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  1. added 2018-11-28
    The Nature of Art. [REVIEW]James Shelley - 2003 - American Society for Aesthetics Newsletter 23.
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  2. added 2018-11-28
    Philosophies of Arts: An Essay in Differences. [REVIEW]James Shelley - 1999 - Philosophy in Review 18.
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  3. added 2018-10-28
    Review of Victoria S. Harrison, Anna Bergqvist and Gary Kemp (Eds.), Philosophy and Museums: Essays on the Philosophy of Museums, Notre Dame Philosophical Reviews, 2018. [REVIEW]Elisa Caldarola - 2018 - Notre Dame Philosophical Reviews 2018.
    This volume collects fifteen essays debating the value of museums, the ontology and epistemology of exhibited objects, and museum ethics. The essays stem from talks originally given at a conference at the University of Glasgow in 2013 by philosophers working both within and outside the analytic tradition, museum scholars, and museum practitioners. The collection succeeds in showing that we need a philosophy of museums to improve our understanding of such institutions.
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  4. added 2018-08-12
    Art and Interpretation.Szu-Yen Lin - 2018 - The Internet Encyclopedia of Philosophy.
    Interpretation in art refers to the attribution of meaning to a work. A point on which people often disagree is whether the artist’s or author’s intention is relevant to the interpretation of the work. In the Anglo-American analytic philosophy of art, views about interpretation branch into two major camps: intentionalism and anti-intentionalism, with an initial focus on one art, namely literature. -/- This article elaborates on variations on these theories of interpretation and considers their notable objections. The debate about interpretation (...)
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  5. added 2018-08-04
    What 4’33’’ Also Is: A Response to Dodd.Matteo Ravasio - forthcoming - Australasian Journal of Philosophy:1-6.
    Julian Dodd persuasively argues that John Cage’s 4’33’’ should be characterised as (1) a silent piece, as opposed to a sonically replete piece, containing the environmental sounds that occur as it is performed; (2) a piece of performance art, but not a piece of music; (3) a work of conceptual art. While I agree with Dodd’s claims, I contend that he fails to account for two features of 4’33’’. I argue that a qualified description of Cage’s work as belonging to (...)
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  6. added 2018-07-24
    Realismus, materialismus a umění.Tomas Hribek - 2016 - Sešit Pro Umění, Teorii a Příbuzné Zóny 21:38-66.
    [Realism, Materialism, and Art] Recent years have seen the ascendance of a new trend in continental philosophy called “the speculative turn”, “speculative realism”, “continental materialism”, or “object-oriented ontology” (OOO). I focus on the work of one of the proponents of this new trend, Graham Harman, in particular his recent attempt to extend his “object-oriented” approach to art and aesthetics. In part 1, I start with a brief characterization of the new trend in terms of the shared opposition of all its (...)
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  7. added 2018-07-24
    Denis Dutton, The Art Instinct: Beauty, Pleasure, and Human Evolution. [REVIEW]Tomas Hribek - 2011 - Estetika 48 (2):248-253.
    A review of Denis Dutton´s The Art Instinct: Beauty, Pleasure, and Human Evolution (New York: Bloomsbury Press, 2009, 280 pp. ISBN 978-1-59691-401-8).
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  8. added 2018-06-21
    Bill Viola’s 'Nantes Triptych': Unearthing the Sources of its Condensed Temporality.Carlos Vara Sánchez - 2014 - Aniki: Portuguese Journal of the Moving Image 2 (1):35-48.
    In this text we intend to analyze Bill Viola’s video installation Nantes Triptych (1992) as an example of the richness which lies in the liminal spaces between arts. We defend the thesis that the utilization of the traditional pictorial structure of the triptych in this particular work, along with the powerful audiovisual material, renders a kairological event available to the viewer. This temporal experience makes possible an existential experience when in front of this video installation. To discuss this assumption we (...)
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  9. added 2018-05-17
    Art: What It Is and Why It Matters.Catharine Abell - 2012 - Philosophy and Phenomenological Research 85 (3):671-691.
    In this paper, I provide a descriptive definition of art that is able to accommodate the existence of bad art, while illuminating the value of good art. This, I argue, is something that existing definitions of art fail to do. I approach this task by providing an account according to which what makes something an artwork is the institutional process by which it is made. I argue that Searle’s account of institutions and institutional facts shows that the existence of all (...)
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  10. added 2018-05-14
    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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  11. added 2018-04-10
    A New Conception of 'Art'.Jakob Zaaiman - 2018
    The traditional conception of art is about sensual beauty and refined taste; modern art on the other hand has introduced an entirely unexpected dimension to the visual arts, namely that of ‘revelatory narrative’. Classical art aspires to present works which can be appreciated as sensually beautiful; modern art, when it succeeds, presents us instead with the unsettling narrative. This radical difference in artistic purpose is something relatively new, and not yet fully appreciated or understood.
