Art and Artworks

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

860 found
Order:
1 — 50 / 860
Material to categorize
  1. The Modality of Artistic Objects.Stephanie Adair - 2017 - Axiomathes 27 (2):147-159.
    Nicolai Hartmann describes how artistic objects arise through the interplay between a material foreground and immaterial background. In this paper, I show how the layered structure also prevents the modal imbalance inherent in artistic objects from violating the intermodal laws of the real. The real law of intermodal implication specifies that real possibility cannot extend beyond real necessity. I begin by explicating the real intermodal laws and describing how they give the real sphere its characteristic narrowness and determinateness. Hartmann describes (...)
    Remove from this list   Direct download (2 more)  
     
    Export citation  
     
    My bibliography  
  2. WOLTERSTORFF, NICHOLAS. Art Rethought: The Social Practices of Art. Oxford University Press, 2015, Xvi + 332 Pp., $50.00 Cloth. [REVIEW]Thomas Adajian - 2016 - Journal of Aesthetics and Art Criticism 74 (4):415-418.
    Remove from this list   Direct download (3 more)  
     
    Export citation  
     
    My bibliography  
  3. Mag Uidhir, Christy. Art and Art‐Attempts. Oxford University Press, 2013, 232 Pp., 14 B&W Illus., $75.00 Cloth. [REVIEW]Sondra Bacharach - 2015 - Journal of Aesthetics and Art Criticism 73 (4):467-469.
    Remove from this list   Direct download (2 more)  
     
    Export citation  
     
    My bibliography  
  4. Duchamp's “Mechanistic Sculptures”: Art, Nudes and the Game of Chess.Gary Banham - 1999 - Angelaki 4 (3):181 – 190.
    In this paper I present some reasons for seeing Duchamp's ready-mades as part of the history of sculpture and relate them to his engagement with both nudes and chess motifs.
    Remove from this list   Direct download (5 more)  
     
    Export citation  
     
    My bibliography  
  5. Commissioning the Work: From Singular Authorship to Collective Creatorship.Katerina 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 (...)
    Remove from this list   Direct download (3 more)  
     
    Export citation  
     
    My bibliography  
  6. The Rhetorical Hero. An Essay on the Aesthetics of André Malraux. By William Righter. (Routledge and Kegan Paul, 1964. Pp. Ix and 92.). [REVIEW]Cyril Barrett - 1966 - Philosophy 41 (156):185-.
    Remove from this list   Direct download (2 more)  
     
    Export citation  
     
    My bibliography  
  7. Encounters with an Art-Thing.Jane Bennett - 2015 - Evental Aesthetics 4 (1):71-87.
    FEATURED IN EVENTAL AESTHETICS RETROSPECTIVE 1. LOOKING BACK AT 10 ISSUES OF EVENTAL AESTHETICS. What kind of things are damaged art-objects? Are they junk, trash, mere stuff? Or do they remain art by virtue of their distinguished provenance or still discernible design? What kind of powers do such things have as material bodies and forces? Instead of attempting to locate proper concepts for salvaged art-things, this essay, from a perspective centered on the power of bodies-in-encounter – where “power” in Spinoza’s (...)
    Remove from this list   Direct download  
     
    Export citation  
     
    My bibliography  
  8. André Malraux's Man's Fate.Harold Bloom (ed.) - 1988 - Chelsea House.
    Remove from this list  
    Translate
     
     
    Export citation  
     
    My bibliography  
  9. What Does It Mean to Know Art? : An Institutional Account.Ted Bracey - 2001 - In Paul Duncum & Ted Bracey (eds.), On Knowing: Art and Visual Culture. Canterbury University Press.
    Remove from this list  
     
    Export citation  
     
    My bibliography  
  10. The Authorship of the Recueil D'Arras.Lorne Campbell - 1977 - Journal of the Warburg and Courtauld Institutes 40:301-313.
    Remove from this list   Direct download (4 more)  
     
    Export citation  
     
    My bibliography  
  11. Umberto Eco, Art and Beauty in the Middle Ages. [REVIEW]Mark Cheetham - 1987 - Philosophy in Review 7:229-230.
    Remove from this list  
     
