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  1. Zen in Japanese Art-A Way of Spiritual Experience. [REVIEW]B. A. - 1963 - Review of Metaphysics 16 (4):801-801.
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  2. Art and Inquiry.G. A. - 1976 - Review of Metaphysics 29 (4):741-741.
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  3. Culture and Art: An Anthology.Lars Aagaard-Mogensen (ed.) - 1976 - Humanities Press.
    Danto, A. The artworld.--Dickie, G. What is art?--Margolis, J. Works of art are physically embodied and culturally emergent entities.--Kjørup, S. Art broadly and wholly conceived.--Meyer, L. B. Forgery and the anthropology of art.--Brunius, T. Theory and ideologies in aesthetics.--Tilghman, B. R. Artistic puzzlement.--Binkley, T. Deciding about art.--Alexander, H. G. On defining in aesthetics.--Iseminger, G. Appreciation, the artworld, and the aesthetic.--Glickman, J. Creativity in the arts.--Sclafani, R. The theory of art.--Lyas, C. Danto and Dickie on art.--Beardsley, M. C. Is art essentially (...)
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  4. Creation Ex Nihilo: André Malraux and the Concept of Artistic Creation.Derek Allan - manuscript
    One might naturally suppose that philosophers of art would take a strong interest in the idea of creation in the context of art. In fact, this has often not been the case. In analytic aesthetics, the issue tends to dwell on the sidelines and in continental aesthetics a shadow has sometimes been cast over the topic by the notion of the “death of the author” and by the claim, as Roland Barthes put it, that the author is only ever able (...)
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  5. The Moral Purpose of Hogarth's Art.F. Antal - 1952 - Journal of the Warburg and Courtauld Institutes 15 (3/4):169-197.
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  6. Art as Such.Rudolf Arnheim - 1999 - British Journal of Aesthetics 39 (3):252-254.
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  7. Creating Art.James Baird - 1957 - Review of Metaphysics 11 (1):108 - 121.
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  8. Commissioning the Work: From Singular Authorship to Collective Creatorship. Bantinaki - 2016 - Journal of Aesthetic Education 50 (1):16-33.
    A specific type of collaboration has become prevalent in contemporary art: in this type of collaboration—henceforth, commissioning—an artist assigns the production of the work of art to skilled craftsmen or unskilled workers, directing their labor through instructions or blueprints. Commissioning has been accepted by the art world as a legitimate mode of artistic production—legitimate in the sense that it does not undermine the authenticity of the work as a creation of the artist, even if she has not laid a hand (...)
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  9. The Morality of Artistic Production.Cyril Barrett - 1982 - Journal of Aesthetics and Art Criticism 41 (2):137-144.
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  10. Art and Value. [REVIEW]Christopher Bartel - 2005 - British Journal of Aesthetics 45 (1):94-96.
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  11. Antagonism and Relational Aesthetics.Claire Bishop - 2004 - October 110:51-79.
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  12. Note on the Cover Artist.K. Bortsova - 2012 - British Journal of Aesthetics 52 (4):441-441.
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  13. Feminist Art Epistemologies: Understanding Feminist Art.Peg Brand - 2006 - 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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  14. Philosophie: Eine Einführung.Reinhard Brandt - 2001 - Reclam.
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  15. The Dynamic Phenomenon of Art in Heidegger's The Origin of the Work of Art.Aili Bresnahan - 2009 - American Society for Aesthetics Graduate E-Journal 1 (2):1-8.
    This paper makes the claim that in “The Origin of the Work of Art,” Heidegger treats art as a primary phenomenon through which truth as unhiddenness is revealed at the locus of the work of art. Essays by Heidegger commentators John Bruin and Abraham Mansbach are rejected as inaccurate or insupportable because they do not recognize that for Heidegger art is an originating phenomenon; it is not a mode of representation , nor is the agency of “art” due to the (...)
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  16. Institutions and Deviance: Art and Psychiatry.Laurie Calhoun - 1994 - Critical Review 8 (3):393-409.
    Deviance is esteemed in the art world, and all great artists have broken with the traditions that preceded them and rebelled against their contemporaries. Yet in society deviance is more often than not condemned. Our apparently contradictory attitudes toward artistic and social deviance are explicable in light of the conservative nature of institutions and the nature of comprehensibility and psychiatry.
