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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. 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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  3. II—Genre, Interpretation and Evaluation.Catharine Abell - 2015 - Proceedings of the Aristotelian Society 115 (1pt1):25-40.
    The genre to which an artwork belongs affects how it is to be interpreted and evaluated. An account of genre and of the criteria for genre membership should explain these interpretative and evaluative effects. Contrary to conceptions of genres as categories distinguished by the features of the works that belong to them, I argue that these effects are to be explained by conceiving of genres as categories distinguished by certain of the purposes that the works belonging to them are intended (...)
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  4. 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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  5. Subjects and Objects: Art, Essentialism, and Abstraction.T. Adajian - 2008 - British Journal of Aesthetics 48 (3):356-357.
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  6. Kunst. Werkästhetik als Ereignisästhetik.Emmanuel Alloa - 2013 - In Dieter Thomä (ed.), Heidegger-Handbuch: Leben - Werk – Wirkung. Metzler. pp. 315-319.
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  7. Restitutionen. Wiedergaben des 'Ursprungs des Kunstwerks' in der französischen Philosophie.Emmanuel Alloa - 2011 - In David Espinet & Tobias Keiling (eds.), Heideggers 'Ursprung des Kunstwerks'. Klostermann. pp. 261-276.
  8. 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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  9. Schaeffer, Jean-Marie. Art of the Modern Age: Philosophy of Art From Kant to Heidegger.Daniel Arenas - 2001 - Review of Metaphysics 54 (4):942-943.
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  10. Co‐Authorship, Multiple Authorship, and Posthumous Authorship: A Reply to Hick.Sondra Bacharach & Deborah Tollefsen - 2015 - Journal of Aesthetics and Art Criticism 73 (3):331-334.
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  11. Richard Wollheim and the Work of Art.Jay E. Bachrach - 1973 - Journal of Aesthetics and Art Criticism 32 (1):108-111.
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  12. Editors' Introduction.Jussi M. 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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  13. Amateurs Imitate, Professionals Steal.George Bailey - 1989 - Journal of Aesthetics and Art Criticism 47 (3):221-227.
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  14. Creating Art.James Baird - 1957 - Review of Metaphysics 11 (1):108 - 121.
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  15. Mapplethorpe, Duchamp and the Ends of Photography.Gary Banham - 2002 - Angelaki 7 (1):119-128.
    This paper presents an argument for seeing Marcel Duchamp and Robert Mapplethorpe as opposite ends of a tradition of negotiation of art with its conditions of production. The piece takes seriously Kant's suggestions concerning the fine arts and contests views of art that see the Kantian tradition as formally fixed.
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  16. 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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  17. 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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  18. Art's Philosophical Work.Andrew Benjamin - 2015 - Rowman & Littlefield International.
    World-leading philosopher Andrew Benjamin presents a radically new materialist philosophy of art and a rethinking of the history of art in that context.
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  19. Encounters with an Art-Thing.Jane Bennett - 2015 - Evental Aesthetics 3 (3):91-110.
    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 sense is the capacity to affect and be affected – attempts to home in (...)
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  20. 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 (...)
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  21. Arte como desrealización.Alessandro Bertinetto - 2006 - Daimon: Revista Internacional de Filosofía 39:175-185.
    The paper recognizes the failure of contemporary non-aesthetic theories of art and aims at recovering the phenomenological notion of derealization – which re-emerges in A. Dantoʼs idea of the ʻbracketting effectʼ of art –, in order to explain art and art-experience. The main point is that art makes us free from the ʻreal worldʼ through an act of derealization that leads to the establishment of possible or fictional worlds different from the one we live in. Artworks are primarly imaginary, unreal (...)
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  22. Deleuze on Music, Painting, and the Arts.Ronald Bogue - 2003 - Routledge.
