye. 1972;
Gans. 1974; Browne. 1983; Hirschman. 1981). the overt consumer
focus and highly formulaic character of popular culture makes
these materials unlikely candidates for artistic certification. Pop-