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  12. added 2018-03-20
    Adaptive Naturalism in Herder’s Aesthetics.Rachel Zuckert - 2015 - Graduate Faculty Philosophy Journal 36 (2):269-293.
    I discuss an apparent tension between two aspects of Johann Gottfried Herder’s aesthetic theory: his emphasis on and endorsement of art’s cultural embeddedness and historical variation, and his reliance on natural norms of artistic value. I propose that Herder’s essay, “Shakespeare,” suggests a possible resolution to this tension, a position I call “adaptive naturalism.” On this view, aesthetic value comprises a work’s capacity to promote the exercise of human natural capacities in harmony with the (natural or social) environment. Thus such (...)
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  13. added 2018-03-20
    Sculpture and Touch: Herder's Aesthetics of Sculpture.Rachel Zuckert - 2009 - Journal of Aesthetics and Art Criticism 67 (3):285-299.
    I present and analyze J.G. Herder’s aesthetics of sculpture, as an art form directed toward and appreciated by the sense of touch. I argue that Herder is unsuccessful in his attempt so to define sculpture, but his account is nonetheless fruitful, both in making salient and explaining signal aspects of sculptural appreciation and criticism and, more broadly and quite innovatively, in proposing an aesthetics of touch, even an embodied aesthetics.
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  14. added 2018-03-09
    Commentary on Zeki Inner Vision. [REVIEW]Jennifer A. McMahon - 2000 - Leonardo Reviews On-Line:N/A.
    The late vision theorist David Marr identified three levels of explanation that he argued needed to be addressed in order to understand vision : (i) the psychological, functional or computational level of processes; (ii) the physical or neurological which is the level of explanation employed by Zeki; and (iii) the algorithmic – the level of implementation. For Zeki’s purpose of drawing upon vision-theory in order to better understand art and aesthetics, there is no need to focus on the third level. (...)
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  15. added 2018-03-05
    Joseph Margolis, What, After All, Is a Work of Art? Reviewed By.John Dilworth - 2000 - Philosophy in Review 20 (2):129-131.
    This book is the outcome of a series of lectures on art-related topics which Margolis gave in various places, including Finland, Russia, Japan and the USA, from 1995 through 1997. Mainly these lectures vividly distill views which Margolis has developed more fully elsewhere. Also, as his readers know, Margolis has an unusually allencompassing and closely integrated series of views on almost all of the main issues concerning both art and philosophy generally. Thus the task of a reviewer of this book (...)
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  16. added 2018-02-21
    The Substitution Principle Revisited.Jakub Stejskal - 2018 - Source: Notes in the History of Art 37 (3):150-157.
    In their Anachronic Renaissance, Alexander Nagel and Christopher Wood identify two principles upon which, in fifteenth-century Europe, a work of art might establish its validity or authority: substitution and performance. It has become established wisdom that the dual schema of substitution and performance follows Hans Belting's dualism of the medieval cult of the image and the modern aesthetic system of art. This, I submit, is not just a mistake, but also prevents from evaluating one of the book's most ambitious contributions (...)
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  17. added 2018-02-17
    Photography.Patrick Maynard - 2001 - In Berys Nigel Gaut & Dominic Lopes (eds.), The Routledge Companion to Aesthetics. Routledge.
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  18. added 2018-01-10
    Yosman Botero y Postcolombino.Carlos Vanegas - 2016 - Co-herencia:301-303.
    La obra de Yosman Botero siempre ha orbitado entre paradojas. Desde los mismos lugares suplementarios de su obra, como los títulos de sus series Full of Emptiness (2013), Immaterial matter (2014) y Postcolombino (2016) se plantea una encrucijada tanto de la “supervivencia de las imágenes” del arte como de su capacidad comunicativa de la realidad: ya sea esta la experiencia del arte o la realidad social colombiana, o lo que sea que entendemos por “lo real”, tan cara a las propuestas (...)
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  19. added 2018-01-10
    Ante la fragilidad de la memoria.Carlos Vanegas, Javier Domínguez, Carlos Arturo Fernández & Daniel Tobón - 2014 - In Carlos Vanegas, Javier Domínguez, Carlos Arturo Fernández & Daniel Tobón (eds.), El arte y la Fragilidad de la memoria. Medellín, Colombia: Sílaba Editores. pp. 259-275.
