Art and Artworks

Edited by Nicholas Riggle (University of San Diego)
Related categories

1096 found
Order:
1 — 50 / 1096
Material to categorize
  1. How to Understand the Completion of Art.Patrick Grafton‐Cardwell - 2020 - Journal of Aesthetics and Art Criticism 78 (2):197-208.
    There are a number of recent discussions on the question of when an artwork is complete. While it has been observed that a work might be complete in one way and not in another, the impact of this observation has been minimal. Discussion has been continued as if there is only one real sense of completion that matters. I argue that this is a mistake. Even if there were only one (or one most important) kind of completion, extant theories of (...)
    Remove from this list   Direct download (3 more)  
     
    Export citation  
     
    Bookmark  
  2. Works of Art and Mere Real Things—Again.Ivan Gaskell - 2020 - British Journal of Aesthetics 60 (2):131-149.
    Citing works by Marcel Duchamp and others, this article argues that the transformation of what Danto termed a mere real thing into an artwork, and of an artwork into a mere real thing, are not symmetrical operations. It argues that mere real things and artworks not only belong to different categories, but that these categories are themselves of different kinds—the former being closed, and the latter open. Viewing mere real things through the lens of art leads to confusion. Amending Goodman’s (...)
    Remove from this list   Direct download (3 more)  
     
    Export citation  
     
    Bookmark  
  3. Fatal Prescription.Nils-Hennes Stear - 2020 - British Journal of Aesthetics 60 (2):151-163.
    Ethicism is the most comprehensively defended answer to the question regarding whether ethical properties determine aesthetic properties in artworks. According to ethicism, aesthetically relevant ethical flaws in artworks count as aesthetic flaws and aesthetically relevant ethical merits count as aesthetic merits. In this paper, I argue that ethicism’s most significant argument, the Merited Response Argument suffers from an ambiguity that makes it either unsound or uninteresting. Specifically, the notion of an artwork’s ‘prescribing’ a response, central to MRA, is ambiguous between (...)
    Remove from this list   Direct download (3 more)  
     
    Export citation  
     
    Bookmark   1 citation  
  4. The Historical Ontology of Art.Rafael De Clercq - 2020 - Philosophical Quarterly 70 (279).
    In this article, I argue that our ontology of art has undergone a major change in the course of modern history. While we currently think of artworks as parts arranged in a certain way, there was a time when artworks were thought of as metaphysically more akin to ordinary artefacts such as tables and chairs; that is, as wholes having replaceable parts. This change in our ontology of art is reflected in our approach to art restoration. But what explains the (...)
    Remove from this list   Direct download (3 more)  
     
    Export citation  
     
    Bookmark  
  5. Bodies of Work.Kevin Melchionne - 2020 - British Journal of Aesthetics 60 (1):1-11.
    Conversations about art often include broad statements about the stature of artists. Such statements raise questions about the best way to look at the bodies of work of artists. Like individual works of art, bodies of work are artistic objects worthy of appreciation. Through the body of work, we are better able to engage the aspects of creativity that require a long-term perspective. This long-term perspective allows us to look for a range of aesthetic qualities not readily evident in individual (...)
    Remove from this list   Direct download (3 more)  
     
    Export citation  
     
    Bookmark  
  6. QATIPANA: Devenir e Individuación sobre los encuentros entre los aparatos técnicos y sistemas naturales en el arte Latinoamericano.Renzo Filinich Orozco - manuscript
    This essay unfolds on the fundamental question that invariably dominates today's discussions, about new technology and its ability to have a transformative effect in all areas of contemporary life and in human beings themselves. Obviously, the true qualitative novelty of the technological advances that occur before our eyes lies not only in the emergence of new artistic practices related to one or another scientific research. Its essence consists in the fact that these practices, when interacting with each other, begin to (...)
    Remove from this list   Direct download  
    Translate
     