    Bogue provides a systematic overview and introduction to Deleuze's writings on music and painting, and an assessment of their position within his aesthetics as a whole. Deleuze on Music, Painting and the Arts breaks new ground in the scholarship on Deleuze's aesthetics, while providing a clear and accessible guide to his often overlooked writings in the fields of music and painting.
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  23. From the Work of Art to Absolute Reason.Antoon Braeckman - 2004 - Review of Metaphysics 57 (3):551 - 569.
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  24. 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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  25. 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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  26. The Paradoxes of Art.John B. Brough - 2006 - Review of Metaphysics 59 (4):895-897.
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  27. A Theory of Art.Mabs Buck - 2002 - Australasian Journal of Philosophy 80 (2).
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  28. The Mirror of Art.V. C. C. - 1957 - Review of Metaphysics 10 (3):535-535.
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  29. 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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  30. Uma topografia poética e estética em António Dacosta.Tomás N. Castro - 2015 - Revista de História da Arte 12:266-277.
    This work departs from Beardsley’s critique to the intentional fallacy, in order to introduce the concept of artist’s concerns, extrinsic to works but manifest in them. Then, we will describe António Dacosta’s (1914-1990) unique career, considering topography the main poetical and aesthetic value for some works of the period 1984-1990. And, although they seem to depict islands, we will argue that Dacosta depicted insularity in an unparalleled way. -/- Este trabalho parte da crítica de Beardsley à falácia intencional para propor (...)
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  31. Um Corpo em Presença. Uma Aproximação a Marina Abramović.Tomás N. Castro - 2013 - Philosophica -- Revista Do Departamento de Filosofia da Faculdade de Letras de Lisboa 42:189-198.
    Describing some of Marina Abramović’s performances, this essay aims to provide one possible philosophical framework in what concerns this form of art. The scope of presence in Abramović is enlighten by employing some vocabulary from a certain body poetics into the embodiment reflection, and ontological issues in performance come out when thinking about re-performance possibilities.
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  32. Liking and Approving of a Work of Art.Francis J. Coleman - 1964 - Review of Metaphysics 17 (4):568 - 576.
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  33. 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 (...)
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  34. Work and Object: Explorations in the Metaphysics of Art.B. Cooke - 2011 - British Journal of Aesthetics 51 (4):443-446.
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  35. 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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  36. Yellowism and Ontology: A Skeptical Analysis.Wesley D. Cray - 2015 - Contemporary Aesthetics 13.
    When Vladimir Umanets entered the Tate Modern on October 7, 2012 and defaced Rothko's Black on Maroon, he was operating, not as an artist or a vandal, but as a Yellowist. Yellowism is neither art nor anti-art but is instead a supposedly new cultural element that exists for its own sake and is about nothing but the color yellow. It might be tempting to write Yellowism and the Rothko defacement off as a mere prank or as pseudo-intellectual fraud, but I (...)
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  37. 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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  38. Artworks and Real Things.Arthur C. Danto - 1973 - Theoria 39 (1-3):1-17.
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  39. Book Review. Artworks Robert Stecker. [REVIEW]David Davies - 2001 - Mind 110 (438):565-569.
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  40. The Metaphysics of Art Restoration.Rafael De Clercq - 2013 - British Journal of Aesthetics 53 (3):261-275.
    Art restorations often give rise to controversy, and the reason does not always seem to be a lack of skill or dedication on the side of the restorer. Rather, in some of the most famous cases, the reason seems to be a lack of agreement on basic principles. In particular, there seems to be a lack of agreement on how the following two questions are to be answered. First, what is art restoration supposed to achieve, in other words, what is (...)
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  41. The Abstractness of Artworks and Its Implications for Aesthetics.John Dilworth - 2008 - Journal of Aesthetics and Art Criticism 66 (4):341-353.
    Artworks have at least some necessary content properties, as do abstract entities such as propositions. But no concrete item, whether an object, event, process etc., could have any necessary content property. So no artwork could be identical with a concrete item. Hence artworks must be abstract. I also argue that artworks are only contingently connected with concrete items, just as propositions are only contingently linked to their linguistic tokens.
