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  1. David Carrier (forthcoming). Art History in the Mirror Stage: Interpreting Un Bar aux Folies Bergères. History and Theory.
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  2. David Carrier (forthcoming). Piero Della Francesca and His Interpreters: Is There Progress in Art History? History and Theory.
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  3. David Carrier (2012). Chinese Art: How Different Could It Be From Western Painting? History and Theory 51 (1):116-122.
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  4. David Carrier (2011). Andy Warhol: Sublime Superficiality by Tata, Michael Angelo. Journal of Aesthetics and Art Criticism 69 (3):333-334.
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  5. David Carrier (2011). The Star as Icon: Celebrity in the Age of Mass Consumption (Review). Journal of Aesthetic Education 45 (2):117-119.
    Aestheticians have tended to focus their attention almost exclusively on high art, on museum painting and sculpture, classical music and literature, and architecture, leaving the popular arts to their colleagues in cultural studies. That seems a big mistake, for like it or not, popular movies and television attract enormous audiences everywhere, including very many people who take little interest in high art. This mass art creates stars, actors, and musicians who are so famous that everyone recognizes them. And celebrities such (...)
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  6. David Carrier (2010). Elective Affinities and Their Philosophy. History and Theory 49 (1):139-146.
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  7. David Carrier (2009). A World Art History and its Objects. Penn State University Press.
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  8. David Carrier (2009). Proust/Warhol: Analytical Philosophy of Art. Peter Lang.
    Introduction -- Ch. 1. The search for Proust's and Warhol's sources -- Ch. 2. Dramatically opposed styles of art making -- Ch. 3. Defining art -- Ch. 4. Elstir's studio/Warhol's factory -- Ch. 5. Queer art making -- Ch. 6. The value of art -- Ch. 7. Art fashion -- Acknowledgments -- Bibliography.
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  9. David Carrier (2008). Constructive Postmodernism: Toward Renewal in Cultural and Literary Studies (Review). Journal of Aesthetic Education 42 (3):p. 122.
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  10. David Carrier (2007). How Can Art History Use its History? History and Theory 46 (3):468–476.
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  11. David Carrier (2007). L'estetica di Danto è davvero così generale corne pretende di essere? Rivista di Estetica 47 (35):45-66.
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  12. David Carrier (2007). Reply to My Commentators. Journal of Aesthetic Education 41 (2):22-24.
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  13. David Carrier (2005). Artforum, Andy Warhol, and the Art of Living: What Art Educators Can Learn From the Recent History of American Art Writing. Journal of Aesthetic Education 39 (1):1-12.
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  14. David Carrier (2005). Seeing Cultural Conflicts. Journal of Aesthetic Education 39 (3):115-120.
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  15. David Carrier (2004). The Beauty of Henri Matisse. Journal of Aesthetic Education 38 (2):80-87.
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  16. David Carrier (2003). In Praise of Connoisseurship. Journal of Aesthetics and Art Criticism 61 (2):159-169.
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  17. David Carrier (2003). New York Art, Pittsburgh Art, Art. Journal of Aesthetic Education 37 (3):99-104.
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  18. David Carrier (2003). Remembering the Past: Art Museums as Memory Theatres. Journal of Aesthetics and Art Criticism 61 (1):61–65.
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  19. David Carrier (2003). Sublime Poussin. Common Knowledge 9 (1):167-167.
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  20. David Carrier (2002). Rosalind Krauss and American Philosophical Art Criticism: From Formalism to Beyond Postmodernism. Praeger.
    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.
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  21. David Carrier (2001). Art Museums, Old Paintings, and Our Knowledge of the Past. History and Theory 40 (2):170–189.
    Art museums frequently remove old paintings from their original settings. In the process, the context of these works of art changes dramatically. Do museums then preserve works of art? To answer this question, I consider an imaginary painting, The Travels and Tribulations of Piero's Baptism of Christ, depicting the history of display of Piero della Francesca's Baptism of Christ. This example suggests that how Piero's painting is seen does depend upon its setting. According to the Intentionalist, such changes in context (...)
