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  1. “Improvisation and Installation Art”.Elisa Caldarola - forthcoming - In Alessandro Bertinetto & Marcello Ruta (eds.), The Routledge Handbook of Philosophy and Improvisation in The Arts. New York, Stati Uniti:
    This chapter illustrates through the analysis of some examples how philosophical research can illuminate the improvisational aspects of installation art. There is little philosophical research on improvisation in the visual arts. Similarly, there is little philosophical research on installation art – in section 2, I mention some key claims that have been put forward. Not surprisingly, then, philosophers have not yet focussed – at least to my knowledge – on improvisation in installation art. The issue, though, is timely. Not only (...)
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  2. “Martin Creed: Conceptual Art and More”.Elisa Caldarola - forthcoming - In Davide Dal Sasso & Elisabeth Schellekens (ed.), Aesthetics, Philosophy and Martin Creed. Londra, Regno Unito:
    In this paper, I put forward a philosophical analysis of some works by Martin Creed. I suggest that all the works under consideration are works of conceptual art as well as of installation art, and that they display significant expressive properties. The paper is structured as follows: in the first section, I claim that the works are ontologically similar and that they all appear problematic, because it is not very clear how they should be appreciated as artworks; in the second (...)
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  3. Filosofia dell'arte contemporanea: installazioni, siti, oggetti.Elisa Caldarola - 2020 - 62100 Macerata MC, Italia: Quodlibet.
    L’arte contemporanea è caleidoscopica: può catapultarci in ambienti complessi o minimali richiedendo la nostra attiva partecipazione, ancorarsi a luoghi particolari, porci di fronte a opere apparentemente indistinguibili da oggetti ed eventi della vita quotidiana, appropriarsi illegalmente degli spazi pubblici, e così via. Questo volume muove dalla premessa che uno dei compiti della filosofia dell’arte sia prestare attenzione a specifiche pratiche artistiche e a teorie sull’arte avanzate in altri ambiti di ricerca, per poi organizzare in maniera perspicua la molteplicità dei dati (...)
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  4. The Artistic Metaphor.Daisy Dixon - forthcoming - Philosophy:1-25.
    Philosophical analysis of metaphor in the non-linguistic arts has been biased towards what I call the ‘aesthetic metaphor’: metaphors in non-linguistic art are normally understood as being completely formed by the work's internal content, that is, by its perceptual and aesthetic properties such as its images. I aim to unearth and analyse a neglected type of metaphor also used by the non-linguistic arts: the ‘artistic metaphor’, as I call it. An artistic metaphor is composed by an artwork's internal content, but (...)
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  5. On Experiencing Installation Art.Elisa Caldarola - 2020 - Journal of Aesthetics and Art Criticism 78 (3):339-344.
    This paper contrasts the experience of works of installation art with sculptural and architectural experience and argues that installation art is an interactive art form.
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  6. Installation Art and Exhibitions: Sharing Ground.Eleen M. Deprez - 2020 - Journal of Aesthetics and Art Criticism 78 (3):345-350.
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  7. Installation Art and the Question of Aesthetic Autonomy: Juliane Rebentisch and the Beholder’s Share.Ken Wilder - 2020 - Journal of Aesthetics and Art Criticism 78 (3):351-356.
    Intermedial art, as it emerged in the 1960s and 70s, constituted a threat not only to the medium specificity of modernism, but to the artwork as self-contained autonomous object. Both supporters and critics of intermedia drew a contrast between, on the one hand, modernism’s aesthetic engagement with a medium-specific ‘object’, and on the other new non-aesthetic ‘practices’ engaging the ‘literal spectator’ within her own space, such that the space of the gallery is drawn into the situational encounter. In her 2003/12 (...)
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  8. Do Trompe l'Oeils Look Right When Viewed From the Wrong Place?Gabriele Ferretti - 2020 - Journal of Aesthetics and Art Criticism 78 (3):319-330.
