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Art and Artworks

Edited by Nicholas Riggle (New York University)
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  1. Andrew Benjamin (2015). Art's Philosophical Work. Rowman & Littlefield International.
    World-leading philosopher Andrew Benjamin presents a radically new materialist philosophy of art and a rethinking of the history of art in that context.
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  2. Jane Bennett (2015). Encounters with an Art-Thing. Evental Aesthetics 3 (3):91-110.
    What kind of things are damaged art-objects? Are they junk, trash, mere stuff? Or do they remain art by virtue of their distinguished provenance or still discernible design? What kind of powers do such things have as material bodies and forces? Instead of attempting to locate proper concepts for salvaged art-things, this essay, from a perspective centered on the power of bodies-in-encounter – where “power” in Spinoza’s sense is the capacity to affect and be affected – attempts to home in (...)
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  3. K. Bortsova (2012). Note on the Cover Artist. British Journal of Aesthetics 52 (4):441-441.
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  4. Jean-Pierre Cometti (2011). La fabrique de l'art. Aisthesis. Pratiche, Linguaggi E Saperi Dell’Estetico 4 (2).
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  5. K. E. Gover (2012). Christoph Büchel V. Mass MoCA: A Tilted Arc for the Twenty-First Century. Journal of Aesthetic Education 46 (1):46-58.
    The 1990 Visual Artists Rights Act (VARA) is a provision of U.S. copyright law that seeks to protect the noneconomic rights of artists, called "moral rights." These rights are due to the "presumed intimate bond between artists and their works."1 In the United States it protects rights of artistic attribution and integrity: the artwork cannot be claimed as the work of another, and it cannot be distorted. In some cases VARA protects artworks from destruction. But what is the nature of (...)
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  6. J. R. Hamilton (2013). Living in an Artworld. British Journal of Aesthetics (1):ays065.
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  7. Peter Martin Jaworski (2013). In Defense of Fakes and Artistic Treason: Why Visually-Indistinguishable Duplicates of Paintings Are Just as Good as the Originals. [REVIEW] Journal of Value Inquiry 47 (4):391-405.
    I argue that all that is relevant to appreciating art as art is the "abstract entity that is the work of art." The object of aesthetic contemplation, the bearer of aesthetic value, just is this abstract entity picked out by the sortal concept 'work of art,' which requires some vehicle but does not require the particular vehicle that is the original painting. Since this is so, the work of art is present in a visually-indistinguishable duplicate to the same extent and (...)
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  8. Tobias Keiling (2011). Kunst, Werk, Wahrheit. Heideggers Wahrheitstheorie in Der Ursprung des Kunstwerkes. In David Espinet & Tobias Keiling (eds.), Heideggers Ursprung des Kunstwerkes. Ein kooperativer Kommentar. Klostermann. 66-95.
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  9. Wang Keping (2008). The Theory of Art as Sedimentation. Proceedings of the Xxii World Congress of Philosophy 36:159-182.
    For so long a time it has been getting increasingly formidable, if not possible, to define art in general ever since the advent of the so-called “found art” or “ready-mades” of Marcel Duchamp and Andy Warhol, among other avant-garde or pop artists. But this does not have too much constraint over some philosophers who have made persistent attempts in this regard. What have turned out to be considerably influential are the “artworld” framed by Arthur C. Danto and the “institutional theory” (...)
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  10. Christy Mag Uidhir (2013). How to Frame Serial Art. Journal of Aesthetics and Art Criticism 71 (3):261-265.
    Most artworks—or at least most among those standardly subject to philosophical scrutiny—appear to be singular, stand-alone works. However, some artworks (indeed, perhaps a good many) are by contrast best viewed in terms of some larger grouping or ordering of artworks. i.e., as a series. The operative art-theoretic notion of series in which I am interested here is that of an individual and distinct artwork that is itself non-trivially composed of a non-trivial sequence of artworks (e.g., Walter de Maria’s Statement Series, (...)
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  11. Annelies Monseré (2012). Non-Western Art and the Concept of Art: Can Cluster Theories of Art Account for the Universality of Art? Estetika 49 (2):148-165.
    This essay seeks to demonstrate that there are no compelling reasons to exclude non-Western artefacts from the domain of art. Any theory of art must therefore account for the universality of the concept of art. It cannot simply start from ‘our’ art traditions and extend these conceptions to other cultures, since this would imply cultural appropriation, nor can it resolve the matter simply by formulating separate criteria for non-Western art, since this would imply that there is no unity in the (...)