    Export citation  
     
    My bibliography  
  12. Can Machines Create Art?Mark Coeckelbergh - 2017 - Philosophy and Technology 30 (3):285-303.
    As machines take over more tasks previously done by humans, artistic creation is also considered as a candidate to be automated. But, can machines create art? This paper offers a conceptual framework for a philosophical discussion of this question regarding the status of machine art and machine creativity. It breaks the main question down in three sub-questions, and then analyses each question in order to arrive at more precise problems with regard to machine art and machine creativity: What is art (...)
    Remove from this list   Direct download (2 more)  
     
    Export citation  
     
    My bibliography  
  13. Can Machines Create Art?Mark Coeckelbergh - 2016 - Philosophy and Technology:1-19.
    As machines take over more tasks previously done by humans, artistic creation is also considered as a candidate to be automated. But, can machines create art? This paper offers a conceptual framework for a philosophical discussion of this question regarding the status of machine art and machine creativity. It breaks the main question down in three sub-questions, and then analyses each question in order to arrive at more precise problems with regard to machine art and machine creativity: What is art (...)
    Remove from this list   Direct download (4 more)  
     
    Export citation  
     
    My bibliography  
  14. In Search of the Ontological Common Core of Artworks: Radical Embodiment and Non-Universalization.Gianluca Consoli - 2016 - Estetika 53 (1):14-41.
    I propose that artworks represent a specific and homogeneous ontological kind, grounded in a common ontological core. I call this common core ‘non-universalizable embodied meaning’, and I argue that this common core explains how artworks unfold their ontological identity at the physical, intentional, and social levels on the basis of an original and irreducible mode of material embodiment and cultural emergence; this common core functions as the constitutive rule of art and institutes an axiological normativity, that is, normativity based on (...)
    Remove from this list   Direct download (2 more)  
     
    Export citation  
     
    My bibliography  
  15. Artworld Metaphysics.B. Cooke - 2008 - British Journal of Aesthetics 48 (4):469-471.
    Remove from this list   Direct download (3 more)  
     
    Export citation  
     
    My bibliography  
  16. Descriptivism and Its Discontents.David Davies - 2017 - Journal of Aesthetics and Art Criticism 75 (2):117-129.
    Is ontologizing about art rightly held accountable to artistic practice, and, if so, how? Julian Dodd argues against such accountability. His target is “local descriptivism,” a meta-ontological principle that he contrasts with meta-ontological realism. The local descriptivist thinks that folk-theoretic beliefs implicit in our practices somehow determine the ontological characters of artworks. I argue, however, that according a grounding role to artistic practice in the ontology of art does not conflict with meta-ontological realism. Practice must ground our ontological inquiries because (...)
    Remove from this list   Direct download (3 more)  
     
    Export citation  
     
    My bibliography  
  17. The Cluster Theory of Art.S. Davies, R. Hopkins & J. Robinson - 2004 - British Journal of Aesthetics 44 (3):297-300.
    Remove from this list   Direct download (2 more)  
     
    Export citation  
     
    My bibliography   1 citation  
  18. Life is a Passacaglia.Stephen Davies - 2009 - Philosophy and Literature 33 (2):315-328.
    Arthur C. Danto taught that an artwork’s identity and content depend on "an atmosphere of theory the eye cannot de[s]cry" (1964:580). By "theory", he did not mean the ideas developed by philosophers of art. His point was that an artwork can be properly recognized and appreciated only when seen in relation to the heritage of works, writings, practices, genres, and conventions that form the ground on which it stands out as subject. In brief, the work must be seen against the (...)
    Remove from this list   Direct download (5 more)  
     
    Export citation  
     
    My bibliography  
  19. Definitions of Art.Stephen Davies - 1991 - Cornell University Press.
    Remove from this list   Direct download (4 more)  
     
    Export citation  
     
    My bibliography   12 citations  
  20. Functional and Procedural Definitions of Art.Stephen Davies - 1990 - Journal of Aesthetic Education 24 (2):99.
    Remove from this list   Direct download (2 more)  
     
