Bookmark and Share

Art and Artworks

Edited by Nicholas Riggle (New York University)
Related categories
Subcategories:
361 found
Search inside:
(import / add options)   Sort by:
1 — 50 / 361
Material to categorize
  1. G. D. D. (1964). The Heaven of Invention. Review of Metaphysics 17 (3):474-474.
    Remove from this list | Direct download  
     
    My bibliography  
     
    Export citation  
  2. G. D. D. (1963). Art and Existentialism. Review of Metaphysics 16 (4):800-800.
    Remove from this list | Direct download  
     
    My bibliography  
     
    Export citation  
  3. Daniel Dahlstrom (1987). Panofsky and the Foundations of Art History. Review of Metaphysics 40 (3):579-580.
    Remove from this list | Direct download (3 more)  
     
    My bibliography  
     
    Export citation  
  4. Jonathan Goldberg (1976). Quattrocento Dematerialization: Some Paradoxes in a Conceptual Art. Journal of Aesthetics and Art Criticism 35 (2):153-168.
    Remove from this list | Direct download (4 more)  
     
    My bibliography  
     
    Export citation  
  5. Simon J. Hayhoe, An Enquiry Into Passive and Active Exclusion From Unreachable Artworks in the Museum: Two Case Studies of Final-Year Students at California School for the Blind Studying Artworks Through Galleries and on the Web.
    Two case studies of students from California School for the Blind studying artworks in museums and on the Web are discussed. The analysis focuses on the traditional understanding that unreachable artworks in the museum are deciphered by non-intellectual elites primarily from the perspective of visual perception and museums are simple vessels of art, as contended by Ernst Gombrich and Pierre Bourdieu, and that exclusion is either passive or active. It is also argued that there is a bridge between sensing an (...)
    Remove from this list | Direct download (3 more)  
     
    My bibliography  
     
    Export citation  
  6. Jesus Maria Ilundain-Agurruza (2000). ...In the Realms of Art: A Conceptual Inquiry of the Genesis of the Work of Art. Dissertation, University of Illinois at Urbana-Champaign
    The thesis is concerned with the creation and origin of the work of art. It attempts to explain the unique metaphysical status of artworks as cultural products. The genesis of the work of art, which I understand to be collaborative and deeply historical in nature, is analyzed using a framework that resorts to both philosophical traditions, analytic and continental, as well as to art history and sociology. I argue that the work of art is actualized when the artistic object is (...)
    Remove from this list |
     
    My bibliography  
     
    Export citation  
  7. R. L. J. (1961). O Nekotorykh Osobennostjakh Khudozhestvennogo Otrazhenija Dejstvitel' Nosti (On Certain Special Aspects of the Reflection of Reality in Art.). Review of Metaphysics 14 (4):723-723.
    Remove from this list | Direct download  
     
    My bibliography  
     
    Export citation  
  8. 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 (...)
    Remove from this list | Direct download (5 more)  
     
    My bibliography  
     
    Export citation  
  9. 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.
    Remove from this list |
    Translate to English
    |
     
    My bibliography  
     
    Export citation  
  10. 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” (...)
    Remove from this list | Direct download (3 more)  
     
    My bibliography  
     
    Export citation  
  11. Carl Matheson & Ben Caplan (2009). Modality, Individuation, and the Ontology of Art. Canadian Journal of Philosophy 38 (4):491-517.
    Remove from this list | Direct download (7 more)  
     
    My bibliography  
     
    Export citation  
  12. 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 (...)
    Remove from this list | Direct download (2 more)  
     
    My bibliography  
     
    Export citation  
  13. Cristian Nae (2011). Artistic Autonomy in the “Post-Medium Condition” of Art: Conceptual Artworks as Performative Interventions. Meta 3 (2):431-449.
    The present text tackles the old problem of artistic autonomy given the constitutive heteronomy of post-conceptual artistic practices in terms of their medium-specificity. Instead of considering the idea of artistic autonomy as a modernist prejudice to be discarded, I suggest that it may be revised as the performative autonomy of discourse against ideological uses of language, given that conceptual art is considered as practice and activity rather than the production of objects. Resistance may be itself redefined as the performative re-articulation (...)
    Remove from this list |
     