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  22. David Carrier (2001). Walter Pater's" Winckelmann". Journal of Aesthetic Education 35 (1):99-109.
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  23. David Carrier (1998). Introduction: Danto and His Critics: After the End of Art and Art History. History and Theory 37 (4):1–16.
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  24. David Carrier (1996). Gombrich and Danto on Defining Art. Journal of Aesthetics and Art Criticism 54 (3):279-281.
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  25. David Carrier (1995). Reply to Jonathan Gilmore. Journal of Aesthetics and Art Criticism 53 (4):426-429.
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  26. David Carrier (1994). The Aesthete in the City: The Philosophy and Practice of American Abstract Painting in the 1980s. Penn State University Press.
    Carrier surveys the developments within theory during the 1980s, focusing on constructive critical analysis of the work of Jean Baudrillard, Walter Benjamin, T. J. Clark, and Jacques Derrida.
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  27. David Carrier (1993). Art and its Canons. The Monist 76 (4):524-534.
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  28. David Carrier (1993). Why Art History has a History. Journal of Aesthetics and Art Criticism 51 (3):299-312.
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  29. David Carrier (1989). Book Reviews. [REVIEW] British Journal of Aesthetics 29 (1):84-85.
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  30. David Carrier (1989). Erwin Panofsky, Leo Steinberg, David Carrier: The Problem of Objectivity in Art Historical Interpretation. Journal of Aesthetics and Art Criticism 47 (4):333-347.
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  31. David Carrier (1989). Winckelmann and Pater, Morelli and Freud: The Tropics of Art Historical Discourse. History of the Human Sciences 2 (1):19-38.
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  32. David Carrier (1988). Art's Spectators. Journal of Aesthetics and Art Criticism 46 (3):419-420.
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  33. David Carrier (1988). Book-Reviews. British Journal of Aesthetics 28 (1):84-85.
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  34. David Carrier (1988). Gavin Hamilton's Oath of Brutus and David's Oath of the Horatii. The Monist 71 (2):197-213.
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  35. David Carrier (1987). Ekphrasis and Interpretation: Two Modes of Art History Writing. British Journal of Aesthetics 27 (1):20-31.
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  36. David Carrier (1987). Naturalism and Allegory in Flemish Painting. Journal of Aesthetics and Art Criticism 45 (3):237-249.
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  37. David Carrier (1986). Art and its Spectators. Journal of Aesthetics and Art Criticism 45 (1):5-17.
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  38. David Carrier (1986). Book Reviews. [REVIEW] British Journal of Aesthetics 26 (3):84-85.
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  39. David Carrier (1986). Cogitamus Ergo Sumus. The Monist 69 (4):521-533.
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  40. David Carrier (1986). The Presentness of Painting: Adrian Stokes as Aesthetician. Critical Inquiry 12 (4):753.
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  41. David Carrier (1985). Art and its Preservation. Journal of Aesthetics and Art Criticism 43 (3):291-300.
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  42. David Carrier (1985). Derrida as Philosopher. Metaphilosophy 16 (2-3):221-234.
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  43. David Carrier (1984). On Narratology. Philosophy and Literature 8 (1):32-42.
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  44. David Carrier (1983). Interpreting Musical Performances. The Monist 66 (2):202-212.
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  45. David Carrier (1983). Review. [REVIEW] Metaphilosophy 14 (1):72–74.
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  46. David Carrier (1982). Art Without its Artists? British Journal of Aesthetics 22 (3):233-244.
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  47. David Carrier (1981). Allegories of Reading: Figural Language in Rousseau, Nietzsche, Rilke, and Proust (Review). Philosophy and Literature 5 (1):124-125.
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  48. David Carrier (1980). Paintings, Conceptual Art, and Persons. Philosophical Studies 37 (2):187 - 195.
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  49. David Carrier (1979). Art Wothout its Objects? British Journal of Aesthetics 19 (1):53-62.
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  50. David Carrier (1979). Nietzsche, Henry James, and the Artistic Will (Review). Philosophy and Literature 3 (2):240-241.
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