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  1. Philip Alperson (ed.) (1992). The Philosophy of the Visual Arts. Oxford University Press.
    Most instructors who teach introductory courses in aesthetics or the philosophy of arts use the visual arts as their implicit reference for "art" in general, yet until now there has been no aesthetics anthology specifically orientated to the visual arts. This text stresses conceptual and theoretical issues, first examining the very notion of "the visual arts" and then investigating philosophical questions raised by various forms, from painting, the paradigmatic form, to sculpture, photography, film, dance, kitsch, and other forms on the (...)
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  2. Rudolf Arnheim (1984). Notes on Seeing Sculpture. Journal of Aesthetics and Art Criticism 42 (3):319-321.
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  3. Rudolf Arnheim (1948). The Holes of Henry Moore: On the Function of Space in Sculpture. Journal of Aesthetics and Art Criticism 7 (1):29-38.
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  4. A. Berleant (1985). Art, Artistry and Sculpture. [REVIEW] Human Studies 8 (2):183-190.
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  5. Donald Brook (1969). Perception and the Appraisal of Sculpture. Journal of Aesthetics and Art Criticism 27 (3):323-330.
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  6. Chung-yuan Chang (1969). On Stephen C. Pepper's "on the Uses of Symbolism in Sculpture and Painting". Philosophy East and West 19 (3):279-283.
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  7. Paul Crowther (2007). Space, Place, and Sculpture: Working with Heidegger. [REVIEW] Continental Philosophy Review 40 (2):151-170.
    Heidegger’s paper ‘Art and Space’ (1969, Man and world 6. Bloomington: Indiana university Press) is the place where he gives his fullest discussion of a major art medium which is somewhat neglected in aesthetics, namely sculpture. The structure of argument in ‘Art and Space’ is cryptic even by Heidegger’s standards. The small amount of literature tends to focus on the paper’s role within Heidegger’s own oeuvre as an expression of changes in his understanding of space. This is ironic; for Heidegger’s (...)
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  8. Arnold Cusmariu (forthcoming). Baudelaire's Critique of Sculpture. Journal of Aesthetic Education.
    The framework I presented in "The structure of an aesthetic revolution" freed sculpture from the tyranny of common-sense ontology and epistemology and has the wherewithal to withstand Baudelaire’s assault on the aesthetics of the third dimension, as any sound theory should. After making his argument logically explicit and rejecting two possible responses, I explain in detail how paradigm shift rescues the third dimension, illustrating with examples and analyses of my own work. Unique and surprising attributes emerge.
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  9. Arnold Cusmariu (2009). The Structure of an Aesthetic Revolution. Journal of Visual Arts Practice 8 (3):163-179.
    Brought about through philosophical analysis – a first in the history of art – paradigm shifts in the ontology and epistemology of sculpture are described, motivated, and exemplified with pieces they inspired. Navigating the new aesthetic environment requires an ‘escape from Plato's Cave’ by means of a kind of phenomenological reduction. The new conceptual foundation allows artists unprecedented levels of freedom to explore and innovate, connects sculpture to music, and has the potential to enhance significantly the appreciation of art and (...)
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  10. Johan de Smedt & Helen de Cruz (2011). A Cognitive Approach to the Earliest Art. Journal of Aesthetics and Art Criticism 69 (4):379-389.
    This paper takes a cognitive perspective to assess the significance of some Late Palaeolithic artefacts (sculptures and engraved objects) for philosophicalconcepts of art. We examine cognitive capacities that are necessary to produceand recognize objects that are denoted as art. These include the ability toattribute and infer design (design stance), the ability to distinguish between themateriality of an object and its meaning (symbol-mindedness), and an aesthetic sensitivity to some perceptual stimuli. We investigate to what extent thesecognitive processes played a role in (...)
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  11. Eliot S. Deutsch (1965). Śakti in Medieval Hindu Sculpture. Journal of Aesthetics and Art Criticism 24 (1):81-89.
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  12. ErikKoed (2005). Sculpture and the Sculptural. Journal of Aesthetics and Art Criticism 63 (2):147–154.
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  13. Philipp P. Fehl (1973). On the Representation of Character in Renaissance Sculpture. Journal of Aesthetics and Art Criticism 31 (3):291-307.
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  14. Thomas Frangenberg (1995). The Art of Talking About Sculpture: Vasari, Borghini and Bocchi. Journal of the Warburg and Courtauld Institutes 58:115-131.
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  15. Johann Gottfried Herder (2002). Sculpture: Some Observations on Shape and Form From Pygmalion's Creative Dream. University of Chicago Press.