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  17. Mark Rothko and Romy Castro.Paulo Alexandre E. Castro (ed.) - 2014 - Thephilosophersbookcompany & Createspace.
    This book is about what Mark Rothko and Romy Castro think about painting. The bottom line placed here is: what is matter for a painter? What they want to communicate with their art? And how they do it? This book seeks to uncover some of the secrets that are in minds painters. In the backgrond, waht unites, apparently, two such different artists is the way they establish intimacy with matter, even that a concept of matter or intimacy may assume and (...)
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  18. Repatriation and the Concept of Inalienable Possession.Elizabeth Coleman - 2010 - In Michael John Pickering & Paul Turnbull (eds.), The Long Way Home. Berghan Books.
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  19. La fabrique de l'art.Jean-Pierre Cometti - 2011 - Aisthesis: Pratiche, Linguaggi E Saperi Dell’Estetico 4 (2).
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  20. Art or Forgery? The Strange Case of Han Van Meegeren.Preston K. Covey - unknown
    The appreciation or historical study of visual art depends crucially on assumptions or claims that given art works can be attributed to given artists in given periods; both the appreciation and history of art presuppose a methodology of attribution and a theory of evidence; and these are open to philosophic question and analysis. Apparently straighforward, deceptively prosaic empirical questions of attribution (By whom was a given work created and when? ) are themselves often influenced by judgments of aesthetic value (as (...)
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  21. Psychologism About Artistic Plans: A Response to Rohrbaugh.Wesley D. Cray - 2018 - Journal of Aesthetics and Art Criticism 76 (1):101-104.
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  22. Panofsky and the Foundations of Art History.Daniel Dahlstrom - 1987 - Review of Metaphysics 40 (3):579-580.
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  23. SEEKING PHILOSOPHY BY WORDS 1 ART and META-ART.Ulrich De Balbian - 2017 - Oxford: Academic Publishers.
    ABSTRACT -/- One increasingly reads about different aspects of the death of philosophy. One reason or cause being its institutionalization, as just another academic discipline, while research universities demand their tenured professionals to produve endless streams of really irrelevant publications, resulting in dealing with more detailed, microscopic issues and fabricated ‘problems’. The professionalization of philosophers created other problems of this socio-cultural practice. The dying out of philosophy is not only cased by external social and cultural factors, but also by internal (...)
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  24. Anatomías inefables.Noemi de Haro García & María G. Navarro - 2013 - In Anclajes. Gas Natural Fenosa. pp. 22-27.
    Ante estas obras de Victoria Diehl es fácil pensar en conocidos modelos anatómicos en cera o en la iconografía de Venus y Evas de las que un vistazo rápido a cualquier libro de historia del arte nos mostraría múltiples variantes. Algo de todo ello hay aquí. Pero también hay algo que hace que los espectadores se detengan a pensar. Algo más allá de lo reconocible que hace que las lenguas del pasado se muevan a un ritmo actual. Hermes, al trasladar (...)
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  25. Pictorial Orientation Matters.John Dilworth - 2003 - British Journal of Aesthetics 43 (1):39-56.
    Issues concerning the spatial orientation of pictures play an important, though previously neglected, role in an adequate understanding of the nature and identity of visual artworks and other pictures. Using a previous contrast ('Artworks Versus Designs', BJA Vol. 41, No. 4, October 2001), I show that differing orientations of a design naturally give rise to distinct pictures, which may be appropriated as distinct artworks by a discerning artist--which also shows that such artworks cannot be types, since they share a common (...)
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  26. Artworks Versus Designs.John Dilworth - 2001 - British Journal of Aesthetics 41 (2):162-177.
    I propose a distinction between design intentions, activities and products, as opposed to artistic intentions, activities and artworks. Examples of design products would include a specific type of car (or any other invention or device) as well as closer relatives of art such as decorative wall designs. In order to distinguish artistic from design intentions, I present an example in which two sculptors independently work on a single object to produce two sculptures, which are distinct just because the artistic intentions (...)
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  27. Han Van Meegeren.Denis Dutton - manuscript
    The most notorious and celebrated forger of the twentieth century, Han van Meegeren (1889-1947), was born in the Dutch town of Deventer. He was fascinated by drawing as a child, and pursued it despite his father’s disapproval, sometimes spending all his pocket money on art supplies. In high school he was able finally to receive professional instruction, and went on to study architecture, according to his father’s wishes. In 1911 he married Anna de Voogt. His artistic talents were recognized when (...)
