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152 Conclusion
ular cultural themes and objects intrude upon the art world only
when they are removed from their intended commercial context
and used as icons by "acknowledged" artists.
The chances that products of certain activities will be labeled as
art are further enhanced if the materials display attributes that
have come to be conventionally defined as indicating aesthetic
worth. In general, this means that the candidate object has no
overt utilitarian purpose and is presented as a focus of attention
simply for the sake of the pleasurable experience derived from
that attention (see Holbrook and Moore, 1981; Dickie, 1971; Wallendorf
et aI., 1981; Becker, 1982: 131-145).
The apparent amount of labor and technical skill that went
into the creation of the object is related to the defined aesthetic
value of that object (MukeIji, 1978: 352). If anyone, no matter
what their level of ability and experience, can make something in
a relatively brief period of time, it is less likely that it will be labeled
with the honorific title ofart than if the object overtly exhibits
skill, knowledge, and a degree of toil. Articles that do not
represent any particular amount of skilled labor; are overtly
sloppy, ill-conceived, or ugly; and are mechanically reproduced as
commodities for mass consumption rather than as a source of
aesthetic enjoyment suffer a severe definitional handicap.
A product's chances ofbeing defined as art are also related to the
kinds of materials employed and the procedures creators pursue
in the course of the production process. Objects made from conventional
materials such as paint, canvas, marble, or clay through
the conventional use of conventional eqUipment-brushes, pens,
pottery wheels, and so forth-enjoy legitimational advantages.
When, however, products are made through the use of unconventional
resources and procedures, chances of institutional acceptance
are greatly reduced (see Becker, 1982: 57-59; cf. Lyon, 1974).
The amount of serious, typically academic, attention devoted
to an object or actiVity also affects its chances of artistic certification.
Products and production enterprises derive importance from
being the focus of abstracted, critical, theoretically oriented discussion.
Universities are major sources of institutional legitimation.
When students in programs specifically devoted to art learn
about the historical context in which a productive actiVity has