    "The eye that gathers impressions is no longer the eye that sees a depiction on a surface it becomes a hand, the ray of light becomes a finger, and the imagination becomes a form of immediate touching."-Johann Gottfried Herder Long recognized as one of the most important eighteenth-century works on aesthetics and the visual arts, Johann Gottfried Herder's Plastik (Sculpture, 1778) has never before appeared in a complete English translation. In this landmark essay, Herder combines rationalist and empiricist thought with (...)
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  16. Robert Hopkins (2004). Painting, Sculpture, Sight, and Touch. British Journal of Aesthetics 44 (2):149-166.
    I raise two questions that bear on the aesthetics of painting and sculpture. First, painting involves perspective, in the sense that everything represented in a painting is represented from a point, or points, within represented space; is sculpture also perspectival? Second, painting is specially linked to vision; is sculpture linked in this way either to vision or to touch? To clarify the link between painting and vision, I describe the perspectival structure of vision. Since this is the same structure we (...)
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  17. Stephen Houlgate (2007). Hegel on the Beauty of Sculpture. In , Hegel and the Arts. Northwestern University Press.
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  18. Haig Khatchadourian (1974). On the Nature of Painting and Sculpture. British Journal of Aesthetics 14 (4):326-343.
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  19. F. David Martin (1978). Sculpture, Painting, and Damage. Journal of Aesthetics and Art Criticism 37 (1):47-52.
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  20. F. David Martin (1976). The Autonomy of Sculpture. Journal of Aesthetics and Art Criticism 34 (3):273-286.
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  21. Charles W. Millard (1975). Sculpture and Theory in Nineteenth Century France. Journal of Aesthetics and Art Criticism 34 (1):15-20.
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  22. Prithwish Neogy (1969). On Stephen C. Pepper's "on the Uses of Symbolism in Sculpture and Painting". Philosophy East and West 19 (3):284-285.
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  23. Leslie B. Nerio (1969). On Stephen C. Pepper's "on the Uses of Symbolism in Sculpture and Painting". Philosophy East and West 19 (3):286-289.
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  24. Stephen C. Pepper (1969). On the Uses of Symbolism in Sculpture and Painting. Philosophy East and West 19 (3):265-278.
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  25. A. D. Potts (1980). Greek Sculpture and Roman Copies I: Anton Raphael Mengs and the Eighteenth Century. Journal of the Warburg and Courtauld Institutes 43:150-173.
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  26. L. R. Rogers (1984). The Role of Subject-Matter in Sculpture. British Journal of Aesthetics 24 (1):14-26.
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  27. L. R. Rogers (1983). Sculpture, Space and Being Within Things. British Journal of Aesthetics 23 (2):164-168.
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  28. L. R. Rogers (1970). Sculpture: Present and Past. British Journal of Aesthetics 10 (2):180-187.
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  29. Lucien Rudrauf (1949). The Annunciation: Study of a Plastic Theme and its Variations in Painting and Sculpture. Journal of Aesthetics and Art Criticism 7 (4):325-348.
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  30. N. Spivey (2012). The Emergence of the Classical Style in Greek Sculpture. British Journal of Aesthetics 52 (1):107-110.
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  31. Guenther Stern (1944). Homeless Sculpture. Philosophy and Phenomenological Research 5 (2):293-307.
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  32. Robert D. Vance (1995). Sculpture. British Journal of Aesthetics 35 (3):217-226.
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  33. Kenneth R. Westphal (1997). ‘Hegel, Formalism, and Robert Turner’s Ceramic Art’. Jahrbuch für Hegelforschung 3:259–283.
    Hegel’s aesthetic ideal is the perfect integration of form and content within a work of art. This ideal is incompatible with the predominant 20th-century principle of formalist criticism, that form is the sole important factor in a work of art. Although the formalist dichotomy between form and content has been criticized on philosophical grounds, that does not suffice to justify Hegel’s ideal. Justifying Hegel’s ideal requires detailed art criticism that shows how form and content are, and why they should be, (...)
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  34. David Wieck (1969). On Stephen C. Pepper's "on the Uses of Symbolism in Sculpture and Painting". Philosophy East and West 19 (3):290-291.
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  35. Michael Wreen (1985). The Restoration and Reproduction of Works of Art. Dialogue 24 (01):91-.
    In 1972, one of Michelangelo's earliest and best-known Pietàs was attacked by an evident lunatic. Fifteen times it was struck with a ninepound hammer; the Madonna's arm was broken in several places, her nose was knocked off, and her eye and veil were badly chipped. Immediately after the assault, and before knowing precisely what was needed to be replaced, the Director of the Vatican Museum, Redig de Campos, decided that integral restoration was called for.
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  36. Paul Zucker (1945). The Aesthetics of Space in Architecture, Sculpture, and City Planning. Journal of Aesthetics and Art Criticism 4 (1):12-19.
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