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  42. In Support of Content Theories of Art.John Dilworth - 2007 - Australasian Journal of Philosophy 85 (1):19 – 39.
    A content theory of art would identify an artwork with the meaningful or representational content of some concrete artistic vehicle, such as the intentional, expressive, stylistic, and subject matter-related content embodied in, or resulting from, acts of intentional artistic expression by artists. Perhaps surprisingly, the resultant view that an artwork is nothing but content seems to have been without theoretical defenders until very recently, leaving a significant theoretical gap in the literature. I present some basic arguments in defence of such (...)
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  43. The Double Content of Art.John Dilworth - 2005 - Prometheus Books.
    The Double Content view is the first comprehensive theory of art that is able to satisfactorily explain the nature of all kinds of artworks in a unified way — whether paintings, novels, or musical and theatrical performances. The basic thesis is that all such representational artworks involve two levels or kinds of representation: a first stage in which a concrete artifact represents an artwork, and a second stage in which that artwork in turn represents its subject matter. "Dilworth applies his (...)
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  44. Ariadne at the Movies.John Dilworth - 2003 - Contemporary Aesthetics 1 (1).
    ABSTRACT -/- Films are usually assumed to be types, with their templates or performances being tokens of those types. However, I give a counter-example in which two different films are simultaneously made by different directors, with the outcome of this process being a single template length of film which, I claim, embodies both of those films. But no two types could thus have a token in common, and hence type views of films must be incorrect. I further explain and defend (...)
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  45. A Representational Theory of Artefacts and Artworks.John Dilworth - 2001 - British Journal of Aesthetics 41 (4):353-370.
    The artefacts produced by artists during their creation of works of art are very various: paintings, writings, musical scores, and so on. I have a general thesis to offer about the relations of artefacts and artworks, but within the confines of this article I shall mainly discuss cases drawn from the art of painting, central specimens of which seem to be autographic in Nelson Goodman's sense, namely such that even the most exact duplication of them does not count as producing (...)
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  46. 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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  47. Defending the Discovery Model in the Ontology of Art: A Reply to Amie Thomasson on the Qua Problem.J. Dodd - 2012 - British Journal of Aesthetics 52 (1):75-95.
    According to the discovery model in the ontology of art, the facts concerning the ontological status of artworks are mind-independent and, hence, are facts about which the folk may be substantially ignorant or in error. In recent work Amie Thomasson has claimed that the most promising solution to the ‘ qua problem’—a problem concerning how the reference of a referring-expression is fixed—requires us to give up the discovery model. I argue that this claim is false. Thomasson's solution to the qua (...)
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  48. Work and Object: Explorations in the Metaphysics of Art, by Peter Lamarque.J. Dodd - 2012 - Mind 121 (484):1088-1095.
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  49. Adventures in the Metaontology of Art: Local Descriptivism, Artefacts and Dreamcatchers. [REVIEW]Julian Dodd - 2013 - Philosophical Studies 165 (3):1047-1068.
    Descriptivism in the ontology of art is the thesis that the correct ontological proposal for a kind of artwork cannot show the nascent ontological conception of such things embedded in our critical and appreciative practices to be substantially mistaken. Descriptivists believe that the kinds of revisionary art ontological proposals propounded by Nelson Goodman, Gregory Currie, Mark Sagoff, and me are methodologically misconceived. In this paper I examine the case that has been made for a local form of descriptivism in the (...)
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  50. Über das Verstehen und Interpretieren von Kunstwerken.Andreas Dorschel - 2005 - In Wolf-Jürgen Cramm, Wulf Kellerwessel, David Krause & Hans-Christoph Kupfer (eds.), Diskurs und Reflexion. Wolfgang Kuhlmann zum 65. Geburtstag. Königshausen & Neumann. pp. 375-387.
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