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  9. Installation Art.Gemma Argüello Manresa & Elisa Caldarola - 2020 - Journal of Aesthetics and Art Criticism 78 (3):331-332.
    This is a short introduction to the "Installation Art" Symposium appeared on JAAC, which presents papers by Gemma Argüello Manresa, Eleen Deprez, Ken Wilder, and myself.
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  10. Towards a Philosophy of Installation Art.Gemma Argüello Manresa - 2020 - Journal of Aesthetics and Art Criticism 78 (3):333-338.
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  11. La estética y el arte de regreso a la Academia.Bertha Laura Álvarez Sánchez & José Ramón Fabelo Corzo (eds.) - 2014 - Puebla, Pue., México: Colección La Fuente, BUAP.
    Los materiales que integran este libro provienen del II Encuentro de Egresados realizado en el verano de 2012 por la Maestría en Estética y Arte de la BUAP. Regresaban a su academia los que alguna vez fueron sus estudiantes. Venían con el propósito de reencontrarse con los avances investigativos de sus profesores y a traer ellos mismos los resultados de la continuidad de su trabajo de investigación. Algunos dejaron también en el encuentro una muestra de su arte. El ciclo de (...)
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  12. Understanding Modern Art: Exploring the Strange and the Disturbing.Jakob Zaaiman - 2020 - London, UK: HarfieldAcademic.
    This book is intended to be a simple & easy-to-read guide to everything you need to know to understand & appreciate MODERN CONTEMPORARY ART. The aim is to explain the key ideas underlying the principles of modern contemporary art, so that you can meaningfully evaluate and enjoy contemporary artworks on their own terms. Anyone with an interest in any of the arts can benefit from this book: you do not need to have specialist background knowledge or artistic training. We will (...)
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  13. Visual Metaphors: Revisiting the Non-Conceptual.Michalle Gal - 2019 - In Kristof Nyiri & Andras Benedek (eds.), Perspective on Visual Learning, Vol. 1. The Victory of the Pictorial Aga. Budapest, Hungary: pp. 79-90.
    The paper analyzes the visual aspect of metaphors, offering a new theory of metaphor that characterizes its syntactic structure, material composition and visuality as its essence. It will accordingly present the metaphorical creating or transfiguring, as well as conceiving or understanding, of one thing as a different one, as a visual ability. It is a predication by means of producing nonconventional compositions – i.e., by compositional, or even aesthetic, means. This definition is aimed to apply to the various kinds of (...)
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  14. L'immagine-inazione. Lo spazio e il tempo nel passaggio dall'image-mouvement all'image-temps in Gilles Deleuze.Fabio Vergine - 2019 - In Enrico Giannetto (ed.), La memoria del cielo. Catania CT, Italia: pp. 1-18.
    Nella sua riflessione filosofica sull’immagine filmica Gilles Deleuze sembra aver tradotto nella maniera più immediata, ancorché insolubilmente problematica, la presenza di uno spazio e di un tempo che giocano il proprio ruolo su di una forma passiva di soggettività: è proprio ne L’image- mouvement, infatti, che Deleuze mostra come uno dei passaggi più proficui delle sue osservazioni sul cinema sia proprio la crisi di ciò che egli definisce immagine-azione, a favore, invece, di un’immagine-tempo, o situazione ottica e sonora pura. Per (...)
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  15. No Time to Move: Motion, Painting and Temporal Experience.Jack Shardlow - 2020 - Philosophy 95 (3):239 - 260.
    This paper is concerned with the senses in which paintings do and do not depict various temporal phenomena, such as motion, stasis and duration. I begin by explaining the popular – though not uncontroversial – assumption that depiction, as a pictorial form of representation, is a matter of an experiential resemblance between the pictorial representation and that which it is a depiction of. Given this assumption, I illustrate a tension between two plausible claims: that paintings do not depict motion in (...)