     
    Export citation  
     
    Bookmark  
  7. Seeing Double: Assessing Kendall Walton’s Views on Painting and Photography.Campbell Rider - 2019 - Undergraduate Philosophy Journal of Australasia 1 (1):37-47.
    In this paper I consider Kendall Walton’s provocative views on the visual arts, including his approaches to understanding both figurative and nonfigurative painting. I introduce his central notion of fictionality, illustrating its advantages in explaining the phenomenon of ‘perceptual twofoldness’. I argue that Walton’s position treats abstract artwork reductively, and I outline two essential components of our aesthetic encounters with the nonfigurative that Walton excludes. I then offer some criticisms of his commitment to photographic realism, emphasising its theoretical inconsistencies with (...)
    Remove from this list   Direct download  
     
    Export citation  
     
    Bookmark  
  8. Are Some Perfumes Works of Art?Chiara Brozzo - 2020 - Journal of Aesthetics and Art Criticism 78 (1):21-32.
    Remove from this list   Direct download (3 more)  
     
    Export citation  
     
    Bookmark  
  9. Spur, Zeugnis und Imagination: Der Erkenntniswert von Dokumentarfilmen.Íngrid Vendrell-Ferran - 2020 - Zeitschrift für Ästhetik Und Allgemeine Kunstwissenschaft 65 (1).
    In diesem Aufsatz argumentiere ich für die These, dass alle Dokumentarfilme darauf abzielen, uns Erkenntnis über einen Aspekt der Realität zu vermitteln. Dieser These zufolge sind Dokumentarfilme – im Unterschied zu anderen Filmgattungen – der Wirklichkeit verpflichtet. Vor diesem Hintergrund sollen in diesem Aufsatz zwei Aspekte genauer untersucht werden: zum einen, wie der kognitive Wert von Dokumentarfilmen genauer zu verstehen ist, und zum anderen, inwiefern ausgehend von diesem epistemischen Aspekt Unterscheidungskriterien zwischen Dokumentarfilmen und anderen Filmgattungen entwickelt werden können. Der Aufsatz (...)
    Remove from this list  
    Translate
     
     
    Export citation  
     
    Bookmark  
  10. Jealousy and the Sense of Self: Unamuno and the Contemporary Philosophy of Emotion.Íngrid Vendrell-Ferran - forthcoming - Philosophy and Literature.
    This paper explores jealousy in Unamuno’s drama El otro. Drawing on contemporary philosophy of emotion, I will argue that for the Spanish author jealousy gives the subject a sense of self. The paper begins by embedding Unamuno’s philosophical anthropology in the context of contemporary emotion theory. It then presents the drama as an investigation into the affective dimension of self-identity. The third section offers an analysis of jealousy as an emotion of self-assessment. The final section discusses how this drama can (...)
    Remove from this list  
     
    Export citation  
     
    Bookmark  
  11. The Work of Art in a Pragmatist Perspective, Between Somaesthetics and Techno-Aesthetics.Dario Cecchi - 2019 - Aisthesis. Pratiche, Linguaggi E Saperi Dell’Estetico 12 (2):87-99.
    John Dewey puts aesthetic experience at the center of his reflection on art and beauty, reconsidering it dynamically. Nowadays, this view opened the path to somaesthetics, a term coined by Richard Shusterman, and aesthetic anthropology. Here, it is argued that the contribution of pragmatist aesthetics could be further developed by exploring its analogies with techno-aesthetics, a paradigm proposed by French philosopher Gilbert Simondon in the early 1980s. Art occupies accordingly a special place within the different forms of aesthetic experience, being (...)
    Remove from this list   Direct download (2 more)  
     
    Export citation  
     
    Bookmark  
  12. Geoengineering the Climate and Ethical Challenges: What We Can Learn From Moral Emotions and Art.Sabine Roeser, Behnam Taebi & Neelke Doorn - forthcoming - Critical Review of International Social and Political Philosophy:1-18.
  13. Introduction: The Place of Beauty in Contemporary Aesthetics.Ingrid Vendrell Ferran & Wolfgang Huemer - 2019 - In Wolfgang Huemer & Íngrid Vendrell Ferran (eds.), Beauty. New Essays in Aesthetics and the Philosophy of Art. München, Deutschland:
    The notion of beauty has endured a troublesome history over the last few decades. While for centuries beauty has been considered one of the central values of art, there have also been times when it seemed old-fashioned to even mention the term. The present volume aims to explore the nature of beauty and to shed light its place in contemporary philosphy and art practice.
    Remove from this list   Direct download  
     