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  28. 9/11 as Schmaltz-Attractor: A Coda on the Significance of Kitsch.C. E. Emmer - 2013 - In Monica Kjellman-Chapin (ed.), Kitsch: History, Theory, Practice. Cambridge Scholars Press. pp. 184-224.
    "The concluding chapter, penned by C. E. Emmer, both revisits and greatly expands upon disputations within the contested territory of kitsch as term and tool in cultural turf-war arsenals. Focusing on debates surrounding two visual responses to the terrorist attacks on September 11, 2001, Dennis Madalone's 2003 music video for the patriotic anthem 'America We Stand As One' and Jenny Ryan's 'plushie' sculpture, 'Soft 9/11,' Emmer utilizes these debates to reveal the coexisting and competing attitudes towards ostensibly kitschy objects and (...)
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  29. Crowther and the Kantian Sublime in Art.C. E. Emmer - 2008 - In Valerio Rohden, Ricardo R. Terra & Guido A. de Almeida (eds.), Recht und Frieden in der Philosophie Kants: Akten des X. Internationalen Kant-Kongresses [Right and Peace in Kant's Philosophy: Proceedings of the 10th International Kant Congress] 5 vols. Walter de Gruyter.
    Paul Crowther, in his book, The Kantian Sublime (1989), works to reconstruct Kant's aesthetics in order to make its continued relevance to contemporary aesthetic concerns more visible. The present article remains within the area of Crowther's "cognitive" sublime, to show that there is much space for expanding upon Kantian varieties of the sublime, particularly in art.
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  30. Poetiche E Genealogie Claudel, Val'ery, Nietzsche.Filippo Fimiani (ed.) - 2000 - Liguori.
    What is at stake in this counterintuitive reappraisal of such different authors as Claudel, Valéry and Nietzsche is not a poietics of artistic techniques and processes but their style of sensorial and sensitive subjectivation as such. The aim is not a comparative philosophy of art but a genealogy of aesthetic experience. The three authors here considered differ widely in terms of their worldviews and cultural backgrounds. However, they share a similar radical critical view of the Modern and its idols—the cartesian (...)
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  31. Realism in Art.Sidney Walter Finkelstein - 1954 - New York: International Publishers.
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  32. Philosophy of Architecture.Saul Fisher - 2015 - Stanford Encyclopedia of Philosophy.
    Central issues in philosophy of architecture include foundational matters regarding the nature of: (1) architecture as an artform, design medium, or other product or practice; (2) architectural objects—what sorts of things they are; how they differ from other sorts of objects; and how we define the range of such objects; (3) special architectural properties, like the standard trio of structural integrity (firmitas), beauty, and utility—or space, light, and form; and ways they might be special to architecture; (4) architectural types—how to (...)
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  33. A Proposal for a Dualistic Ontology of Art.Simon Fokt - 2013 - Sztuka I Filozofia (42):29-47.
    While pluralism in ontology of art improves on various monistic views, through its eclectic approach it lost a lot of their simplicity, parsimony, unity and intuitiveness. The dualistic theory presented in this paper offers an alternative – it shares the advantages of the monistic views while retaining the wide scope of pluralism, and thus should be preferred for methodological reasons. On this view all artworks are at the same time abstract universals which are called recipes, and particular physical objects – (...)
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  34. The Heaven of Invention. [REVIEW]D. D. G. - 1964 - Review of Metaphysics 17 (3):474-474.
  35. Art and Existentialism. [REVIEW]D. D. G. - 1963 - Review of Metaphysics 16 (4):800-800.
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  36. The Beauty of Friendship: Foucault, Masculinity and the Work of Art.Steve Garlick - 2002 - Philosophy and Social Criticism 28 (5):558-577.
    The importance of friendship in the later work of Michel Foucault is increasingly being recognized, but the relationship between friendship and Foucault's concept of 'life as a work of art' is not well understood. Friendship, traditionally associated with 'masculine' virtue, can be seen to undergo significant change in connection with the emergence of modern sexuality. I suggest that Foucault's work alerts us to the fact that friendship is a key site for challenging the stability of the modern gender regime and (...)
