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  1. added 2020-04-29
    Beauty, Art and the Western Tradition.Derek Allan - 2020 - In Rohan Curnow, Robert Andrews & Matthew Del Nevo (eds.), Beauty and the Christian Tradition. Sydney: St Paul's Publications. pp. 1-21.
    Examines the birth of art-as-beauty in Western art and the concomitant birth of the idea of art itself. Also discusses the death of art-as-beauty from Manet onward and certain implications for aesthetics (the philosophy of art). Includes relevant reproductions. (The essay is a longer version of my paper "The Birth and Death of Beauty in Western Art" also listed on PhilPapers.).
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  2. added 2020-04-24
    Art Without ‘Art’.Dominic McIver Lopes - 2007 - British Journal of Aesthetics 47 (1):1-15.
    Some argue that there is no art in some non-Western cultures because members of those cultures have no concept of art. Others argue that members of some non-Western cultures have concepts of art because they have art. Both arguments assume that if there is art in a given culture, then some members of the culture have a concept of art. There are reasons to think that this assumption is false; and if it is false, there are lessons to learn for (...)
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  3. added 2020-04-22
    Historical Definitions of Art.Kathleen Stock - 2003 - In Stephen Davies & Ananta Charana Sukla (eds.), Art and Essence. Praeger. pp. 159--76.
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  4. added 2020-02-12
    Review of Jennifer Lena's "Entitled: Discriminating Tastes and the Expansion of the Arts". [REVIEW]C. Thi Nguyen - 2020 - Journal of Aesthetics and Art Criticism 78 (2):257-261.
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  5. added 2020-02-10
    Yale Gallery Talk, Language Perception and Representation.PhD Tanya Kelley - forthcoming
    Yale Gallery Talk, Language Perception and Representation Tanya Kelley and James Prosek Linguist and artist Tanya Kelley, Ph.D., and artist, writer, and naturalist James Prosek, B.A. 1997, discuss color manuals used by artist-naturalists and biologists and lead visitors in close looking and drawing. Presented in conjunction with the exhibition James Prosek: Art, Artifact, Artifice. Space is limited. Open to: General Public .
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  6. added 2020-01-06
    The Mimetic Faculty and the Art of Everyday Life.Milan Kroulík - 2019 - Kritike 13 (1):144-160.
    : In this paper I attempt to rethink the relationship between art and life by formulating it based on the rereading of the Benjaminian mimetic faculty by the anthropologist Michael Taussig. Taking this position within history as non-teleological change and based on human activity, to uphold a distinction between original and representation metaphysically becomes impossible. This is important in so far as any notion of primacy becomes obsolete, while at the same time one can work with the historical existence, both (...)
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  7. added 2019-10-20
    Review of The Lost Carving: A Journey Into the Heart of Making, by David Esterly (Viking: New York, 2012). [REVIEW]Stefanie Rocknak - 2013 - Popular Woodworking Magazine 1.
    In 1986, David Esterly won a competition to carve a replacement of a Grinling Gibbons “wall drop” for Hampten Court Palace, in East Molesey, England. His task was an onerous one: Gibbons invented a style of carving that has been matched by few, and surpassed by still fewer. Esterly is one of the latter few; his technique is superb. -/- The Lost Carving gives us an account of those fateful days at Hampton Court. Interwoven with memories of recreating the Gibbon’s (...)
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  8. added 2019-10-18
    The Disjunctive Theory of Art: The Cluster Account Reformulated: Articles.Francis Longworth & Andrea Scarantino - 2010 - British Journal of Aesthetics 50 (2):151-167.
    This paper suggests that art cannot be defined in terms of individually necessary and jointly sufficient conditions. Instead, we propose that there are several sufficient conditions for something's being art, and that a successful definition will consist of a disjunction of minimally sufficient conditions. Our proposal owes much to the insights of Berys Gaut's ‘“Art” as a Cluster Concept’ but offers a much simpler logical formulation, which, in addition, is immune to the objections that have been raised to Gaut's account. (...)
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  9. added 2019-10-06
    What, After All, Is Art?Alexandra Mouriki, Antonis Vaos & Alexandra Mouriki-Zervou - 2010 - International Journal of the Arts in Society: Annual Review 5 (2):129-138.
