Machine generated contents note: Introduction: The Rise of Philosophical Art Criticism 1 -- Chapter 1. In the Beginning Was Formalism 17 -- Chapter 2. The Structuralist Adventure 33 -- Chapter 3. The Historicist, Antiessentialist Definition of Art 55 -- Chapter 4. Resentment and Its Discontents 71 -- Chapter 5. The Deconstruction of Structuralism 87 -- Afterword: The Fate of Philosophical Art Criticism 111.
Since the mid-1980s, Arthur C. Danto has been increasingly concerned with the implications of the demise of modernism. Out of the wake of modernist art, Danto discerns the emergence of a radically pluralistic art world. His essays illuminate this novel art world as well as the fate of criticism within it. As a result, Danto has crafted the most compelling philosophy of art criticism since Clement Greenberg. Gregg Horowitz and Tom Huhn analyze the constellation of philosophical and critical (...) elements in Danto's new- Hegelian art theory. In a provocative encounter, they employ themes from Kantian aesthetics to elucidate the continuing persistence of taste in shaping even this most sophisticated philosophy of art. (shrink)
How have the theories of aesthetics which were worked out in europe evolved in america? are there widely differing standpoints between european and american aestheticians? what herrmann tried to do, to shed light on these questions, was to look over the issues of "the journal of aesthetics and art criticism" since 1941. thomas munro, a pupil of john dewey and founder of the journal tried to provide in the united states a broader and more open-ended and undogmatic platform for (...) aesthetics including such separate disciplines as philosophy, psychology, and cultural history. this interdisciplinary approach was an important part of his campaign against an a priori aesthetics. once this encyclopedic view concerning art and its theoretical understanding is adopted, one is in a position to go beyond the one-sided, partial, and dogmatic attitude in aesthetics that often dominates in european journals. the author concludes by considering an example that is closely related to contemporary aesthetics as well as to the present american scene. what is the reason that there have been so few articles on these contemporary art movements? (shrink)
About the Author James Elkins is E.C. Chadbourne Chair in the Department of Art History, Theory, and Criticism at the School of the Art Institute of Chicago. His many books include Pictures and Tears, How to Use Your Eyes, and What Painting Is, all published by Routledge. Michael Newman teaches in the Department of Art History, Theory, and Criticism at the School of the Art Institute of Chicago, and is Professor of Art Writing at Goldsmiths College in the (...) University of London. His publications include the books Richard Prince: Untitled (couple) and Jeff Wall, and he is co-editor with Jon Bird of Rewriting Conceptual Art. (shrink)
In the strong or radical sense, the creation of a work of art succeeds, as Kant said, in exhibiting originality that is exemplary and unteachable. The creative artist generates new and valuable outcomes. He or she accomplishes this in a way that is neither predictable before it ..
What implications does goodman's "languages of art" have for the theory and practice of art criticism? to account for the cognitive value of pictorial representations, It apparently requires to be supplemented by a concept of depiction, Or indefinite reference. For goodman's theory of expression to be convincing, Criteria are needed to discriminate exemplification in goodman's sense from the mere possession of labels. Some of the fundamental criteria of evaluation very widely used by art critics do not seem to be (...) those called for, Or authorized, By goodman's sketchy but highly significant theory of aesthetic value. (shrink)
This paper explores the dialogue between Collingwood and Guido de Ruggiero on art and art criticism. The sense of identity of these two activities, it will be argued, can be understood only if one considers the criticism of living art: The art of one who also creates, who through a critical process transforms an outline into a work of art. Thus understood a work of art belongs to the life of the spirit, if considered from the dimension of (...) becoming. Only by reliving the past can it be transformed, yet this requires an understanding of the map of human experience. This is what constitutes specular phenomenology, a phenomenology reflected in the mirror of art and scientific analysis. (shrink)
As a criterion for judging avant-garde art, newness has been regarded as more important than excellence. kermode's single venture into art criticism, "objects, jokes & art," suggests this search for the new has led to a trivialisation of art. ideas from his more recent literary criticism such as "the classic" could be applied to avant-garde art, providing a non-reactionary means of assessing value on the basis of a work's openness to a plurality of interpretations. this would offer an (...) alternative reading of the history of modern art, opposed to formalist and reductionist views of the modernist continuum. (shrink)