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  16. Curating Interdisciplinarity in Literature-Art: A Review of Mukhaputa.Srajana Kaikini - 2018 - Rupkatha Journal On Interdisciplinary Studies in Humanities 10 (2):251 - 259.
    This is a philosophical review of the exhibition dedicated to Literature – Art titled Mukhaputa (Cover page) held on occasion of the Manipal International Literature and Arts Platform 2017 in Manipal, India. The curatorial strategy of the exhibition explores the intersectional relationships between literature and visual arts at large. The context of this critical review is the recent past of modern literature journals in print that encouraged artists and illustrators to converse with literature and in turn poets and authors to (...)
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  17. Art in the Time of Disease.Srajana Kaikini - 2014 - Journal for Cancer Research and Therapeutics 10 (1):229 -231.
    An invited editorial on the depiction of disease in art history which would then become the symbol of this redemptive philosophy.
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  18. I Hate Applause: Norm Macdonald and Laughter.Jeremy Fried - 2020 - In Ruth Tallman & Jason Southworth (eds.), Saturday Night Live and Philosophy: Deep Thoughts Through the Decades. pp. 169-176.
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  19. Resonance in Dhvani Aesthetics and the Deleuzian Logic of Sensation.Srajana Kaikini - 2018 - Deleuze and Guatarri Studies 12 (1):29-44.
    This paper undertakes an intersectional reading of visual art through theories of literary interpretation in Sanskrit poetics in close reading with Deleuze's notions of sensation. The concept of Dhvani – the Indian theory of suggestion which can be translated as resonance, as explored in the Rasa – Dhvani aesthetics offers key insights into understanding the mode in which sensation as discussed by Deleuze operates throughout his reflections on Francis Bacon's and Cézanne's works. The paper constructs a comparative framework to review (...)
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  20. 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 (...)
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  21. Street Art and the New Status of the Visual Arts.Graziella Travaglini - 2019 - Aisthesis. Pratiche, Linguaggi E Saperi Dell’Estetico 12 (2):177-194.
    This paper explores the «nature» of street art, highlighting its innovative features, the new socio-political status, and the differences between this emerging art form and dominant trends in contemporary visual art. This examination builds on the premise that artistic phenomena can only be considered from a critical perspective that situates questioning within a historical and specific gaze. Therefore, my aim is not to place this art movement within categorial boundaries, identifying the necessary and eternally true characteristics of street art, but (...)
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  22. New Television: The Aesthetics and Politics of a Genre.Martin Shuster - 2019 - University of Chicago Press.
    Even though it’s frequently asserted that we are living in a golden age of scripted television, television as a medium is still not taken seriously as an artistic art form, nor has the stigma of television as “chewing gum for the mind” really disappeared. -/- Philosopher Martin Shuster argues that television is the modern art form, full of promise and urgency, and in New Television, he offers a strong philosophical justification for its importance. Through careful analysis of shows including The (...)
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  23. 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.
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  24. Visual Experiences in Cinquecento Theatrical Spaces.Javier Berzal de Dios - 2018 - Toronto, ON, Canada: University of Toronto Press.
    Through an interdisciplinary examination of sixteenth-century theatre, Visual Experiences in Cinquecento Theatrical Spaces studies the performative aspects of the early modern stage, paying special attention to the overlooked complexities of audience experience. Examining the period’s philosophical and aesthetic ideas about space, place, and setting, the book shows how artists consciously moved away from traditional representations of real spaces on stage, instead providing their audiences with more imaginative and collaborative engagements that were untethered by strict definitions of naturalism. In this way, (...)
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  25. 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 (...)
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  26. Authenticity, Misunderstanding, and Institutional Responsibility in Contemporary Art.Sherri Irvin - 2019 - British Journal of Aesthetics 59 (3):273-288.