    Export citation  
     
    Bookmark  
  14. Games and the Art of Agency.C. Thi Nguyen - 2019 - Philosophical Review 128 (4):423-462.
    Games may seem like a waste of time, where we struggle under artificial rules for arbitrary goals. The author suggests that the rules and goals of games are not arbitrary at all. They are a way of specifying particular modes of agency. This is what make games a distinctive art form. Game designers designate goals and abilities for the player; they shape the agential skeleton which the player will inhabit during the game. Game designers work in the medium of agency. (...)
    Remove from this list   Direct download (3 more)  
     
    Export citation  
     
    Bookmark   2 citations  
  15. Ways of Making, Seeing and Thinking About Art: Art Expression and Art Education.Alexandra Mouriki-Zervou, Antonis Vaos & Alexandra Mouriki - 2009 - International Journal of the Arts in Society: Annual Review 4 (2):207-216.
    In this paper we argue that the arts (visual arts) constitute a kind of an expressive gesture (as conceived by the French philosopher M. Merleau-Ponty), and on the basis of this hypothesis, we shall try to show that they can fulfill the presuppositions required to be addressed in comprehensive and meaningful school programs. Our central argument is that artistic activity is an expressive activity par excellence: it is an “advent”, an original operation, i.e., which, constitutes a sign as a sign, (...)
    Remove from this list  
     
    Export citation  
     
    Bookmark  
  16. Metamorphoses of Aesthetics (Μεταμορφώσεις της αισθητικής) (in greek).Alexandra Mouriki - 2005 - Athens, Greece: Nefeli (2nd edition).
    Why does aesthetics matter in aesthetic education? What are the issues that this area of philosophy deals with, and what kind of questions does it raise in relation to art and the experience one has when s/he comes into contact with a work of art? Moreover, how can aesthetic theory provide sufficient justification for establishing aesthetic education as an autonomous and important field in education? In addressing these fundamental questions, the author: A) follows the development of aesthetics as a series (...)
    Remove from this list   Direct download  
    Translate
     
     
    Export citation  
     
    Bookmark  
  17. Enriching Arts Education Through Aesthetics. Experiential Arts Integration Activities for Early Primary Education.Marina Sotiropoulou-Zormpala & Alexandra Mouriki - 2019 - London, UK: Routledge.
    Enriching Arts Education through Aesthetics examines the use of aesthetic theory as the foundation to design and implement arts activities suitable for integration in school curricula in pre-school and primary school education. This book suggests teaching practices based on the connection between aesthetics and arts education and shows that this kind of integration promotes enriched learning experiences. -/- The book explores how the core ideas of four main aesthetic approaches – the representationalist, the expressionist, the formalist, and the postmodernist – (...)
    Remove from this list   Direct download (2 more)  
     
    Export citation  
     
    Bookmark  
  18. Art et nature dans l'esthétique phénoménologique française. M. Merleau-Ponty et M. Dufrenne : La rencontre du logos philosophique ave le logos de l'art.Alexandra Mouriki-Zervou - 1989 - Dissertation,
    Cette thèse essaie de montrer que la pensée phénoménologique de Μ. Merleau-Ponty et de M. Dufrenne suit cette direction de la dernière pensée de Husserl qui descend vers la nature, vers cette élément résistant à la phénoménologie, auquel la phénoménologie tendra à assurer sa place. En essayant de penser l'impense husserlien, M. Merleau-Ponty et M. Dufrenne arriveront à l'idée de la nature en tant qu'originaire, matrice de possibles, champ général de l'être qui est en perpétuel devenir et qui, donc, ne (...)
    Remove from this list   Direct download  
    Translate
     