Roland Barthes, the French critic and semiotician, was one of the most important critics and essayists of this century. His work continues to influence contemporary literary theory and cultural studies. Image-Music-Text collects Barthes's best writings on photography and the cinema, as well as fascinating articles on the relationship between images and sound. Two of Barthes's most important essays, "Introduction to the Structural Analysis of Narrative" and "The Death of the Author" are also included in this fine anthology, an excellent introduction (...) to his thought. These essays, as selected and translated by Stephen Heath, are among the finest writings Barthes ever published on film and photography, and on the phenomena of sound and image. The classic pieces "Introduction to the Structural Analysis of Narrative" and "The Death of the Author" are also included. (shrink)
The goal of this paper is methodological. It offers a comprehensive mapping of the theoretical positions on the ethical criticism of art, correcting omissions and inadequacies in the conceptual framework adopted in the current debate. Three principles are recommended as general guidelines: ethical amenability, basic value pluralism, and relativity to ethical dimension. Hence a taxonomy distinguishing between different versions of autonomism, moralism, and immoralism is established, by reference to criteria that are different from what emerging in the current literature. (...) The mapping is then proved capable of (1) locating the various theories that have been proposed so far and clarifying such theories’ real commitments, (2) having the correct relationship with actual art making and art criticism practices, and (3) showing the real weight of the alleged counter-example to a moralist position of a work that succeeds artistically because of its immorality. (shrink)
The several ways of access to artworks and their various ways of presentation play a main part in the current situation of art. It is time for philosophical thought to take them into account. These remarks aim to clarify this situation, and to draw some of it consequences, from a philosophical view intended to incorporate into our concept of art its different ways of activation. The art factory has more than one trick up one's sleeve, and criticism can be (...) also caught out. We need a change in artworks ontology. (shrink)
Much contemporary art seems morally out of control. Yet, philosophers seem to have trouble finding the right way to morally evaluate works of art. The debate between autonomists and moralists, I argue, has turned into a stalemate due to two mistaken assumptions. Against these assumptions, I argue that the moral nature of a work's contents does not transfer to the work and that, if we are to morally evaluate works we should try to conceive of them as moral agents. Ethical (...) autonomism holds that art's autonomy consists in its demand that art appreciators take up an artistic attitude. A work's agency then is in how it merits their audiences' attitudinal switch. Ethical autonomism allows for the moral assessment of art works without giving up their autonomy, by viewing artistic merit as a moral category and art-relevant moral evaluation as having the form of art criticism. (shrink)
This book presents an innovative analysis of the role of imagination as a central concept in both literary and art criticism. Dee Reynolds brings this approach to bear on works by Rimbaud, Mallarme;, Kandinsky, and Mondrian. It allows her to redefine the relationship between Symbolism and abstract art, and to contribute new methodological perspectives to comparative studies of poetry and painting. The late nineteenth and early twentieth century was a crucial period in the emergence of new modes of representation, (...) and is currently at the forefront of critical enquiry. This is the first book to examine Symbolism and abstraction in this way, and the first to treat these poets and painters together. It is an original contribution to interdisciplinary scholarship in art history, literary history, and comparative aesthetics. (shrink)
A timely and philosophically significant contribution to modern aesthetics featuring some of the best contemporary work in philosophical studies of literature, moral beliefs, and thinking in art Reflects the importance of a moral life of engagement with works of art Forms part of the prestigious New Directions in Aesthetics series, which confronts the most intriguing problems in aesthetics and the philosophy of art today.
The emergence of Abstract Expressionism as a predominant artistic style in the early 1950s was accompanied by a new critical image of the artist as a heroic individualist. This myth, according to which the artist created great works primarily by looking into the profound depths of his own soul rather than by responding to the world and society around him, has become the standard description of the Abstract-Expressionist artistic process. By such an account, the Abstract-Expressionist artist was an apolitical being, (...) unconcerned with the conflicts in society due to his overriding concern with the explorations of the self. This treatment of Abstract Expressionism began with the writing of two critics, Clement Greenberg and Harold Rosenberg. (shrink)