    This paper addresses two questions about audience misunderstandings of contemporary art. First, what is the institution’s responsibility to prevent predictable misunderstandings about the nature of a contemporary artwork, and how should this responsibility be balanced against other considerations? Second, can an institution ever be justified in intentionally mounting an inauthentic display of an artwork, given that such displays are likely to mislead? I will argue that while the institution has a defeasible responsibility to mount authentic displays, this is not always (...)
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  27. Portraits and Philosophy.Hans Maes (ed.) - 2020 - Routledge.
    Portraits are everywhere. One finds them not just in museums and galleries, but also in newspapers and magazines, in the homes of people and in the boardrooms of companies, on stamps and coins, on millions of cell phones and computers. Despite its huge popularity, however, portraiture hasn’t received much philosophical attention. While there are countless art historical studies of portraiture, contemporary philosophy has largely remained silent on the subject. This book aims to address that lacuna. It brings together philosophers (and (...)
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  28. Visual Art and the Rhythm of Experience.Kasper Levin, Tone Roald & Bjarne Sode Funch - 2019 - Journal of Aesthetics and Art Criticism 77 (3):281-293.
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  29. On the Historical Reconstruction of Aesthetic Attention: A Comment on Bence Nanay's Aesthetics as Philosophy of Perception.Jakub Stejskal - 2019 - Studi di Estetica 47 (13):233-239.
    Contribution to a Book Forum on Bence Nanay's Aesthetics as Philosophy of Perception (includes Nanay's response).
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  30. 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 (...)
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  31. 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 (...)
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  32. The Fear of Aesthetics in Art and Literary Theory.Sam Rose - 2017 - New Literary History 48 (2):223-244.
    Is aesthetics, as has recently been claimed, now able to meet the accusations often levelled against it? This essay examines counters to three of the most common: that aesthetics is based around overly narrow conceptions of "art" and "the aesthetic"; that aesthetics is politically disengaged; and that aesthetics fails to engage with actual art objects and their histories.
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  33. Art and Pornography: Philosophical Essays.Hans Maes & Jerrold Levinson (eds.) - 2012 - Oxford University Press UK.
    Art and Pornography presents a series of essays which investigate the artistic status and aesthetic dimension of pornographic pictures, films, and literature, and explores the distinction, if there is any, between pornography and erotic art. Is there any overlap between art and pornography, or are the two mutually exclusive? If they are, why is that? If they are not, how might we characterize pornographic art or artistic pornography, and how might pornographic art be distinguished, if at all, from erotic art? (...)
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  34. 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 (...)
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  35. From Trust to Body. Artspace, Prestige, Sensitivity.Filippo Fimiani - 2017 - In Felice Masi & Maria Catena (eds.), The Changing Faces of Space. Cham, Switzerland: Springer Verlag. pp. 277-288.
    What happens to artist and to viewer when painting or sculpture emancipates itself from all physical mediums? What happens to art-world experts and to museum goers and amateurs when the piece of art turns immaterial, becoming indiscernible within its surrounding empty space and within the parergonal apparatus of the exposition site? What type of verbal depiction, of critical understanding and specific knowledge is attempted under these programmed and fabricated conditions? What kind of aesthetic experience–namely embodied and sensitive–is expected when a (...)
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  36. Assessing the Intellectual Value of New Genre Public Art.Elisa Caldarola - 2019 - Open Philosophy 2 (1):22-29.
    Suzanne Lacy introduced the term ‘New Genre Public Art’ (NGPA) to refer to art practices that depart from those traditional of public art (such as installing works in parks and plazas) and focus instead on the direct engagement of artists with audiences to deal with pressing socio-political issues. In this paper, I argue that some works of NGPA should be valued for the intellectual value grounded in their artistic features, not dissimilarly to works of conceptual art. In developing my argument, (...)
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  37. Can a Painting Have a Rhythm?Jason Gaiger - 2018 - British Journal of Aesthetics 58 (4):363-383.