    My bibliography  
     
    Export citation  
  14. José Ortega Y. Gasset (2009). Over kunstkritiek. Nexus 52:123-128.
    In een tafelrede, uitgesproken in 1925, wijst de Spaanse filosoof José Ortega y Gasset zijn vriend, kunstcriticus Juan de la Encina, op de problemen waar een criticus voor komt te staan in de moderne tijd. De criticus heeft niet langer de beschikking over een vaste code aan de hand waarvan hij de kwaliteit van een kunstwerk kan bepalen. In plaats daarvan ziet hij zich geconfronteerd met een verandering die zich in de opvattingen van de mensen heeft voorgedaan. In de huidige (...)
    Remove from this list |
    Translate to English
    |
     
    My bibliography  
     
    Export citation  
  15. José Ortega Y. Gasset (2007). La Deshumanización Del Arte. Espasa.
    Ligado directamente a la dinámica de los movimientos renovadores del arte que surgieron en la España de los años veinte, el texto de Ortega y Gasset ofrece unas perspectivas más amplias y entronca con la renovación de la estética y la historia del arte que había iniciado la tradición teórica e historiográfica alemana a finales del siglo XIX. Ofrecemos, además otros escritos que, como «¿Una exposición Zuloaga?», «La Gioconda», «Diálogo sobre el arte nuevo», «Ensayo de estética a manera de prólogo» (...)
    Remove from this list |
    Translate to English
    | Direct download  
     
    My bibliography  
     
    Export citation  
  16. Lisa P. Schoenberg (2000). The Ascription of Identity: The Work of Art in Practice and Theory. Dissertation, Temple University
    My dissertation examines how controversies about how artworks should be treated-whether visual artworks should be restored, whether the owners of black-and-white films should be allowed to colorize those films, and whether musicians should be allowed to use samples of other musicians' compositions in their own works---arise out of conflicting theoretical and cultural ideas about the ontology and identity of artworks. I argue that theorists who attempt to resolve these conflicts through foundational philosophy, who attempt to fix the nature of the (...)
    Remove from this list |
     
    My bibliography  
     
    Export citation  
  17. 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; ...
    Remove from this list | Direct download  
     
    My bibliography  
     
    Export citation  
  18. Robert Stecker (2001). Artworks. Mind 110 (438):565-569.
    Remove from this list |
     
    My bibliography  
     
    Export citation  
  19. Kelly Trogdon & Paisley Livingston (forthcoming). Artwork Completion: A Response to Gover. Journal of Aesthetics and Art Criticism.
    Remove from this list | Direct download (2 more)  
     
    My bibliography  
     
    Export citation  
  20. Nicholas Wolterstorff (1985). Art In Realist Perspective. Idealistic Studies 15 (2):87-99.
    Remove from this list | Direct download (4 more)  
     
    My bibliography  
     
    Export citation  
  21. David Mcmillan Woodruff (1996). A Non-Physicalist Ontology of Art Objects. Dissertation, Syracuse University
    I develop and defend the claim that all works of art are abstract entities, universals which may have multiple instances. In defending this claim I attempt to use aesthetic values in determining what will be an adequate theory. Two problems face universalism. The transitivity problem and the claim that it is inconsistent with our aesthetic experience and our resulting value of works of art. The basis of the naive universalist position, that if two art works look exactly alike then they (...)
    Remove from this list |
     
    My bibliography  
     
    Export citation  
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 (...)
    Remove from this list | Direct download (2 more)  
     
    My bibliography  
     
    Export citation  
  2. T. Adajian (2008). Subjects and Objects: Art, Essentialism, and Abstraction. British Journal of Aesthetics 48 (3):356-357.
    Remove from this list | Direct download (4 more)  
     
    My bibliography  
     
    Export citation  
  3. F. Antal (1952). The Moral Purpose of Hogarth's Art. Journal of the Warburg and Courtauld Institutes 15 (3/4):169-197.
    Remove from this list | Direct download (4 more)  
     
    My bibliography  
     
    Export citation  
  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.
    Remove from this list | Direct download (3 more)  
     
    My bibliography  
     
    Export citation  
  5. A. B. (1963). Zen in Japanese Art-A Way of Spiritual Experience. Review of Metaphysics 16 (4):801-801.
    Remove from this list | Direct download  
     