    Export citation  
     
    My bibliography   1 citation  
  21. The Aesthetic Creation Theory of Art.Rafael De Clercq - 2009 - Sztuka I Filozofia (Art and Philosophy) 35:20-24.
    This is a critical discussion of Nick Zangwill’s Aesthetic Creation Theory of Art, as he has presented the theory in his book Aesthetic Creation. The discussion focuses on two questions: first, whether the notion of art implied by Zangwill’s theory is at once too wide and too narrow; second, whether Zangwill is right about the persistence conditions of works of art.
    Remove from this list   Direct download (2 more)  
     
    Export citation  
     
    My bibliography  
  22. Malraux Et la Condition Revolutionnaire.Jean-Hervé Donnard - 1979 - In Paul Hallberg (ed.), The Condition of Man: Proceedings of an International Symposium Held September 8-10, 1978 in Göteborg to Celebrate the 200th Anniversary of the Royal Society of Arts and Sciences of Göteborg. Vetenskaps- O. Vitterhets-Samhället. pp. 107.
    Remove from this list  
     
    Export citation  
     
    My bibliography  
  23. Seeable Signs: The Iconography of the Seven Sacraments 1350-1544 by Ann Eljenholm Nichols.Regis A. Duffy - 1998 - Franciscan Studies 55 (1):362-366.
    Remove from this list   Direct download (2 more)  
     
    Export citation  
     
    My bibliography  
  24. The Art to End All Arts.Claes Entzenberg - 2013 - Nordic Journal of Aesthetics 23 (46).
    The death of art has been a notion used in connection with the development and progress of art. This view of the development of art, the movement from one position to another, can go on forever. From another view, we see art as part of a narration, which makes the death of art absolute and final, even though art is still produced. In our time, the American philosopher A. C. Danto uses Hegel’s developmental view on history to explain pictorial Western (...)
    Remove from this list   Direct download (2 more)  
     
    Export citation  
     
    My bibliography  
  25. The Chances of a Dialogue Berenson and Malraux.R. Ergmann - 1954 - Diogenes 2 (7):68-89.
    Remove from this list   Direct download (4 more)  
     
    Export citation  
     
    My bibliography  
  26. Perceiving Artworks.John Fisher - 1981 - Journal of Aesthetics and Art Criticism 39 (3):315-316.
    Remove from this list   Direct download  
     
    Export citation  
     
    My bibliography   1 citation  
  27. The Technological Value Cluster (Value Cluster IV).William C. Frederick - 1995 - The Ruffin Series in Business Ethics:200-204.
    Remove from this list   Direct download (2 more)  
     
    Export citation  
     
    My bibliography  
  28. André Malraux and the Tragic Imagination.W. M. Frohock - 1954 - Journal of Aesthetics and Art Criticism 13 (1):116-116.
    Remove from this list   Direct download  
     
    Export citation  
     
    My bibliography  
  29. Ambivalent Agency: A Response to Trogdon and Livingston on Artwork Completion.K. E. Gover - 2015 - Journal of Aesthetics and Art Criticism 73 (4):457-460.
    Remove from this list   Direct download (2 more)  
     
    Export citation  
     
    My bibliography   1 citation  
  30. Aesthetic Empiricism and the Challenge of Fakes and Ready-Mades.Gordon Graham - 2006 - In Matthew Kieran (ed.), Contemporary Debates in Aesthetics and the Philosophy of Art. Blackwell. pp. 11--21.
    Remove from this list  
     
    Export citation  
     
    My bibliography   1 citation  
  31. Transgressive Traditions and Art Definitions.Leslie Graves - 1998 - Journal of Aesthetics and Art Criticism 56 (1):39-48.
    Remove from this list   Direct download (4 more)  
     
    Export citation  
     
    My bibliography  
  32. Nicholas of Lyra and Michelangelo’s Ancestors of Christ.Harry B. Gutman - 1944 - Franciscan Studies 4 (3):223-228.
  33. Between and After Essentialism and Institutionalism.Péter György - 1999 - Journal of Aesthetics and Art Criticism 57 (4):421-437.
    Remove from this list   Direct download (4 more)  
     