    This paper challenges the widely held assumption that paintings and other works of graphic art have a communicable rhythmic structure. I defend the view that although the experience of viewing a picture takes place in time, and thus is successive, it cannot be temporally structured in a sufficiently determinate manner to sustain the kind of attentional focus required for the communication of even simple rhythmic patterns. With reference to examples of both abstract and figurative painting, I argue that the graphic (...)
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  38. ‘The Most Beautiful Blue’: Painting, Science, and the Perception of Coloured Shadows.Paul Smith - 2018 - British Journal of Aesthetics 58 (4):401-421.
    This article examines first of all how painters’ ability to perceive transient coloured shadows was both facilitated, and impoverished, by scientific theories of their causes. It then investigates how developing techniques of viewing the scene through a frame or half-closed eyes allowed artists to apprehend these elusive phenomena in something approaching their full richness.
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  39. Call the Midwife.Ellen Miller - 2019 - Philosophy Now (130):48-49.
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  40. Lo concreto y lo complejo en la interpretación del valor del arte.José Ramón Fabelo Corzo - 2017 - Revista Cubana de Ciencias Sociales 47 (47):99-111.
    El trabajo argumenta la necesidad de interpretar el valor del arte, por un lado, de manera concreta, como síntesis de múltiples determinaciones y tomando en consideración las condiciones de la época y lugar en las que la obra artística se inserta; y por otro lado, como producto complejo poseedor de múltiples dimensiones, diferentes pero interconectadas entre sí.
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  41. Shadows of Cruelty: Sadism, Masochism and the Philosophical Muse–Part Two.Charlie Blake & Frida Beckman - 2010 - Angelaki 15 (1):1-12.
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  42. Quelques Enjeux Philosophiques de la Restauration : À Partir des Harvard Murals de Rothko.Jacques Morizot - 2018 - Nouvelle Revue D’Esthétique 21 (1):99.
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  43. D'une graphie qui ne dit rien. Les ambiguïtés de la notation chorégraphique.Frédéric Pouillaude - 2004 - Poetique 1 (137):99-123.
  44. Gusto. Pensare la frattura. [REVIEW]Fabio Vergine - 2015 - Doppiozero 1.
  45. Conversations on Art and Aesthetics.Hans Maes - 2017 - Oxford, UK: Oxford University Press.
    What is art? What counts as an aesthetic experience? Does art have to beautiful? Can one reasonably dispute about taste? What is the relation between aesthetic and moral evaluations? How to interpret a work of art? Can we learn anything from literature, film or opera? What is sentimentality? What is irony? How to think philosophically about architecture, dance, or sculpture? What makes something a great portrait? Is music representational or abstract? Why do we feel terrified when we watch a horror (...)
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  46. Thierry de Duve, Kant after Duchamp. [REVIEW]Tomas Hribek - 1999 - Umění/Art 47:238-241.
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  47. Dvakrát nový Arthur Danto. [REVIEW]Tomas Hribek - 1996 - Umění/Art 44:572-577.
    A Czech-language review of two of Arthur Danto's collections of art criticism -- BEYOND THE BRILLO BOX and EMBODIED MEANINGS.
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  48. Beholders' Shares and the Languages of Art.John Kulvicki - 2014 - In Paul Taylor (ed.), Meditations on a Heritage: Papers on the Work and Legacy of Sir Ernst Gombrich. London, UK: Paul Holberton Publishing. pp. 127-138.
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  49. 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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  50. Egalitarian Moments: From Descartes to Rancière.Devin Zane Shaw - 2016 - New York, NY, USA: Bloomsbury.
    Jacques Rancière's work has challenged many of the assumptions of contemporary continental philosophy by placing equality at the forefront of emancipatory political thought and aesthetics. Drawing on the claim that egalitarian politics persistently appropriates elements from political philosophy to engage new forms of dissensus, Devin Zane Shaw argues that Rancière's work also provides an opportunity to reconsider modern philosophy and aesthetics in light of the question of equality. In Part I, Shaw examines Rancière's philosophical debts to the 'good sense' of (...)
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1 — 50 / 3375