    My bibliography  
     
    Export citation  
  6. Jay E. Bachrach (1973). Richard Wollheim and the Work of Art. Journal of Aesthetics and Art Criticism 32 (1):108-111.
    Remove from this list | Direct download (4 more)  
     
    My bibliography  
     
    Export citation  
  7. George Bailey (1989). Amateurs Imitate, Professionals Steal. Journal of Aesthetics and Art Criticism 47 (3):221-227.
    Remove from this list | Direct download (4 more)  
     
    My bibliography  
     
    Export citation  
  8. James Baird (1957). Creating Art. Review of Metaphysics 11 (1):108 - 121.
    Remove from this list | Direct download (3 more)  
     
    My bibliography  
     
    Export citation  
  9. 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.
    Remove from this list | Direct download (3 more)  
     
    My bibliography  
     
    Export citation  
  10. 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.
    Remove from this list |
     
    My bibliography  
     
    Export citation  
  11. 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 (...)
    Remove from this list | Direct download  
     
    My bibliography  
     
    Export citation  
  12. 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 (...)
    Remove from this list |
    Translate to English
    | Direct download (4 more)  
     
    My bibliography  
     
    Export citation  
  13. 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.
    Remove from this list | Direct download  
     
    My bibliography  
     
    Export citation  
  14. Antoon Braeckman (2004). From the Work of Art to Absolute Reason. Review of Metaphysics 57 (3):551 - 569.
    Remove from this list | Direct download (4 more)  
     
    My bibliography  
     
    Export citation  
  15. John B. Brough (2006). The Paradoxes of Art. Review of Metaphysics 59 (4):895-897.
    Remove from this list | Direct download (4 more)  
     
    My bibliography  
     
    Export citation  
  16. Mabs Buck (2002). A Theory of Art. Australasian Journal of Philosophy 80 (2).
    Remove from this list | Direct download  
     
    My bibliography  
     
    Export citation  
  17. V. C. C. (1957). On Painting. Review of Metaphysics 10 (3):534-534.
    Remove from this list | Direct download  
     
    My bibliography  
     
    Export citation  
  18. V. C. C. (1957). On Painting. Review of Metaphysics 10 (3):534-534.
    Remove from this list | Direct download  
     
    My bibliography  
     
    Export citation  
  19. V. C. C. (1957). The Mirror of Art. Review of Metaphysics 10 (3):535-535.
    Remove from this list | Direct download  
     
    My bibliography  
     
    Export citation  
  20. V. C. C. (1956). The Dehumanization of Art and Other Writings on Art and Culture. Review of Metaphysics 10 (1):182-182.
    Remove from this list | Direct download  
     
    My bibliography  
     
    Export citation  
  21. Tomás N. Castro (2013). Um Corpo em Presença. Uma Aproximação a Marina Abramović. Philosophica 42:189-198.
    Describing some of Marina Abramović’s performances, this essay aims to provide one possible philosophical framework in what concerns this form of art. The scope of presence in Abramović is enlighten by employing some vocabulary from a certain body poetics into the embodiment reflection, and ontological issues in performance come out when thinking about re-performance possibilities.
    Remove from this list |
    Translate to English
    | Direct download  
     
    My bibliography  
     
    Export citation  
  22. Francis J. Coleman (1964). Liking and Approving of a Work of Art. Review of Metaphysics 17 (4):568 - 576.
    Remove from this list | Direct download (3 more)  
     
    My bibliography  
     
    Export citation  
  23. B. Cooke (2011). Work and Object: Explorations in the Metaphysics of Art. British Journal of Aesthetics 51 (4):443-446.
    Remove from this list | Direct download (6 more)  
     
    My bibliography  
     
    Export citation  
  24. 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 (...)
    Remove from this list | Direct download (6 more)  
     
    My bibliography  
     
    Export citation  
  25. 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.
    Remove from this list | Direct download (9 more)  
     
    My bibliography  
     
    Export citation  
  26. 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 (...)
    Remove from this list | Direct download (6 more)  
     
    My bibliography  
     
    Export citation  
  27. 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 (...)
    Remove from this list |
     
    My bibliography  
     
    Export citation  
  28. 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 (...)
    Remove from this list | Direct download  
     
    My bibliography  
     
    Export citation  
  29. 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 (...)
    Remove from this list | Direct download (6 more)  
     
    My bibliography  
     
    Export citation  
1 — 50 / 361