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  1. 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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  2. 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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  3. ‘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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  4. Lo concreto y lo complejo en el 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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  5. 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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  6. D'une graphie qui ne dit rien. Les ambiguïtés de la notation chorégraphique.Frédéric Pouillaude - 2004 - Poetique 1 (137):99-123.
  7. Gusto. Pensare la frattura. [REVIEW]Fabio Vergine - 2015 - Doppiozero 1.
  8. 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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  9. Thierry de Duve, Kant after Duchamp. [REVIEW]Tomas Hribek - 1999 - Umění/Art 47:238-241.
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  10. 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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  11. 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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  12. 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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  13. 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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  14. Harsh Poetry and Art's Address: Romare Bearden and Hans-Georg Gadamer in Conversation.Cynthia R. Nielsen - 2016 - Polish Journal of Aesthetics 43:103–123.
    In this essay, I analyze Romare Bearden’s art, methodology, and thinking about art, as well as his attempt to harmonize his personal aesthetic goals with his sociopolitical concerns. I then turn to Hans-Georg Gadamer’s reflections on art and our experience (Erfahrung) of art. I show how Bearden’s approach to art and the artworks themselves resonate with Gadamer’s critique of aesthetic consciousness and his contention that artworks address us, make claims upon us, and even reveal truth. Lastly, I discuss Gadamer’s emphasis (...)
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  15. The Philosophy of Art and Aesthetics, Psychology, and Neuroscience: Studies in Literature, Music, and Visual Arts.Noel Carroll, Margaret Moore & William Seeley - 2012 - In Arthur P. Shimamura & Stephen E. Palmer (eds.), Aesthetic Science: Connecting Minds, Brains, and Experience. New York, NY, USA: pp. 31-62.
  16. Categories of Art and Computers: A Question of Artistic Style.William Seeley - 2017 - American Society for Aesthetics Newsletter 37 (3):9-11.
    Recent interdisciplinary research in visual stylometry employs digital image analysis algorithms to study the image features and statistics that underwrite our experience of artworks. This research brings psychologists, computer scientists, and art historians together to explore the formal image qualities that define artistic style. We introduce the field of visual stylometry, discuss it's implications for our understanding of both the nature of categories of art and the role artistic style plays in our engagement with artworks. We then discuss the results (...)
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  17. The Dimensions of Agreement: Arnheim and the Painter.Bela Petheo - 1993 - Journal of Aesthetic Education 27 (4):57.
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  18. The Unknown Langer: Philosophy From the New Key to the Trilogy of Mind.James R. Johnson - 1993 - Journal of Aesthetic Education 27 (1):63.
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  19. Terminology in the Salon Reviews of Charles Pierre Baudelaire.Richard Webb - 1993 - Journal of Aesthetic Education 27 (2):71.
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  20. Art and Visual Philosophy.Elwyn W. Hawthorn - 1995 - Journal of Aesthetic Education 29 (1):95.
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  21. 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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  22. A Post-Culturalist Aesthetics? A Commentary on Davis's 'Visuality and Vision'.Jakub Stejskal - 2017 - Estetika 54 (2):267-276.
    A commentary on Whitney Davis's essay 'Visuality and Vision: Questions for a Post-culturalist Art History' published in the same issue of Estetika.
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  23. A New Question About Color.Cynthia A. Freeland - 2017 - Journal of Aesthetics and Art Criticism 75 (3):231-248.
    Philosophers of art have advanced our understanding of the role of color in realistic representation in painting. This article addresses a new question about how color functions expressively in art. I sketch some ways to answer this question, using examples of paintings by Mark Rothko and light art installation works by James Turrell and Olafur Eliasson.
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  24. Review Article: Theatre and Philosophy. [REVIEW]Tom Stern - 2013 - European Journal of Philosophy 21 (1):158-167.
