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Profile: Peg Brand (Indiana University Purdue University, Indianapolis)
  1. Peg Brand (ed.) (2012). Beauty Unlimited. Indiana University Press.
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  2. Peg Brand (2007). Feminism and Aesthetics. In Linda Alcoff & Eva Feder Kittay (eds.), The Blackwell Guide to Feminist Philosophy. Blackwell Pub..
  3. Peg Brand (2007). Painting the Difference: Sex and Spectator in Modern Art by Harrison, Charles. Journal of Aesthetics and Art Criticism 65 (2):244–246.
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  4. Peg Brand (2006). Feminist Art Epistemologies: Understanding Feminist Art. Hypatia 21 (3):166 - 189.
    Feminist art epistemologies (FAEs) greatly aid the understanding of feminist art, particularly when they serve to illuminate the hidden meanings of an artist's intent. The success of parodic imagery produced by feminist artists (feminist visual parodies, FVPs) necessarily depends upon a viewer's recognition of the original work of art created by a male artist and the realization of the parodist's intent to ridicule and satirize. As Brand shows in this essay, such recognition and realization constitute the knowledge of a well-(in)formed (...)
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  5. Peggy Zeglin Brand (2006). Feminist Art Epistemologies: Understanding Feminist Art. Hypatia 21 (3):166-189.
    : Feminist art epistemologies (FAEs) greatly aid the understanding of feminist art, particularly when they serve to illuminate the hidden meanings of an artist's intent. The success of parodic imagery produced by feminist artists (feminist visual parodies, FVPs) necessarily depends upon a viewer's recognition of the original work of art created by a male artist and the realization of the parodist's intent to ridicule and satirize. As Brand shows in this essay, such recognition and realization constitute the knowledge of a (...)
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  6. Peg Brand (2005). Salon-Haunters. In Sally Scholz & Shannon Mussett (eds.), The Contradictions of Freedom. Suny. 211.
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  7. Peggy Zeglin Brand & Mary Devereaux (2003). Introduction: Feminism and Aesthetics. Hypatia 18 (4).
  8. Peg Zeglin Brand (1999). Beauty Matters. Journal of Aesthetics and Art Criticism 57 (1):1-10.
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  9. Peg Zeglin Brand (1999). Glaring Omissions in Traditional Theories of Art. The Proceedings of the Twentieth World Congress of Philosophy 1999:177-186.
    I investigate the role of feminist theorizing in relation to traditionally-based aesthetics. Feminist artworks have arisen within the context of a patriarchal Artworld dominated for thousands of years by male artists, critics, theorists, and philosophers. I look at the history of that context as it impacts philosophical theorizing by pinpointing the narrow range of the paradigms used in defining “art.” I test the plausibility of Danto’s After the End of Art vision of a post-historical, pluralistic future in which “anything goes,” (...)
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  10. Peg Zeglin Brand & Myles Brand (1999). Surface Interpretation: Reply to Leddy. Journal of Aesthetics and Art Criticism 57 (4):463-465.
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  11. Peggy Zeglin Brand (1998). Disinterestedness and Political Art. In Carolyn Korsmeyer (ed.), Aesthetics: The Big Questions. Blackwell Publishers.
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  12. Peg Brand, Myles Brand, G. E. M. Anscombe, Donald Davidson, John M. Dolan, Peter T. Geach, Thomas Nagel, Barry R. Gross, Nebojsa Kujundzic, Jon K. Mills, Stephen Lester Thompson, Richard J. McGowan, Jennifer Uleman, John D. Musselman, James S. Stramel, Parker English & Torin Alter (1995). Letters to the Editor. Proceedings and Addresses of the American Philosophical Association 69 (2):119 - 131.
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  13. Peg Brand (1994). Definitions of Art. Philosophy and Phenomenological Research 54 (2):492-494.
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  14. Peggy Z. Brand & Carolyn Korsmeyer (eds.) (1994). Feminism and Tradition in Aesthetics. Penn State University Press.
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  15. Peggy Zeglin Brand (1990). The Sense of Art. The Personalist Forum 6 (1):89-91.
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  16. Peggy Zeglin Brand & Carolyn Korsmeyer (1990). Introduction. Journal of Aesthetics and Art Criticism 48 (4):277-280.
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  17. Peggy Zeglin Brand (1982). Lord, Lewis, and the Institutional Theory of Art. Journal of Aesthetics and Art Criticism 40 (3):309-314.
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