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  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. Rudolf Arnheim (1999). Art as Such. British Journal of Aesthetics 39 (3):252-254.
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  3. Sondra Bacharach (2007). The Philosophy of Art. By Davies, Stephen. Journal of Aesthetics and Art Criticism 65 (2):240–242.
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  4. Sondra Bacharach (2002). Can Art Really End? Journal of Aesthetics and Art Criticism 60 (1):57–66.
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  5. George Bailey (1989). Amateurs Imitate, Professionals Steal. Journal of Aesthetics and Art Criticism 47 (3):221-227.
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  6. Moshe Barasch (1985/2000). Theories of Art. Routledge.
    In this volume, the third in his classic series on art theory, Moshe Barasch traces the hidden patterns and interlocking themes in the study of art, from impressionism to abstract art. Barasch details the immense social changes in the creation, presentation, and reception of art which have set the history of art theory on a vertiginous new course: the decreased relevance of workshops and art schools; the replacement of the treatise by the critical review; and the emerging interrelationship between scientific (...)
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  7. Paul Crowther (2007). Defining Art, Creating the Canon: Artistic Value in an Era of Doubt. Oxford University Press.
    Introduction : normative aesthetics and artistic value -- Culture and artistic value -- Cultural exclusion and the definition of art -- Defining art, defending the canon, contesting culture -- The aesthetic and the artistic -- From beauty to art : developing Kant's aesthetics -- The scope and value of the artistic image -- Distinctive modes of imaging -- Twofoldness : pictorial art and the imagination -- Between language and perception : literary metaphor -- Musical meaning and value -- Eternalizing the (...)
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  8. Arthur Coleman Danto (1992). Beyond the Brillo Box: The Visual Arts in Post-Historical Perspective. Farrar Straus Giroux.
    In Danto's view, Andy Warhol's Brillo Box was not only a radical attack on traditional definitions of the art work; it brought the history of Western art to a close. In this collection of interconnected essays, he grapples with this and many more of the most challenging issues in art today, from the problems of contemporary pluralism to the dilemmas of censorship and state support for artists.
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  9. 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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  10. Simon Fokt (2013). Solving Wollheim's Dilemma: A Fix for the Institutional Definition of Art. Metaphilosophy 44 (5):640-654.
    Richard Wollheim threatened George Dickie's institutional definition of art with a dilemma which entailed that the theory is either redundant or incomprehensible and useless. This article modifies the definition to avoid such criticism. First, it shows that the definition's concept of the artworld is not vague when understood as a conventional system of beliefs and practices. Then, based on Gaut's cluster theory, it provides an account of reasons artworld members have to confer the status of a candidate for appreciation. An (...)
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  11. I. Gaskell (2012). Spilt Ink: Aesthetic Globalization and Contemporary Chinese Art. British Journal of Aesthetics 52 (1):1-16.
    In response to globalization, is there to be a single, homogeneous set of aesthetic values governing the production and consumption of art? I focus on a newcomer to globalized contemporary art, China, and argue that artworld art is far from the only art currently being produced. I describe four connected kinds of art currently made in China: Modernist, traditional, and avant-garde, which are artworld art, and mass commercial, which is not. Practices in all four conform to expectations globally that Chinese (...)
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  12. Dominic Mciver Lopes (2007). The Aesthetic Function of Art. Philosophy and Phenomenological Research 75 (2):484–487.
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  13. 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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  14. Raamy Majeed (forthcoming). From Zombie Art to Dead Art. Think.
    Zombie art, or salvage art, are artworks that are damaged beyond repair, deemed ‘no-longer-art’ by insurance companies, and removed from the market and stored at claims inventories due to their purported loss of value. This paper aims to make sense of the notion of zombie art. It then aims to determine whether artefacts that fall under this concept retain any aesthetic value, and whether they can genuinely cease being artworks, i.e. be dead art.
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  15. Patrick Maynard (2007). Review of James Cutting, Impressionism and its Canon. Journal of Aesthetics and Art Criticism 65 (2):246–248.
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  16. Patrick Maynard (1992). Review of Richard Bolton (Ed.), The Contest of Meaning: Critical Histories of Photography. Journal of Aesthetics and Art Criticism 50 (1):68-71.
    Editor's errata: Journal of Aesthetics and Art Criticism 52.2 (Spring 1994): 167.
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  17. Patrick Maynard (1991). Photo-Opportunity. Canadian Review of American Studies 22 (3):501-528.
    Review of literature and independent essay on the 1989 sesquicentennial of photography, winner of Canadian Association for American Studies 1991 award for paper that "best exemplifies the discipline of American Studies".
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  18. Patrick Maynard (1991). Review of J. Kirk Varnedoe, A Fine Disregard: What Makes Modern Art Modern. Journal of Aesthetics and Art Criticism 49 (4):390-392.
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  19. Anita Silvers (1976). The Artwork Discarded. Journal of Aesthetics and Art Criticism 34 (4):441-454.
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