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  37. Interpretation, Sincerity and "Theory".John Gibson - 2010 - Contemporary Aesthetics 8.
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  38. Quattrocento Dematerialization: Some Paradoxes in a Conceptual Art.Jonathan Goldberg - 1976 - Journal of Aesthetics and Art Criticism 35 (2):153-168.
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  39. Performance Art: From Futurism to the Present.RoseLee Goldberg - 2001 - New York: Thames & Hudson.
    This pioneering book has now been expanded with a new chapter that brings it into the second decade of the twenty-first century, mapping the global rise of performance to the present day. RoseLee Goldberg explores contemporary artists’ approaches to politics, tradition, social engagement, and the art world itself, while evaluating the changing status of performance and its ever-increasing relevance to artists and audiences. -/- Featuring recent work by leading performance artists such as Marina Abramovic, Walid Raad, Francis Alys, Pierre Huyghe, (...)
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  40. A Relational Theory of Fine Art.D. W. Gotshalk - 1941 - Journal of Philosophy 38 (13):350-359.
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  41. Christoph Büchel V. Mass MoCA: A Tilted Arc for the Twenty-First Century. Gover - 2012 - Journal of Aesthetic Education 46 (1):46-58.
    The 1990 Visual Artists Rights Act (VARA) is a provision of U.S. copyright law that seeks to protect the noneconomic rights of artists, called "moral rights." These rights are due to the "presumed intimate bond between artists and their works."1 In the United States it protects rights of artistic attribution and integrity: the artwork cannot be claimed as the work of another, and it cannot be distorted. In some cases VARA protects artworks from destruction. But what is the nature of (...)
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  42. Living in an Artworld.J. R. Hamilton - 2013 - British Journal of Aesthetics (1):ays065.
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  43. Painting, History, and Experience.Robert Hopkins - 2006 - Philosophical Studies 127 (1):19-35.
    Two themes run through Wollheim’s work: the importance of history to the practice and appreciation of the arts, and the centrality of experience in appreciation. Prima facie, these are in tension. Reconciling them requires two steps. First, we should follow Wollheim in adopting a notion of experience on which features can be experienced even if we must have experience-independent access to the fact that the work exhibits them. Second, we need to state what makes a particular experience appropriate to the (...)
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  44. Painting, Sculpture, Sight, and Touch.Robert Hopkins - 2004 - British Journal of Aesthetics 44 (2):149-166.
    I raise two questions that bear on the aesthetics of painting and sculpture. First, painting involves perspective, in the sense that everything represented in a painting is represented from a point, or points, within represented space; is sculpture also perspectival? Second, painting is specially linked to vision; is sculpture linked in this way either to vision or to touch? To clarify the link between painting and vision, I describe the perspectival structure of vision. Since this is the same structure we (...)
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  45. Extended Aesthetic Experience.Gizela Horvath - 2014 - Pragmatism Today 5 (2):67-72.
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  46. Extended Aesthetic Experience in Contemporary Art.Gizela Horváth - 2014 - Pragmatism Today 5 (2):67-72.
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  47. WHY THE BRILLO BOX? THE RECOVERY OF THE AESTHETIC.Gizela Horvath - 2013 - In Applied Social Sciences: Philosophy and Theology.
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  48. Tükröm, tükröm... Az önarckép lehetőségei a kortárs képzőművészetben.Gizela Horvath - 2012 - Korunk (9):19-28.
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  49. The Philosopher as Artist: Ludwig Wittgenstein Seen Through Edoardo Paolozzi.Wolfgang Huemer - forthcoming - In The philosopher and the Artist: Wittgenstein and Paolozzi. Palgrave Macmillan.
    In this article I argue that the strong fascination that Wittgenstein has had for artists cannot be explained primarily by the content of his work, and in particular not by his sporadic observation on aesthetics, but rather by stylistic features of his work formal aspects of his writing. Edoardo Paolozzi’s testimony shows that artists often had a feeling of acquaintance or familiarity with the philosopher, which I think is due to stylistic features of his work, such as the colloquial tone (...)
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  50. Rappresentazione dell’inimmaginabile: l’immagine sacra, silenzioso “segno messianico”.Gaetano Iaia - 2011 - Capys 2 (2):255-267.
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