     
    Export citation  
     
    Bookmark  
  19. Artistic Crimes and Misdemeanours.David Davies - 2019 - British Journal of Aesthetics 59 (3):305-321.
    Denis Dutton claimed that, to grasp why it matters to the artistic value of a painting like The Disciples at Emmaus that it was painted by van Meegeren in the first half of the twentieth century rather than by Vermeer in the seventeenth century, we need to locate what van Meegeren did in a wider class of ‘artistic crimes’ involving ‘misrepresented artistic performances’. I begin by clarifying how the notions of ‘artistic performance’ and ‘misrepresentation’ are to be understood in the (...)
    Remove from this list   Direct download (5 more)  
     
    Export citation  
     
    Bookmark  
  20. Beyond the Imagery: The Encounters of Kierkegaard and Dostoevsky with an Image of the Dead Christ.Wojciech Kaftanski - 2014 - Dostoevsky Journal. An Independent Review 14 (1): 110–129.
    Through an analysis of Kierkegaard’s and Dostoevsky’s approaches to the theme of the death of Christ – one of the major leitmotifs in the debate of their contemporaries conveyed through theological and philosophical considerations, but also expressed in novels and in art – I show how the thinkers comprehended and articulated in their works the religious challenges awaiting the modern man.
    Remove from this list   Direct download  
     
    Export citation  
     
    Bookmark  
  21. The Authority of Pleasure.Keren Gorodeisky - 2019 - Noûs 53 (4):1-22.
    The aim of the paper is to reassess the prospects of a widely neglected affective conception of the aesthetic evaluation and appreciation of art. On the proposed picture, the aesthetic evaluation and appreciation of art are non-contingently constituted by a particular kind of pleasure. Artworks that are valuable qua artworks merit, deserve, and call for a certain pleasure, the same pleasure that reveals (or at least purports to reveal) them to be valuable in the way that they are, and constitutes (...)
    Remove from this list   Direct download (5 more)  
     
    Export citation  
     
    Bookmark   1 citation  
  22. De la Trascendencia del Arte, Un Ensayo para el Arte Crítico.Markel Kortabarria - 2019 - Bilbao, Biscay, Spain: Hýbris.
    Remove from this list   Direct download  
    Translate
     
     
    Export citation  
     
    Bookmark  
  23. Dilema (ne)definovateľnosti umenia [The Dilemma of (Un)definability of Art].Lukáš Makky - 2019 - Espes 8 (2):7-19.
    The current form and transformation of artistic practice in the 20th and 21st century caused some estrangement of the recipient and the art. The current discourse is therefore dominated by some distrust in defining the criteria of contemporary art, or even the dilemma of whether or not art has to be defined at all, mostly under the influence of Morris Weitz. Arthur Danto very aptly reminds that there is currently no way to distinguish art from objects that are not art, (...)
    Remove from this list   Direct download (2 more)  
    Translate
     
     
    Export citation  
     
    Bookmark  
  24. Od definice ke kritice [From Definition to Criticism].David Skalický - 2019 - Espes 8 (2):20-26.
    What is the sense of the question “What is art?” It may seem that the only adequate answer will be the effort to define the notion of art, that is, the exclusive purpose of this question is the classification of art, encompassing all artifacts regarded as works of art and distinguishing them from those do not belong to art. The study points to the connection between our classification of artifacts and our evaluation and understanding of them. It also recalls reflections (...)
    Remove from this list   Direct download (2 more)  
    Translate
     
     
    Export citation  
     
    Bookmark  
  25. The Second Half of the Readymade Century.Dieter Daniels - 2019 - Nordic Journal of Aesthetics 28 (57-58):141-157.
    The readymades conceived and selected by Marcel Duchamp be- tween the years 1914–1917 have, with very few exceptions, not survived until the present day as ‘original.’ A variety of forms, in- cluding documentary photos, objects chosen and approved later by Duchamp as well as remakes of the historical objects comprise the readymades’ legacy. Duchamp’s remakes of his readymades as a limited edition of multiples from 1964, commemorating the 50-year anniversary of his selection of the Bottle Dryer in 1914, mark the (...)
    Remove from this list   Direct download (2 more)  
     