    Export citation  
     
    My bibliography  
  34. Art Rethought: The Social Practices of Art.Garry L. Hagberg - 2017 - British Journal of Aesthetics 57 (3):331-334.
    © British Society of Aesthetics 2017. Published by Oxford University Press on behalf of the British Society of Aesthetics. All rights reserved. For Permissions, please email: journals.permissions@oup.comThere exists, according to Nicholas Wolterstorff in this deeply engaging and exemplary study, a Grand Narrative that runs through much of our thinking about art. That narrative, emerging from and solidified since the eighteenth century, is in essence that art is created for, and remains in museums and galleries as occasions for, abstract and transcendent (...)
    Remove from this list   Direct download (3 more)  
     
    Export citation  
     
    My bibliography  
  35. Word and Object: Museums and the Matter of Meaning.Garry L. Hagberg - 2016 - Royal Institute of Philosophy Supplement 79:261-293.
    Remove from this list   Direct download (2 more)  
     
    Export citation  
     
    My bibliography  
  36. Berenson Et André Malraux.Bernard Halda - 1965 - Journal of Aesthetics and Art Criticism 23 (4):514-515.
    Remove from this list   Direct download  
     
    Export citation  
     
    My bibliography  
  37. Art Rethought: The Social Practices of Art By Nicholas Wolterstorff.Hamilton Andy - forthcoming - Analysis:anx080.
    © The Author 2017. Published by Oxford University Press on behalf of The Analysis Trust. All rights reserved. For Permissions, please email: journals.permissions@oup.comIn this very wide-ranging and absorbing monograph, Nicholas Wolterstorff argues that modern aestheticians ignore the varieties of engagement with art, in an exclusive focus on disinterested attention. This, he argues, is because they assume the ‘grand narrative concerning art in the modern world’. According to Wolterstorff, this narrative holds that in the Early Modern period in the West, members (...)
    Remove from this list   Direct download (2 more)  
     
    Export citation  
     
    My bibliography  
  38. Introduction to Philosophy and Museums: Essays in the Philosophy of Museums.Victoria S. Harrison, Anna Bergqvist & Gary Kemp - 2016 - Royal Institute of Philosophy Supplement 79:1-12.
    Museums and their practices—especially those involving collection, curation and exhibition—generate a host of philosophical questions. Such questions are not limited to the domains of ethics and aesthetics, but go further into the domains of metaphysics, epistemology and philosophy of religion. Despite the prominence of museums as public institutions, they have until recently received surprisingly little scrutiny from philosophers in the Anglo-American tradition. By bringing together contributions from philosophers with backgrounds in a range of traditional areas of philosophy, this volume demonstrates (...)
    Remove from this list   Direct download (2 more)  
     
    Export citation  
     
    My bibliography  
  39. Botticelli's Mystic Nativity, Savonarola and the Millennium.Rab Hatfield - 1995 - Journal of the Warburg and Courtauld Institutes 58:89-114.
    Remove from this list   Direct download (4 more)  
     
    Export citation  
     
    My bibliography  
  40. An Enquiry Into Passive Inclusion and Unreachable Artworks at the Metropolitan Museum of Art, New York: Three Case Studies of Verbal Imaging Teachers Describing Artworks in Galleries and Classrooms.Simon Hayhoe - unknown
    Three case studies of teachers at the Metropolitan Museum of Art are discussed in the context of a larger grounded theory parent study of blind and visually impaired visitors, teachers and systems of instruction. The fieldwork focused on verbal imaging techniques to describe unreachable artworks. The analysis focuses on the traditional understanding that artworks in the museum are deciphered primarily from the perspective of visual perception, that museums are simple vessels of art, as contended by Ernst Gombrich and Pierre Bourdieu, (...)
    Remove from this list   Direct download (2 more)  
     