    Si no me falla la memoria, fue el dibujante Álvaro Barrios quien afirmó que el trabajo del artista contemporáneo colombiano se desarrolla según una agenda de trabajo. Si miramos algunos fenómenos del arte último en Colombia, podemos señalar que su agenda está determinada por el intento de comprensión de los procesos de la violencia en el país, a partir de una amplia gama de aproximaciones al concepto de memoria que ha tenido resonancia en las disciplinas humanísticas, las investigaciones académicas, el (...)
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  20. added 2017-12-19
    Editors' Introduction.Jussi Backman, Harri Mäcklin & Raine Vasquez - 2017 - Journal of Aesthetics and Phenomenology 4 (2):93-99.
    A brief overview of the current status of the scholarship on Heidegger and contemporary art and of the contributions included in the special issue.
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  21. added 2017-09-22
    The Art Type Theory of Art.Robert S. Fudge - 2015 - Philosophical Papers 44 (3):321-343.
    The theory I present and defend in this paper—what I term the art type theory— holds that something is a work of art iff it belongs to an established art type. Something is an established art type, in turn, either because its paradigmatic instances standardly satisfy eight art-making conditions, or because the art world has seen fit to enfranchise it as such. It follows that the art status of certain objects is independent of what any individual or culture might say (...)
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  22. added 2017-08-08
    Review of New Feminist Art Criticism by Katy Deepwell. [REVIEW]Peg Brand - 1997 - Journal of Aesthetics and Art Criticism 55 (3):344-345.
    Katy Deepwell calls for a vital and visible "new" feminist criticism in 1997 amidst a pessimistic overview of the state of feminist art and criticism in Britain, Canada, and the U.S. As an update to this review, I note that Deepwell took decisive and effective action on her pessimism and for the past twenty years (as of this writing in July 2017) created an online feminist journal--n.paradoxa: international feminist art journal--that has published over 550 articles by 400 writers and artists (...)
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  23. added 2017-06-28
    Na temat estetycznej teorii sztuki Nicka Zangwilla.Daniel Nathan - 2009 - Sztuka I Filozofia (Art and Philosophy) 35:7-16.
    This essay is a discussion and critical analysis of Nick Zangwill's theory of art. Zangwill's theory makes aesthetic intention (or "aesthetic insight") central to the status of art in various articles and in his book, Aesthetic Creation (OUP, 2007). The present essay focuses on the analysis found in his book and in particular whether Zangwill's theory adequately addresses the nature of avant-garde works of art. In the end, I argue that Zangwill's theory is both too narrow and too broad to (...)
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  24. added 2017-06-02
    Why Do We Need to Define ‘Art’ ? Because It Greatly Enhances the Encounter with Art Itself.Jakob Zaaiman - 2017 - Alldaynight.Info.
    Modern art has yet to be properly explained and given its own distinctive and authentic philosophy. It is almost always portrayed – openly or subliminally – as if it were somehow striving for much the same objectives as classical art, though perhaps by very different means. This has the effect of making modern artworks look slightly ridiculous in comparison with the grandeur of their classical counterparts, at the same time as making it an uphill struggle to try to argue the (...)
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  25. added 2017-04-16
    Minimal Authorship (of Sorts).Christy Mag Uidhir - 2011 - Philosophical Studies 154 (3):373 - 387.
    I propose a minimal account of authorship that specifies the fundamental nature of the author-relation and its minimal domain composition in terms of a three-place causal-intentional relation holding between agents and sort-relative works. I contrast my account with the minimal account tacitly held by most authorship theories, which is a two-place relation holding between agents and works simpliciter. I claim that only my view can ground productive and informative principled distincitons between collective production and collective authorship.
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  26. added 2017-03-09
    Artistic Medium.Wack Daniel - 2017 - Internet Encyclopedia of Philosophy.
    Artistic medium is an art critical concept that first arose in 18th century European discourse about art. Medium analysis has, historically, attempted to identify that out of which works of art and, more generally, art forms are created, in order to better articulate norms or standards by which works of art and art forms can be evaluated. Since the 19th century, medium analysis has emerged in two different forms of art critical and theoretical discourse. Within traditional art forms such as (...)
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  27. added 2017-03-06
    A Philosophy of Mass Art. [REVIEW]Dominic M. McIver Lopes & Noel Carroll - 2000 - Philosophical Review 109 (4):614.
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  28. added 2017-02-28
    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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  29. added 2017-02-10
    On the Twilight of Artworks in the World of Art.Roman Kubicki - 2011 - Art Inquiry. Recherches Sur les Arts 13:53-62.
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  30. added 2017-02-08
    Copies, Replicas, and Counterfeits of Artworks and Artefacts.Marzia Soavi & Massimiliano Carrara - 2010 - The Monist 93 (3):414-432.