    Export citation  
     
    Bookmark  
  26. The Property of Knowledge.David Joselit - 2019 - Nordic Journal of Aesthetics 28 (57-58):158-165.
    We can note three phases in the tradition of the readymade and appropriation since Duchamp’s Bicycle Wheel of 1913. First, they include early enactments in which the readymade posed an onto- logical challenge to artworks through the equation of commodity and art object. Second, practices in which readymades were de- ployed semantically as lexical elements within a sculpture, paint- ing, installation or projection. In a third phase, which most directly encompasses the global, the appropriation of objects, images, and other forms (...)
    Remove from this list   Direct download (2 more)  
     
    Export citation  
     
    Bookmark   1 citation  
  27. Shrink to Expand: The Readymades Through the Large Glass.Jacob Wamberg - 2019 - Nordic Journal of Aesthetics 28 (57-58):109-140.
    Departing from Duchamp’s advice in 1961 of finding the “com- mon factor” between the non-representative and the representa- tive, translated here into modernism and avant-garde, this article seeks to understand the readymades as objects that have passed metaphorically through Duchamp’s magnum opus, the unfinished Large Glass. More precisely, the readymades are seen as mass-produced utensils that have been stripped bare of their usual function, i.e. their actualization, in order to regain potentiali- ty. Mapping Giorgio Agamben’s interpretation of Herman Melville’s short (...)
    Remove from this list   Direct download (2 more)  
     
    Export citation  
     
    Bookmark  
  28. The Story of Fountain: Hard Facts and Soft Speculation.Thierry de Duve - 2019 - Nordic Journal of Aesthetics 28 (57-58):10-47.
    Thierry de Duve’s essay is anchored to the one and perhaps only hard fact that we possess regarding the story of Fountain: its photo in The Blind Man No. 2, triply captioned “Fountain by R. Mutt,” “Photograph by Alfred Stieglitz,” and “THE EXHIBIT REFUSED BY THE INDEPENDENTS,” and the editorial on the facing page, titled “The Richard Mutt Case.” He examines what kind of agency is involved in that triple “by,” and revisits Duchamp’s intentions and motivations when he created the (...)
    Remove from this list   Direct download (2 more)  
     
    Export citation  
     
    Bookmark  
  29. “That Very Funny Article,” Pollyperruque, and the 100th Anniversary of Duchamp’s Fountain.Thomas Girst - 2019 - Nordic Journal of Aesthetics 28 (57-58):48-64.
    Within half a century, the status of Duchamp’s readymades changed from iconoclastic object to iconic sculpture. This contribution focusses on two of Duchamp’s readymades, one from 1915 and thus dated at the very beginning of Duchamp’s occupation with this subject matter, while the other is dated 1967, the very last object to enter this particular category within Duchamp’s oeuvre. André Breton remarked that “future generations can do no less than make a systematic effort to go back the stream of Duchamp’s (...)
    Remove from this list   Direct download (2 more)  
     
    Export citation  
     
    Bookmark  
  30. Connecting Threads: Duchamp’s Readymades and Large Glass Project in Context, 1913—14.Linda Dalrymple Henderson - 2019 - Nordic Journal of Aesthetics 28 (57-58):65-86.
    In 1963 Duchamp described his vertical installation of three Readymades at the Pasadena Art Museum as “readymade talk of what goes on in the Large Glass.” Elsewhere, he spoke of the Readymades as “vehicles for unloading ideas,” and during the years 1912-15 his mind was filled with ideas as he invented the “playful physics” for his techno-scientific allegory of quest, The Bride Stripped Bare by Her Bachelors, Even [The Large Glass]. This essay argues that the “ideas” being unloaded in the (...)
    Remove from this list   Direct download (2 more)  
     