    Export citation  
     
    My bibliography  
  41. The Participatory Art Museum: Approached From a Philosophical Perspective.Sarah Hegenbart - 2016 - Royal Institute of Philosophy Supplement 79:319-339.
    Remove from this list   Direct download (2 more)  
     
    Export citation  
     
    My bibliography  
  42. Energeia and The Work Itself.Michael Hicks - 1987 - Journal of Aesthetic Education 21 (3):69-75.
    Remove from this list   Direct download  
     
    Export citation  
     
    My bibliography  
  43. "How Does This Artwork Make You Feel?" A "No-No" Question in Art Museum Education?Olga M. Hubard - 2015 - Journal of Aesthetic Education 49 (2):82.
    Remove from this list   Direct download (2 more)  
     
    Export citation  
     
    My bibliography  
  44. Strange Tools: Art and Human Nature, by Alva Nöe.John Hyman - 2017 - Mind 126 (501):304-309.
    Strange Tools: Art and Human Nature, by NöeAlva. New York: Hill and Wang, 2015. Pp. xiii + 285.
    Remove from this list   Direct download (3 more)  
     
    Export citation  
     
    My bibliography  
  45. Authenticity.Anna Karlström - 2015 - In Kathryn Lafrenz Samuels & Trinidad Rico (eds.), Heritage Keywords. University Press of Colorado.
    Remove from this list   Direct download  
    Translate
     
     
    Export citation  
     
    My bibliography  
  46. Reflections on the Ethics and Aesthetics of Restoration and Conservation.Peter Lamarque - 2016 - British Journal of Aesthetics 56 (3):281-299.
    This paper looks at some of the principles behind restoration and conservation applied to ancient artefacts and architecture. A number of case studies are discussed, from medieval stained glass to buildings that have been damaged by fire. The paper ends with some remarks about the conservation of ruins. Underlying the discussion are questions about the kinds of obligations—both ethical and aesthetic—that might constrain the practices of restoration: what ought and ought not to be done in particular cases and how such (...)
    Remove from this list   Direct download (2 more)  
     
    Export citation  
     
    My bibliography  
  47. Æsthetic Knowledge.P. Leon - 1924 - Proceedings of the Aristotelian Society 25:199 - 208.
    Remove from this list   Direct download  
     
    Export citation  
     
    My bibliography  
  48. The Devout Belief of the Imagination. The Paris Meditationes Vitae Christi and Female Franciscan Spirituality in Trecento Italy. Disciplina Monastica 6 (Review).Richard A. Leson - 2011 - Franciscan Studies 69:509-511.
    In lieu of an abstract, here is a brief excerpt of the content:Holly Flora’s published dissertation is a critical contribution to scholarship of the origins of the Meditationes Vitae Christi, a text strongly associated with the preaching and prayer habits of the early Franciscan order and perhaps the most representative example of the late-Medieval devotional and pictorial phenomenon often summarized as the “Vita Christi tradition.” For almost a century, art historians have invoked the MVC to explain iconographic innovations in late-Medieval (...)
    Remove from this list   Direct download (3 more)  
     
    Export citation  
     
    My bibliography  
  49. Discussion: On Authorship and Collaboration.Paisley Nathan Livingston - 2011 - Journal of Aesthetics and Art Criticism 69 (2):217-220.
    Remove from this list   Direct download  
     
    Export citation  
     
    My bibliography  
  50. Beyond Mere Conjectures: Young’s Method of Original Composition.Olivier Mathieu - 2015 - British Journal of Aesthetics 55 (4):465-479.
    Frequently quoted in the context of contemporary philosophical reflections on ‘artistic creativity’, Edward Young’s Conjectures on Original Composition are generally read as articulating an anti‐traditionalist account of genius. Against this reading, I argue that Young does not reject the value of traditional models and conventions, but rather means to insist on the artist’s capacity to determine such values through her natural capacity for autonomous critical thinking. I support this claim by showing how he draws from Neo‐Platonism and the experimental philosophy (...)
    Remove from this list   Direct download (3 more)  
     
    Export citation  
     
    My bibliography  
1 — 50 / 860