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Art and Artworks

Edited by Nicholas Riggle (New York University)
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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. 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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  4. George Bailey (1989). Amateurs Imitate, Professionals Steal. Journal of Aesthetics and Art Criticism 47 (3):221-227.
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  5. 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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  6. 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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  7. 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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  8. B. Cooke (2011). Work and Object: Explorations in the Metaphysics of Art. British Journal of Aesthetics 51 (4):443-446.
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  9. 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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  10. 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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  11. 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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  12. 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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  13. 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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  14. 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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  15. J. Dodd (2012). Work and Object: Explorations in the Metaphysics of Art, by Peter Lamarque. Mind 121 (484):1088-1095.
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  16. 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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  17. 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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  18. Andreas Elpidorou (2010). Imagination in Non-Representational Painting. In Jonathan Webber (ed.), Reading Sartre: On Phenomenology and Existentialism. Routledge.
  19. 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.
    "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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  20. 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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  21. 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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  22. 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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  23. 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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  24. Oswald Hanfling (1995). Art, Artifact and Function. Philosophical Investigations 18 (1):31-48.
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  25. 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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  26. Gary Iseminger (1973). The Work of Art as Artifact. British Journal of Aesthetics 13 (1):3-16.
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  27. Dale Jacquette (2006). Intention, Meaning, and Substance in the Phenomenology of Abstract Painting. British Journal of Aesthetics 46 (1):38-58.
    Trying to make sense of abstract painting has resulted in interesting but often inexact and inadequately motivated efforts to characterize what is distinctive about modern art. The present account begins with Gertrude Stein's description of the fascination she experiences in viewing painted surfaces and proceeds through a number of efforts to justify or severely criticize abstract painting in relation to more traditional representational works. The basis for a phenomenology of abstract painting is suggested by James Elkins's first-person analysis of the (...)
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  28. John Kemp (1964). The Work of Art and the Artist's Intentions. British Journal of Aesthetics 4 (2):146-154.
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  29. P. Kivy (2012). What Really Happened in the Eighteenth Century: The 'Modern System' Re-Examined (Again). British Journal of Aesthetics 52 (1):61-74.
    There is much in James I. Porter's recent critique of Kristeller's ‘Modern System of the Arts’ that is true and enlightening. But something— some things —of great moment in the history of aesthetics and philosophy of art transpired in the age of the Enlightenment, as badly described, and, no doubt, in some ways as badly misdescribed, as they may have been by Kristeller in his account. And it would be a grave disservice to the history of philosophy to reject the (...)
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  30. Brian Laetz & Dominic McIver Lopes (2008). Genre. In Paisley Livingston & Carl Plantinga (eds.), The Routledge Companion to Philosophy and Film. Routledge. 152-161.
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  31. Peter Lamarque (2010). Work and Object: Explorations in the Metaphysics of Art. Oxford University Press.
    Issues about the creation of works, what is essential and inessential to their identity, their distinct kinds of properties, including aesthetic properties, ...
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  32. Lawrence Lengbeyer (2005). Altering Artworks. Philosophy in the Contemporary World 12 (2):53-61.
    The grounds for recognizing that artists possess a personal “moral right of integrity” that would entitle them to prevent others from modifying their works are weak. There is, however, an important (and legislation-worthy) public interest in protecting highly-valued entities, including at least some works of art, from permanently destructive transformations.
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  33. Dominic Mciver Lopes (2008). Reference, Ontology, and Architecture: Response to Rafael de Clercq. Journal of Aesthetics and Art Criticism 66 (2):194–196.
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  34. Dominic McIver Lopes (2007). Art Without ‘Art’. British Journal of Aesthetics 47 (1):1-15.
    Some argue that there is no art in some non-Western cultures because members of those cultures have no concept of art. Others argue that members of some non-Western cultures have concepts of art because they have art. Both arguments assume that if there is art in a given culture, then some members of the culture have a concept of art. There are reasons to think that this assumption is false; and if it is false, there are lessons to learn for (...)
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  35. Dominic Mciver Lopes (2007). Shikinen Sengu and the Ontology of Architecture in Japan. Journal of Aesthetics and Art Criticism 65 (1):77–84.
    Japan's Ise Jingu shrine has been taken down and rebuilt every twenty years for more than a millenium - a practice called "shikinen sengu." A standard ontology of architecture, according to which buildings are material particulars, implies that Ise Jingu is no more than twenty years old. However, a correct ontology of architecture is implicit in practices of architecture appreciation. The Japanese appreciation of Ise Jingu and other buildings in its architectural tradition implies both that it is no more than (...)
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  36. Hans Maes (ed.) (2013). Pornographic Art and the Aesthetics of Pornography. Palgrave Macmillan.
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  37. Hans Maes (2012). The Arts Vs Art with a Capital "A&Quot;: Interview with Noël Carroll. Esthetica.
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  38. Hans Maes (2008). Challenging Partial Intentionalism. Journal of Visual Arts Practice 7 (1):85-94.
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  39. Christy Mag Uidhir (ed.) (2013). Art & Abstract Objects. Oxford University Press.