    Export citation  
     
    Bookmark  
  31. Necessity of Origins and Multi-Origin Art.Joshua Spencer & Chris Tillman - 2019 - Inquiry: An Interdisciplinary Journal of Philosophy 62 (7):741-754.
    ABSTRACTThe Necessity of Origins is the thesis that, necessarily, if a material object wholly originates from some particular material, then it could not have wholly originated from any significantly non-overlapping material. Several philosophers have argued for this thesis using as a premise a principle that we call ‘Single Origin Necessity’. However, we argue that Single Origin Necessity is false. So any arguments for The Necessity of Origins that rely on Single Origin Necessity are unsound. We also argue that the Necessity (...)
    Remove from this list   Direct download (6 more)  
     
    Export citation  
     
    Bookmark  
  32. Ontology and Transmedial Games.Christopher Bartel - 2018 - In Jon Robson & Grant Tavinor (eds.), The Aesthetics of Videogames. New York, NY, USA: pp. 9-23.
    Some theorists claim that games are “transmedial”, meaning that the same game can be played in different media. It is unclear, however, what are the limits of transmedial games. Are all games in-principle transmedial, or only some? One suggestion offered by Jesper Juul is that, if games are understood as sets of rules, then a game is transmedial if its rules can be either implemented or adapted into some new media. I argue against this view on the grounds that the (...)
    Remove from this list   Direct download (2 more)  
     
    Export citation  
     
    Bookmark  
  33. Attentional Engines: A Perceptual Theory of the Arts.William P. Seeley - 2020 - New York, NY, USA: Oxford University Press.
    What is it about art that can be so captivating? How is it that we find value in the often odd and abstract objects and events we call artworks? William P. Seeley proposes that artworks are attentional engines. They are artifacts that have been intentionally designed to direct attention to critical stylistic features that reveal their point, purpose, or meaning. In developing this view, Seeley argues that there is a lot we can learn about the value of art from interdisciplinary (...)
    Remove from this list  
     
    Export citation  
     
    Bookmark  
  34. The Carpenter as a Philosopher Artist: A Critique of Plato's Theory of Mimesis.Ilemobayo John Omogunwa - 2018 - Philosophy Pathways 222 (1).
    Plato’s theory of mimesis is expressed clearly and mainly in Plato’s Republic where he refers to his philosophy of Ideas in his definition of art, by arguing that all arts are imitative in nature. Reality according to him lies with the Idea, and the Form one confronts in this tangible world is a copy of that universal everlasting Idea. He poses that a carpenter’s chair is the result of the idea of chair in his mind, the created chair is once (...)
    Remove from this list   Direct download (3 more)  
     
    Export citation  
     
    Bookmark  
  35. Myths of Complexity.Claudia Westermann - 2011 - Design Ecologies 1 (2):267-284.
    The following article takes up a dialogue that was initiated in the first issue of Design Ecologies, evolving in relation to questions of design within a context of concepts of complexity. As the first part of the article shows, this process of taking up a dialogue – through reading and writing – can be considered a question of design. This is elaborated alongside de Certeau’s concepts of ‘tactics’ and ‘strategies’. Further, in relation to questions emerging from the previous issue of (...)
    Remove from this list   Direct download (2 more)  
     
    Export citation  
     
    Bookmark  
  36. Resonances of the Unknown.Claudia Westermann - 2011 - Kybernetes 40 (7/8):1189-1195.
    Purpose – The purpose of this paper is to discuss the relevance of second-order cybernetics for a theory of architectural design and related discourse. -/- Design/methodology/approach – First, the relation of architectural design to the concept of “poiesis” is clarified. Subsequently, selected findings of Gotthard Günther are revisited and related to an architectural poetics. The last part of the paper consists of revisiting ideas mentioned previously, however, on the level of a discourse that has incorporated the ideas and offers a (...)
    Remove from this list   Direct download (2 more)  
     
