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Profile: Peg Brand (Indiana University Purdue University, Indianapolis)
  1. 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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  2.  2
    Peggy Z. Brand & Carolyn Korsmeyer (eds.) (1994). Feminism and Tradition in Aesthetics. Penn State University Press.
  3. Peggy Zeglin Brand & Carolyn Korsmeyer (1990). Introduction. Journal of Aesthetics and Art Criticism 48 (4):277-280.
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  4.  27
    Peg Zeglin Brand (1999). Beauty Matters. Journal of Aesthetics and Art Criticism 57 (1):1-10.
    Beauty has captured human interest since before Plato, but how, why, and to whom does beauty matter in today's world? Whose standard of beauty motivates African Americans to straighten their hair? What inspires beauty queens to measure up as flawless objects for the male gaze? Why does a French performance artist use cosmetic surgery to remake her face into a composite of the master painters' version of beauty? How does beauty culture perceive the disabled body? Is the constant effort to (...)
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  5. Peggy Zeglin Brand (1998). Disinterestedness and Political Art. In Carolyn Korsmeyer (ed.), Aesthetics: The Big Questions. Blackwell Publishers
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  6.  20
    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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  7.  58
    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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  8.  52
    Peggy Zeglin Brand & Mary Devereaux (2003). Introduction: Feminism and Aesthetics. Hypatia 18 (4).
  9.  14
    Peggy Zeglin Brand (1990). The Sense of Art. The Personalist Forum 6 (1):89-91.
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  10.  12
    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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  11.  4
    Peg Zeglin Brand (2015). The Role of Luck in Originality and Creativity. Journal of Aesthetics and Art Criticism 73 (1):31-55.
    In this article I explore the concept of originality from several viewpoints. Within the world of printmaking, I show that while print dealers may draw attention to originality in order to enhance economic value, artists emphasize the aesthetic value of a work based on the freedom to express artistic intent and to experiment with techniques of the medium. Within the worlds of philosophy and to some extent, psychology, “originality” has been misleadingly tied to the notions of “creativity” and “genius,” thereby (...)
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  12.  18
    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.  19
    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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  14.  11
    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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  15.  3
    Peg Brand (1994). Definitions of Art. Philosophy and Phenomenological Research 54 (2):492-494.
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  16.  1
    Peg Brand (2005). Salon-Haunters. In Sally Scholz & Shannon Mussett (eds.), The Contradictions of Freedom. Suny 211.
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  17.  2
    Peg Brand (ed.) (2012). Beauty Unlimited. Indiana University Press.
    Emphasizing the human body in all of its forms, Beauty Unlimited expands the boundaries of what is meant by beauty both geographically and aesthetically. Peg Zeglin Brand and an international group of contributors interrogate the body and the meaning of physical beauty in this multidisciplinary volume. This striking and provocative book explores the history of bodily beautification; the physicality of socially or culturally determined choices of beautification; the interplay of gender, race, class, age, sexuality, and ethnicity within and on the (...)
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  18. Peg Zeglin Brand (ed.) (2012). Beauty Unlimited. Indiana University Press.
    Emphasizing the human body in all of its forms, Beauty Unlimited expands the boundaries of what is meant by beauty both geographically and aesthetically. Peg Zeglin Brand and an international group of contributors interrogate the body and the meaning of physical beauty in this multidisciplinary volume. This striking and provocative book explores the history of bodily beautification; the physicality of socially or culturally determined choices of beautification; the interplay of gender, race, class, age, sexuality, and ethnicity within and on the (...)
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  19. Peg Zeglin Brand (ed.) (2012). Beauty Unlimited. Indiana University Press.
    Emphasizing the human body in all of its forms, Beauty Unlimited expands the boundaries of what is meant by beauty both geographically and aesthetically. Peg Zeglin Brand and an international group of contributors interrogate the body and the meaning of physical beauty in this multidisciplinary volume. This striking and provocative book explores the history of bodily beautification; the physicality of socially or culturally determined choices of beautification; the interplay of gender, race, class, age, sexuality, and ethnicity within and on the (...)
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  20. Peg Brand (2007). Feminism and Aesthetics. In Linda Alcoff & Eva Feder Kittay (eds.), The Blackwell Guide to Feminist Philosophy. Blackwell Pub.
  21. Marsha Meskimmon, Peg Brand & Mary Devereaux (2006). Women Making Art: History, Subjectivity, Aesthetics. Journal of Aesthetics and Art Criticism 64 (3):384-387.
     
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