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  12. Peter Schwenger (2006). The Tears of Things: Melancholy and Physical Objects. Univ of Minnesota Press.
    Concerned in part with the act of collecting, The Tears of Things is itself a collection of exemplary art objects—literary and cultural attempts to control and possess things—including paintings by Georgia O’Keeffe and René Magritte; ...
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  13. R. Stecker (forthcoming). Beyond Art. British Journal of Aesthetics:ayu041.
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  14. Robert Stecker (forthcoming). Beyond Art. British Journal of Aesthetics:ayu041.
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  15. Kelly Trogdon & Paisley Livingston (forthcoming). Artwork Completion: A Response to Gover. Journal of Aesthetics and Art Criticism.
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Artworks
  1. Lars Aagaard-Mogensen (ed.) (1976). Culture and Art: An Anthology. Humanities Press.
    Danto, A. The artworld.--Dickie, G. What is art?--Margolis, J. Works of art are physically embodied and culturally emergent entities.--Kjørup, S. Art broadly and wholly conceived.--Meyer, L. B. Forgery and the anthropology of art.--Brunius, T. Theory and ideologies in aesthetics.--Tilghman, B. R. Artistic puzzlement.--Binkley, T. Deciding about art.--Alexander, H. G. On defining in aesthetics.--Iseminger, G. Appreciation, the artworld, and the aesthetic.--Glickman, J. Creativity in the arts.--Sclafani, R. The theory of art.--Lyas, C. Danto and Dickie on art.--Beardsley, M. C. Is art essentially (...)
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  2. T. Adajian (2008). Subjects and Objects: Art, Essentialism, and Abstraction. British Journal of Aesthetics 48 (3):356-357.
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  3. F. Antal (1952). The Moral Purpose of Hogarth's Art. Journal of the Warburg and Courtauld Institutes 15 (3/4):169-197.
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  4. Daniel Arenas (2001). Schaeffer, Jean-Marie. Art of the Modern Age: Philosophy of Art From Kant to Heidegger. Review of Metaphysics 54 (4):942-943.
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  5. Jay E. Bachrach (1973). Richard Wollheim and the Work of Art. Journal of Aesthetics and Art Criticism 32 (1):108-111.
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  6. George Bailey (1989). Amateurs Imitate, Professionals Steal. Journal of Aesthetics and Art Criticism 47 (3):221-227.
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  7. Gary Banham (2002). Mapplethorpe, Duchamp and the Ends of Photography. Angelaki 7 (1):119-128.
    This paper presents an argument for seeing Marcel Duchamp and Robert Mapplethorpe as opposite ends of a tradition of negotiation of art with its conditions of production. The piece takes seriously Kant's suggestions concerning the fine arts and contests views of art that see the Kantian tradition as formally fixed.
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  8. Alessandro Bertinetto (2006). Arte como desrealización. Daimon 39:175-185.
    The paper recognizes the failure of contemporary non-aesthetic theories of art and aims at recovering the phenomenological notion of derealization – which re-emerges in A. Dantoʼs idea of the ʻbracketting effectʼ of art –, in order to explain art and art-experience. The main point is that art makes us free from the ʻreal worldʼ through an act of derealization that leads to the establishment of possible or fictional worlds different from the one we live in. Artworks are primarly imaginary, unreal (...)
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  9. Ronald Bogue (2003). Deleuze on Music, Painting, and the Arts. Routledge.
    Bogue provides a systematic overview and introduction to Deleuze's writings on music and painting, and an assessment of their position within his aesthetics as a whole. Deleuze on Music, Painting and the Arts breaks new ground in the scholarship on Deleuze's aesthetics, while providing a clear and accessible guide to his often overlooked writings in the fields of music and painting.
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  10. Antoon Braeckman (2004). From the Work of Art to Absolute Reason. Review of Metaphysics 57 (3):551 - 569.
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  11. John B. Brough (2006). The Paradoxes of Art. Review of Metaphysics 59 (4):895-897.
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  12. V. C. C. (1957). On Painting. Review of Metaphysics 10 (3):534-534.
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  13. V. C. C. (1957). On Painting. Review of Metaphysics 10 (3):534-534.
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  14. V. C. C. (1957). The Mirror of Art. Review of Metaphysics 10 (3):535-535.