    Export citation  
     
    Bookmark  
  37. Autonomy in Children: Accessing the Inaccessible Space in Essex County Vol. 1: Tales From the Farm.Maria Botero - 2017 - In Jeff McLaughlin (ed.), Graphic Novels as Philosophy. Jackson, MS, USA: pp. p. 64-86.
    Traditional theories of autonomy argue for rational agents who are free to make decisions about the moral law and justice. Adopting these theories entails that children lack of autonomy; they are not fully developed rational agents, and, because of that, they are unable to engage in the complex cognitive capacities required by autonomy, such as critical self-reflection or substantive independence. Amy Mullin who, as part of a new area of philosophy called Philosophy of Childhood, argues for granting children minimal or (...)
    Remove from this list  
     
    Export citation  
     
    Bookmark  
  38. Using Things as Art.Darren Hudson Hick - 2019 - Grazer Philosophische Studien 96 (1):56-80.
    Remove from this list   Direct download (2 more)  
     
    Export citation  
     
    Bookmark   1 citation  
  39. What the Mona Lisa and a Screwdriver Have in Common.Amrei Bahr - 2019 - Grazer Philosophische Studien 96 (1):81-104.
    Remove from this list   Direct download (3 more)  
     
    Export citation  
     
    Bookmark  
  40. Critica, tendencia y propaganda. Textos sobre arte y comunismo 1917-1954.Juan José Gómez Gutiérrez - 2008 - Sevilla, España: ISTPART Doble J.
    Esta historia de la relación entre arte y comunismo a través de los escritos de sus principales exponentes abarca el periodo comprendido entre la Revolución de Octubre y el fin del estalinismo e incluye una amplia selección de escritos teóricos, directivas políticas, manifiestos, etc., muchos de ellos inéditos hasta ahora en castellano. El volumen comienza con ejemplos de la relación entre las vanguardias artísticas y el Partido Comunista; continúa con las diferentes formulaciones de la cultura socialista ante la estabilización del (...)
    Remove from this list   Direct download  
    Translate
     
     
    Export citation  
     
    Bookmark  
  41. The PCI Artists. Antifascism and Communism in Italian Art. 1944-1953.Juan José Gómez Gutiérrez - 2015 - Newcastle upon Tyne, Reino Unido: Cambridge Scholars Publishers.
    This book examines the artistic policies of the Italian Communist Party (PCI) during the early post-war years (1944-1951), after the defeat of Fascism in Europe and the outbreak of the Cold War. It brings together theoretical debates on artists’ political engagement and an extensive critical apparatus, providing the reader with an historical framework for wider reflections on the relationship between art and politics.
    Remove from this list   Direct download  
     
    Export citation  
     
    Bookmark  
  42. Batallas culturales en torno al clasicismo.Juan José Gómez Gutiérrez - 2008 - Fragmentos de Filosofía 6 (6):115-142.
    Los valores fascistas calaron, de un modo u otro, en todas las manifestaciones del arte italiano de entreguerras. Sin embargo, no todas las manifestaciones del arte fascista fueron el resultado de nacionalismo exacerbado, provincialismo y aislacionismo. Los conceptos de ‘romanità’, ‘italianità’, ‘latinità, o ‘mediterraneità’, que caracterizaban la producción cultural italiana de esos años, actuaron originalmente como matriz de estilos diferentes y susceptibles de diversas interpretaciones.
    Remove from this list   Direct download  
    Translate
     
     
    Export citation  
     
    Bookmark  
  43. The Politics of Abstract Art. Forma 1 and the Italian Communist Party.Juan José Gómez Gutiérrez - 2012 - Cercles. Revista D’Història Cultural 15 (15):111-135.
    Este artículo examina el papel del grupo de artistas abstractos Forma 1 en relación con la política cultural del Partido Comunista Italiano durante la posguerra, como ejemplo de los intentos de superar la dicotomía establecida en Italia entre arte abstracto y realismo socialista y producir una alternativa a la confrontación entre ambos discursos estéticos. Mientras los artistas realistas socialistas subrayaban la necesidad de expresar contenidos políticos explícitos con un estilo que asegurase su máxima legibilidad para una audiencia de masas, los (...)
    Remove from this list   Direct download  
     