  25. Timeless Traces of Temporal Patterns.John Kulvicki - 2016 - Journal of Aesthetics and Art Criticism 74 (4):335-346.
    Long-exposure photographs present distinctive philosophical challenges. They do not quite look like things in motion. Experiences of such photos take time, but not in a way that mimics the time of the motion depicted. In fact, it would not be off base to worry that these photos fail, strictly speaking, to depict motion or things-in-time. And if they fail to depict motion, then it is an interesting question what, if anything, they succeed in depicting. These timeless traces of temporal patterns (...)
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  26. Company Paintings: Indian Paintings of the British Period.E. G. & Mildred Archer - 1994 - Journal of the American Oriental Society 114 (1):143.
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  27. Kangra Paintings of the Bihari Sat Sai.Anna L. Dallapiccola & M. S. Randhawa - 1970 - Journal of the American Oriental Society 90 (4):591.
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  28. Kangra Paintings of the Bhāgavata PurāṇaKangra Paintings of the Bhagavata Purana.S. K. & M. S. Randhawa - 1961 - Journal of the American Oriental Society 81 (4):462.
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  29. The Ancient Faults of the Other: Religion and Images at the Heart of an Unfinished Dispute.Maria Bettetini - 2014 - Rivista di Estetica 56:141-162.
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  30. Studies in the Problem of Norms. George P. Adams, J. Loewenberg, Stephen C. Pepper.A. P. Brogan - 1927 - International Journal of Ethics 37 (3):314-317.
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  31. Marginal Sculpture in Medieval France: Towards the Deciphering of an Enigmatic Pictorial Language.Nurith Kenaan-Kedar.Jean Ann Dabb - 1998 - Speculum 73 (1):209-211.
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  32. Pictorial Nominalism: On Marcel Duchamp's Passage From Painting to the Readymade.George H. Bauer & Thierry de Duve - 1993 - Substance 22 (2/3):350.
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  33. Self-Portrait of a Conservative.Pierre Pachet - 1990 - Substance 19 (2/3):177.
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  34. The Sculptural Opaque.Yve-Alain Bois, Kimball Lockhart & Douglas Crimp - 1981 - Substance 10 (2):23.
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  35. The Creative Years: Oil Paintings, Etchings, and Architectural Works.H. C. Lehman - 1942 - Psychological Review 49 (1):19-42.
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  36. Beauty and The End of Art, Wittgenstein, Plurality and Perception.Sonia Sedivy - 2016 - Bloomsbury Academic.
    Beauty and the End of Art shows how a resurgence of interest in beauty and a sense of ending in Western art are challenging us to rethink art, beauty and their relationship. By arguing that Wittgenstein's later work and contemporary theory of perception offer just what we need for a unified approach to art and beauty, Sonia Sedivy provides new answers to these contemporary challenges. These new accounts also provide support for the Wittgensteinian realism and theory of perception that make (...)
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  37. Collision: The Puzzle of Chardin.Jane Forsey - 2015 - Evental Aesthetics 4 (1):88-95.
    FEATURED IN EVENTAL AESTHETICS RETROSPECTIVE 1. LOOKING BACK AT 10 ISSUES OF EVENTAL AESTHETICS. This paper addresses problems in the interpretation of Chardin’s still life paintings, which are disconcerting because they are so out of step with those of his contemporaries. It is suggested that, with the application of Kantian aesthetics, Chardin can be best understood as representing things in themselves as well as the limits of language and understanding.
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  38. Collision: Poverty/Line: Aesthetic and Political Subjects in Santiago Sierra’s “Line” Photographs.David W. Janzen - 2015 - Evental Aesthetics 4 (1):63-70.
    FEATURED IN EVENTAL AESTHETICS RETROSPECTIVE 1. LOOKING BACK AT 10 ISSUES OF EVENTAL AESTHETICS. This Collision examines photographs of Santiago Sierra’s “Line” installations, discovering in these works a unique formulation of the tension between the social and formal aspects of contemporary art. Developing the philosophical implications of this formulation, this essay connects divergent trajectories embodied by the work to divergent trajectories in contemporary aesthetic theory. Developing the socio-political approach, I draw on recent work by Claire Bishop who, emphasizing the distinction (...)