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  15. V. C. C. (1956). The Dehumanization of Art and Other Writings on Art and Culture. Review of Metaphysics 10 (1):182-182.
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  16. B. Cooke (2011). Work and Object: Explorations in the Metaphysics of Art. British Journal of Aesthetics 51 (4):443-446.
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  17. Rafael De Clercq (2013). The Metaphysics of Art Restoration. British Journal of Aesthetics 53 (3):261-275.
    Art restorations often give rise to controversy, and the reason does not always seem to be a lack of skill or dedication on the side of the restorer. Rather, in some of the most famous cases, the reason seems to be a lack of agreement on basic principles. In particular, there seems to be a lack of agreement on how the following two questions are to be answered. First, what is art restoration supposed to achieve, in other words, what is (...)
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  18. John Dilworth (2008). The Abstractness of Artworks and Its Implications for Aesthetics. Journal of Aesthetics and Art Criticism 66 (4):341-353.
    Artworks have at least some necessary content properties, as do abstract entities such as propositions. But no concrete item, whether an object, event, process etc., could have any necessary content property. So no artwork could be identical with a concrete item. Hence artworks must be abstract. I also argue that artworks are only contingently connected with concrete items, just as propositions are only contingently linked to their linguistic tokens.
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  19. John Dilworth (2007). In Support of Content Theories of Art. Australasian Journal of Philosophy 85 (1):19 – 39.
    A content theory of art would identify an artwork with the meaningful or representational content of some concrete artistic vehicle, such as the intentional, expressive, stylistic, and subject matter-related content embodied in, or resulting from, acts of intentional artistic expression by artists. Perhaps surprisingly, the resultant view that an artwork is nothing but content seems to have been without theoretical defenders until very recently, leaving a significant theoretical gap in the literature. I present some basic arguments in defence of such (...)
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  20. John Dilworth (2005). The Double Content of Art. Prometheus Books.
    The Double Content view is the first comprehensive theory of art that is able to satisfactorily explain the nature of all kinds of artworks in a unified way — whether paintings, novels, or musical and theatrical performances. The basic thesis is that all such representational artworks involve two levels or kinds of representation: a first stage in which a concrete artifact represents an artwork, and a second stage in which that artwork in turn represents its subject matter. "Dilworth applies his (...)
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  21. John Dilworth (2003). Ariadne at the Movies. Contemporary Aesthetics 1 (1).
    ABSTRACT -/- Films are usually assumed to be types, with their templates or performances being tokens of those types. However, I give a counter-example in which two different films are simultaneously made by different directors, with the outcome of this process being a single template length of film which, I claim, embodies both of those films. But no two types could thus have a token in common, and hence type views of films must be incorrect. I further explain and defend (...)
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  22. J. Dodd (2012). Defending the Discovery Model in the Ontology of Art: A Reply to Amie Thomasson on the Qua Problem. British Journal of Aesthetics 52 (1):75-95.
    According to the discovery model in the ontology of art, the facts concerning the ontological status of artworks are mind-independent and, hence, are facts about which the folk may be substantially ignorant or in error. In recent work Amie Thomasson has claimed that the most promising solution to the ‘ qua problem’—a problem concerning how the reference of a referring-expression is fixed—requires us to give up the discovery model. I argue that this claim is false. Thomasson's solution to the qua (...)
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  23. J. Dodd (2012). Work and Object: Explorations in the Metaphysics of Art, by Peter Lamarque. Mind 121 (484):1088-1095.
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  24. Julian Dodd (2013). Adventures in the Metaontology of Art: Local Descriptivism, Artefacts and Dreamcatchers. [REVIEW] Philosophical Studies 165 (3):1047-1068.
    Descriptivism in the ontology of art is the thesis that the correct ontological proposal for a kind of artwork cannot show the nascent ontological conception of such things embedded in our critical and appreciative practices to be substantially mistaken. Descriptivists believe that the kinds of revisionary art ontological proposals propounded by Nelson Goodman, Gregory Currie, Mark Sagoff, and me are methodologically misconceived. In this paper I examine the case that has been made for a local form of descriptivism in the (...)
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  25. Andreas Dorschel (2005). Über das Verstehen und Interpretieren von Kunstwerken. In Wolf-Jürgen Cramm, Wulf Kellerwessel, David Krause & Hans-Christoph Kupfer (eds.), Diskurs und Reflexion. Wolfgang Kuhlmann zum 65. Geburtstag. Königshausen & Neumann. 375-387.