    Export citation  
     
    Bookmark  
  44. Picasso en Italia, 1936-1948. Del Guernica al arte socialista.Juan José Gómez Gutiérrez - 2016 - Goya 356 (356):252-263.
    Remove from this list   Direct download  
    Translate
     
     
    Export citation  
     
    Bookmark  
  45. Suprematismo Y revolución. Arte moderno Y política contemporánea.Juan José Gómez Gutiérrez - 2016 - Kriterion: Journal of Philosophy 57 (134):485-504.
    RESUMEN Este artículo examina la estética suprematista en relación con teorías políticas contemporáneas sobre la revolución y la transformación social. El punto de partida del suprematismo es la destrucción de la realidad objetiva como acto liberador. Aunque diversos autores contemporáneos del campo de la teoría política conciben el arte tcomo producción de sentimientos que actúan como puntos de partida de la acción y el compromiso. Ambas perspectivas se entrelazan en el concepto de 'revolución': la liberación de la representación totalitaria y (...)
    Remove from this list   Direct download (2 more)  
    Translate
     
     
    Export citation  
     
    Bookmark  
  46. Políticas del urbanismo lúdico. Contracultura y ciudad del situacionismo al neohistoricismo (1943-1989).Juan José Gómez Gutiérrez - 2017 - Arquitectura, Ciudad y Entorno 12 (35):121-136.
    Este artículo ofrece una introducción histórica a la teoría y la práctica situacionista en conexión con la arquitectura funcionalista, las economías urbanas, ejemplos de acción política contracultural y su reincorporación a las lógicas de organización tecnocrática de las ciudades. Ello permite definir, desde una perspectiva histórica, algunas claves interpretativas de los rasgos ideológicos y económicos fundamentales de los sistemas urbanos contemporáneos, lo cual, a su vez puede establecer un contexto desde el que reflexionar sobre las posibilidades actuales de un urbanismo (...)
    Remove from this list   Direct download  
    Translate
     
     
    Export citation  
     
    Bookmark  
  47. The Garden as Art: A New Space for the Garden in Contemporary Aesthetics.John Francis Powell - 2017 - Dissertation,
    Western art gardens have enjoyed a chequered relationship with philosophical aesthetics. At different times, they have been both lauded and rejected as exemplars of art, and, for most of the last 150 or so years, they have been largely ignored. However, during the last 25 years, there has been a welcome resurgence of philosophical interest in such gardens. This study situates the work stemming from this revival of interest in its historical context and assesses its adequacy in accounting for gardens (...)
    Remove from this list  
     
    Export citation  
     
    Bookmark  
  48. George Kubler and the Biological Metaphor of Art.Bence Nanay - 2018 - British Journal of Aesthetics 58 (4):423-434.
    George Kubler was one of the most important art historians of the twentieth century who is especially relevant today mainly for shifting the emphasis from high art to what is now known as ‘visual culture’ and for being the first genuinely global art historian. But what he has been most widely known for is the rejection of the biological metaphor of art—the general idea that artistic styles and movements grow, flower and then wither away. I argue that Kubler did not (...)
    Remove from this list   Direct download (3 more)  
     
    Export citation  
     
    Bookmark  
  49. Évolution Et Création Artistique : De L’Art Évolutionniste.Ancuta Mortu - 2018 - Nouvelle Revue D’Esthétique 21 (1):143.
    Remove from this list   Direct download (2 more)  
     
    Export citation  
     
    Bookmark  
  50. Pourquoi conserver les œuvres d’art et le patrimoine?Roger Pouivet - 2018 - Nouvelle Revue D’Esthétique 21 (1):109.
    Remove from this list   Direct download (2 more)  
    Translate
     
     
    Export citation  
     
    Bookmark  
1 — 50 / 1096