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  39. Contemporary Ink Paintings.Curtis L. Carter - unknown
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  40. On Technological Ground: The Art of Torsten Lauschmann.Dominic Smith - 2015 - Evental Aesthetics 4 (2):138-170.
    This essay considers the relationship between the work of contemporary artist Torsten Lauschmann and themes in a growing area of research: philosophy of technology. Themes considered include relations between technology and contemporary urban dwelling, technology and the “everyday,” and Heidegger’s problematic but canonical understanding of technology not as a set of “mere means” but as a “way of revealing.” I argue that Lauschmann’s art renders these themes relevant for our increasingly technologically mediated forms of everyday experience by engaging in a (...)
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  41. سينما القضية الفلسطينية.Saida Seddik - manuscript
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  42. Witkiewicz-Father and Son: The Double Portrait.Małgorzata Vražić - 2013 - Estetyka I Krytyka 31:87-98.
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  43. The role of the artistic works of Anna Pavlova in the creation of scenic images.T. V. Portnova - 2015 - Liberal Arts in Russia 4 (4):282-291.
    The visual creativity of famous Russian ballerina Anna Pavlova is studied in the article within the context of the synthetic approach to working on stage roles. There are data on Anna Pavlova that have not been included in existing publications concerning her artistic, mainly sculptural experiments. This information provides understanding of not only professional tasks that the ballerina has set, but of the tools through which these tasks have been dealt with in a gradual process of formation of plastic dance (...)
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  44. Polish Files in the Lomholt Archive of Mail Art.Grzegorz Dziamski - 2014 - Art Inquiry. Recherches Sur les Arts 16:137-146.
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  45. Extrasensory Images: Marginal Phenomenon or Important Trend in the European Art?Ewa Wojtyniak-Dębińska - 2014 - Art Inquiry. Recherches Sur les Arts 16:101-114.
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  46. On Foreclosure and Fresh Cherries.Teodor Ajder - 2013 - Art Inquiry. Recherches Sur les Arts 15:89-106.
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  47. Spaces of Generativity. An Introduction to the Art of Wojciech Bruszewsk.Ryszard W. Kluszczyński - 2012 - Art Inquiry. Recherches Sur les Arts 14:71-80.
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  48. What Is a Portrait?Hans Maes - 2015 - British Journal of Aesthetics 55 (3):303-322.
    What I will aim for in answering the title question is extensional adequacy, that is, I will try to formulate an account that captures as much of the extension as possible of what we ordinarily think counts as a portrait. Two philosophers have recently and independently from one another embarked on the same project. Cynthia Freeland’s theory of portraiture, as it is developed in her book, Portraits and Persons, is discussed in Sections 1 and 2 of this paper. Sections 3 (...)
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  49. The Panofsky-Newman Controversy.Pietro Conte - 2015 - Aisthesis: Pratiche, Linguaggi E Saperi Dell’Estetico 8 (2):87-97.
    Starting from Erwin Panofsky’s well-known polemical exchange of letters with Barnett Newman, and taking into account some few hints to contemporary artists which can be found into the Princeton Professor’s private correspondence, this essay deals with the theoretical reasons why one of the most original and influent art historians of the whole 20th Century has never really come to terms with even the notion of “abstract” art. It then focuses on the seemingly paradoxical concept of “abstract sublime” as proposed by (...)
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  50. Wandering Towards Bruno: Synderesis and “Synthetic Intuition”.Christopher D. Johnson - 2015 - Aisthesis: Pratiche, Linguaggi E Saperi Dell’Estetico 8 (2):7-26.
    Focusing on the faculty of intuition, my essay considers different ways that Aby Warburg and Erwin Panofsky interpret the late Renaissance cosmographer, Giordano Bruno. It argues that Warburg, in the last year of his life and with the help of Ernst Cassirer, appropriates the concept of synderesis from Bruno not only to rethink the Nachleben der Antike but also to inscribe himself in the history of word and image, a history that admits the irrational and the mystical as much as (...)
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1 — 50 / 3286