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  26. Denis Dutton, Han Van Meegeren.
    The most notorious and celebrated forger of the twentieth century, Han van Meegeren (1889-1947), was born in the Dutch town of Deventer. He was fascinated by drawing as a child, and pursued it despite his father’s disapproval, sometimes spending all his pocket money on art supplies. In high school he was able finally to receive professional instruction, and went on to study architecture, according to his father’s wishes. In 1911 he married Anna de Voogt. His artistic talents were recognized when (...)
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  27. Andreas Elpidorou (2010). Imagination in Non-Representational Painting. In Jonathan Webber (ed.), Reading Sartre: On Phenomenology and Existentialism. Routledge.
  28. C. E. Emmer (2013). 9/11 as Schmaltz-Attractor: A Coda on the Significance of Kitsch. In Monica Kjellman-Chapin (ed.), Kitsch: History, Theory, Practice. Cambridge Scholars Publishing. 184-224.
    "The concluding chapter, penned by C. E. Emmer, both revisits and greatly expands upon disputations within the contested territory of kitsch as term and tool in cultural turf-war arsenals. Focusing on debates surrounding two visual responses to the terrorist attacks on September 11, 2001, Dennis Madalone's 2003 music video for the patriotic anthem 'America We Stand As One' and Jenny Ryan's 'plushie' sculpture, 'Soft 9/11,' Emmer utilizes these debates to reveal the coexisting and competing attitudes towards ostensibly kitschy objects and (...)
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  29. Simon J. Evnine (2013). Ready-Mades: Ontology and Aesthetics. British Journal of Aesthetics 53 (4):407-423.
    I explore the interrelations between the ontological and aesthetic issues raised by ready-mades such as Duchamp’s Fountain. I outline a hylomorphic metaphysics which has two central features. First, hylomorphically complex objects have matter to which they are not identical. Secondly, when such objects are artefacts (including artworks), it is essential to them that they are the products of creative work on their matter. Against this background, I suggest that ready-mades are of aesthetic interest because they pose a dilemma. Is there (...)
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  30. Simon Fokt (2013). A Proposal for a Dualistic Ontology of Art. Sztuka I Filozofia 42:29-47.
    While pluralism in ontology of art improves on various monistic views, through its eclectic approach it lost a lot of their simplicity, parsimony, unity and intuitiveness. The dualistic theory presented in this paper offers an alternative – it shares the advantages of the monistic views while retaining the wide scope of pluralism, and thus should be preferred for methodological reasons. On this view all artworks are at the same time abstract universals which are called recipes, and particular physical objects – (...)
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  31. Simon Fokt (2012). Pornographic Art - A Case From Definitions. British Journal of Aesthetics 52 (3):287-300.
    On the whole, neither those who hold that pornography can never be art nor their opponents specify what they actually mean by ‘art’, even though it seems natural that their conclusions should vary depending on how the concept is understood. This paper offers a ‘definitional crossword’ and confronts some definitions of pornography with the currently most well-established definitions of art. My discussion shows that following any of the modern definitions entails that at least some pornography not only can be, but (...)
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  32. Jeffrey Goodman (2013). A Problem for Fine Individuation and Artist Essentialism. Estetika 50 (2):139-148.
    Fine Individuation says it is impossible for distinct people who are not collaborating on a work of art to produce one and same artwork. This is an intra-world thesis, but is necessarily true, if true at all. Author Essentialism says it is impossible for someone else to produce one and the same work of art produced by some actual artist. This is an alleged necessary truth regarding cross-world relations. Both theses have been vigorously defended. I argue here that both are (...)
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  33. Oswald Hanfling (1995). Art, Artifact and Function. Philosophical Investigations 18 (1):31-48.
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  34. Darren Hudson Hick (2014). Authorship, Co‐Authorship, and Multiple Authorship. Journal of Aesthetics and Art Criticism 72 (2):147-156.
    In this article, I use the example of the novel Micro, authored by Michael Crichton and Richard Preston, to tease out the relationships between an author and his work and with other authors of that work. The case presents a complication for a number of contemporary views on authorship and co-authorship, which suggest that Crichton is either not an author of the novel or an author but not a co-author—both, I suggest, are counterintuitive views. After working through the leading views (...)
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  35. Gary Iseminger (1973). The Work of Art as Artifact. British Journal of Aesthetics 13 (1):3-16.
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