    TABLE OF CONTENTS Introduction: Art, Metaphysics, & The Paradox of Standards (Christy Mag Uidhir) GENERAL ONTOLOGICAL ISSUES 1. Must Ontological Pragmatism be Self-Defeating? (Guy Rohrbaugh) 2. Indication, Abstraction, & Individuation (Jerrold Levinson) 3. Destroying Artworks (Marcus Rossberg) INFORMATIVE COMPARISONS 4. Artworks & Indefinite Extensibility (Roy T. Cook) 5. Historical Individuals Like Anas platyrhynchos & ‘Classical Gas’ (P.D. Magnus) 6. Repeatable Artworks & Genericity (Shieva Kleinschmidt & Jacob Ross) ARGUMENTS AGAINST & ALTERNATIVES TO 7. Against Repeatable Artworks (Allan Hazlett) 8. How (...)
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  40. Christy Mag Uidhir (2013). Art & Art-Attempts. Oxford University Press.
    Although few philosophers agree about what it is for something to be art, most, if not all, agree that art must be in some sense intention dependent. -/- Christy Mag Uidhir argues that artworks are the products of the attempts (goal-oriented intention-directed activities) in which we engage, and these attempts not only succeed or fail but have products that reflect that success or failure. It is not just that an artwork must be the product of intentional action but rather that (...)
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  41. Christy Mag Uidhir (2013). Art, Metaphysics, & the Paradox of Standards. In , Art & Abstract Objects. Oxford University Press.
    I consider the field of aesthetics to be at its most productive and engaging when adopting a broadly philosophically informative approach to its core issues (e.g., shaping and testing putative art theoretic commitments against the relevant standard models employed in philosophy of language, metaphysics, and philosophy of mind) and to be at its most impotent and bewildering when cultivating a philosophically insular character (e.g., selecting interpretative, ontological, or conceptual models solely for fit with pre-fixed art theoretic commitments). For example, when (...)
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  42. 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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  43. Christy Mag Uidhir (2010). Failed-Art and Failed Art-Theory. Australasian Journal of Philosophy 88 (3):381-400.
    An object being non-art appears only trivially informative. Some non-art objects, however, could be saliently 'almost' art, and therefore objects for which being non-art is non-trivially informative. I call these kinds of non-art objects 'failed-art' objects—non-art objects aetiologically similar to art-objects, diverging only in virtue of some relevant failure. I take failed-art to be the right sort of thing, to result from the right sort of action, and to have the right sort of history required to be art, but to (...)
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  44. André Malraux (1960). The Metamorphosis of the Gods. Garden City, N.Y.,Doubleday.
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  45. John Marmysz (2002). War, Occupation, and Creativity. [REVIEW] Consciousness, Literature and the Arts 3 (2).
    A review of War, Occupation, and Creativity: Japan and East Asia 1920-1960, edited by Marlene Mayo and Thomas Rimer, with H. Eleanor Kerkham.
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  46. Patrick Maynard (2009). Photography. In Robert Hopkins (ed.), A Companion to Aesthetics: The Blackwell Companion to Philosophy, 2d rev. ed. Wiley-Blackwell.
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  47. Patrick Maynard (2005). Drawing Distinctions: The Varieties of Graphic Expression. Cornell University Press.
    First and still only philosophy treatise on drawing, explaining the bases of meaning in all kinds of drawings, including technical and informational, design, child, and art drawings--depictive and nondepictive, East and West--engaging cognitive and developmental psychology, philosophy, art history and criticism. Ca 290 double-columned pp., 92 illus. Reviews include: Philosophy--David Hills, Journal of Aesthetics and Art Criticism 65, no. 2 (Spring 2007): 235-237. Aesthetics--Michael Podro, British Journal of Aesthetics 48, no. 3 (July 2008): 346-347. Art history--Svetlana Alpers, Phi Bet Kappa (...)
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  48. Patrick Maynard (1997). The Engine of Visualization: Thinking Through Photography. Cornell University Press.
    First ever philosophy treatise on photography, analytic in approach but sensitive to photo-history, not confined to aesthetics or art (illus.), Walker Evans photo on cover. Papercover printing, Dec. 2000.
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  49. Diana Tietjens Meyers (2012). Jenny Saville Remakes the Female Nude – Feminist Reflections on the State of the Art. In Peg Brand (ed.), Beauty Unlimited. Indiana University Press.
    Jenny Saville is a leading contemporary painter of female nudes. This paper explores her work in light of theories of gender and embodied agency. Recent work on the phenomenology of embodiment draws a distinction between the body image and the body schema. The body image is your representation of your own body, including your visual image of it and your emotional attitudes towards it. The body schema is comprised of your proprioceptive knowledge, your corporeally encoded memories, and your corporeal proficiency (...)
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  50. Ted Nannicelli (2013). A Philosophy of the Screenplay. Routledge.
    To this end, this volume addresses the fundamental philosophical questions about the nature of the screenplay: What is a screenplay? Is the screenplay art—more specifically, literature? What kind of a thing is a screenplay?
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