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  31. added 2017-02-07
    Being Art - a Study in Ontology.Michael Weh - unknown
    I present and defend a two-category ontology of art. The basic idea of it is that singular artworks are physical objects, whereas multiple artworks are types of which there can be tokens in the form of performances, copies, or other kinds of realisations. I argue that multiple artworks, despite being abstract objects, have a temporal extension, thus they are created at a certain point of time and can also drop out of existence again under certain conditions. They can, however, not (...)
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  32. added 2017-02-03
    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.
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  33. added 2017-02-01
    Book Review. Artworks Robert Stecker. [REVIEW]David Davies - 2001 - Mind 110 (438):565-569.
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  34. added 2017-02-01
    Artwork and Sportwork: Heideggerian Reflections.Julian Young - 1999 - Journal of Aesthetics and Art Criticism 57 (2):267-277.
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  35. added 2017-02-01
    Artworks and Artworlds.James O. Young - 1995 - British Journal of Aesthetics 35 (4):330-337.
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  36. added 2017-02-01
    Why Artworks Have No Right to Have Rights.Francis Sparshott - 1983 - Journal of Aesthetics and Art Criticism 42 (1):5-15.
  37. added 2017-01-28
    My Laocoön: Alternative Claims in the Interpretation of Artworks.Richard Brilliant - 2002 - Journal of Aesthetics and Art Criticism 60 (3):289-290.
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  38. added 2017-01-26
    On Behalf of the Barbarian: Fending Off the Onslaught of Those Who Include Historical Properties as Constituents of Artworks.David M. Woodruff - 2002 - Journal of Aesthetic Education 36 (1):111.
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  39. added 2017-01-26
    On the Rights of Artworks.Harold McWhinnie - 1999 - Journal of Aesthetic Education 33 (3):101.
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  40. added 2017-01-26
    Artworks: Meaning, Definition, Value.Robert Stecker - 1996 - Pennsylvania State University Press.
    What is art? What is it to understand a work of art? What is the value of art? Robert Stecker seeks to answer these central questions of aesthetics by placing them within the context of an ongoing debate criticizing, but also explaining what can be learned from, alternative views. His unified philosophy of art, defined in terms of its evolving functions, is used to explain and to justify current interpretive practices and to motivate an investigation of artistic value. Stecker defines (...)
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  41. added 2017-01-25
    What Documents Artwork?Pietro Kobau - 2012 - Rivista di Estetica 50:309-317.
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  42. added 2017-01-25
    Living Art, Defining Value: Artworks and Mere Real Things.Serge Grigoriev - 2005 - Contemporary Aesthetics 3:207-221.
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  43. added 2017-01-24
    The Double Life of Jeff Koon's Made in Heaven Glass Artworks.Max Ryynanen - 2004 - Nordic Journal of Aesthetics 16 (29-30).
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  44. added 2017-01-24
    The Unity of the Kind Artwork.Roberto Casati - 2002 - Rivista di Estetica 23 (43):3-31.
    A defence of a meta-representational theory of artworks, accounting for the unity of the kind. Artworks are surmised to be artefacts that are produced with the intention of being recognised as having been produced with the intention of eliciting a conversation.
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  45. added 2017-01-21
    When a Work Is Finished: A Response to Darren Hudson Hick.Paisley Livingston - 2008 - Journal of Aesthetics and Art Criticism 66 (4):393-395.
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  46. added 2017-01-21
    Symposium: How Museums Do Things with Artworks: Being True to Artists.Ivan Gaskell - 2003 - Journal of Aesthetics and Art Criticism 61 (1):53-60.
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  47. added 2017-01-21
    Artworks: Definition, Meaning, Value.S. H. Olsen - 2003 - Philosophical Review 112 (2):247-250.
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  48. added 2017-01-21
    Artworks and Real Things.Arthur C. Danto - 1973 - Theoria 39 (1-3):1-17.
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  49. added 2017-01-19
    The Achievement of Neglect and the Ontology of Artworks.Matthew Rowe - manuscript
    of (from British Columbia Philosophy Graduate Conference) The paper seeks to reconcile a folk sentiment and a commonplace within aesthetics that may be in tension: The sentiment that our creations can sustain beyond our own lifetimes as a legacy of our lives and the commonplace that some artworks can be made, and exist as artworks within an artist’s mind, without being articulated in a publicly accessible medium. It does this through denying that artworks can exist as the content of thoughts, (...)
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  50. added 2017-01-19
    Autonomy of Art or the Dignity of the Artwork.Agnes Heller - 2008 - Critical Horizons 9 (2):139-155.
    In this essay I want to show that while the concept of autonomy can hardly make a meaningful contribution to the understanding of contemporary artworks, the concept of the dignity of artwork can make such a contribution.
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