    Art education literature has not given great deal of attention to that which constitutes the very content of art education, i.e. art. This reluctance to deal with art seems justified, given that there exists no overall accepted definition or interpretation of what art actually is. In this paper, we argue that, despite the difficulty, it is absolutely necessary to try to understand and reflect on the multidimensional and polyvalent phenomenon of art. We claim that without a deep understanding of the (...)
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  10. added 2019-10-05
    Historical and Trans-Historical Time of Art.Alexandra Mouriki - 2009 - Art and Time, IV Mediterranean Congress of Aesthetics.
    The relationship between art and time is one of pre-figuration–transfiguration, a continuous exchange between the art of the present and that of the past and it is in this sense that we can understand how the works of art are have almost their entire life before them. It is in this sense also that the real meaning of metamorphosis should be understood: The works of art are not permanent acquisitions. They offer themselves the ways through which they appear in another (...)
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  11. added 2019-10-05
    The Re-Orientation of Aesthetics and its Significance for Aesthetic Education. In The Turn to Aesthetics: An Interdisciplinary Exchange of Ideas in Applied and Philosophical Aesthetics.Alexandra Mouriki & D. Palmer, C. And Torevell - 2008 - Liverpool, UK: Liverpool Hope University Press.
    More and more these days it is asked whether aesthetics is still possible. A question that, given the context and phrasing, seems to direct us towards its answer. Conferences and meetings, books and journal specials examine the issue of aesthetics, talk about rediscovery or return of aesthetics. Well known philosophers and aestheticians underscore the need to reconsider the foundations of aesthetics and set new directions for aesthetics today (Berleant, 2004) or attempt to expand aesthetics beyond aesthetics–like Welsch, for example who (...)
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  12. added 2019-09-02
    Contemporary Kitsch: The Death of Pseudo-Art and the Birth of Everyday Cheesiness (A Postcolonial Inquiry).Max Ryynänen - 2018 - Terra Aestheticae: Journal of Russian Society for Aesthetics 1 (1):70-86.
    The discourse on kitsch has changed tone. The concept, which in the early 20th century referred more to pretentious pseudo-art than to cute everyday objects, was attacked between the World Wars by theorists of modernity (e.g. Greenberg on Repin). The late 20th century scholars gazed at it with critical curiosity (Eco, Kulka, Calinescu). What we now have is a profound interest in and acceptance of cute mass-produced objects. It has become marginal to use the concept to criticize pseudo-art. Scholars who (...)
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  13. added 2019-07-29
    Art as Anti-Destiny: Foundations of André Malraux’s Theory of Art.Derek Allan - 2003 - Literature and Aesthetics 13 (2):7-16.
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  14. added 2019-07-28
    Aesthetic Contextualism.Jerrold Levinson - 2007 - Postgraduate Journal of Aesthetics 4 (3):1-12.
    Let me begin with a quote: “The universal organum of philosophy—the ground stone of its entire architecture—is the philosophy of art.”1 This statement, made in 1800 by the German Idealist philosopher Friedrich Schelling, is rather striking, not only because of its grandiosity, but also because it contrasts with what the majority of contemporary philosophers would be prepared to say on the subject. There is nevertheless a grain of truth in the claim that there is a peculiar connection between art and (...)
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  15. added 2019-06-13
    Білий куб: формування галерейного простору.Boris Sorokin - 2018 - NaUKMA Research Papers. History and Theory of Culture 1:24-28.
    У статті розглянуто концепцію «білого куба», специфічного галерейного та музейного простору для демонстрації і споглядання мистецтва. Проаналізовано, як тривалі експерименти з формою демонстрації робіт у музейних приміщеннях були зумовлені потребою створити особливий простір, де кожний експонат був би максимально ізольованим і самодостатнім. Так виник «білий куб», який фактично був легітимізований Альфредом Барром, першим директором музею сучасного мистецтва в Нью-Йорку. Починаючи з Брайана О’Догерті, дослідники вказують, що галерейний простір, яке нібито є максимально нейтральним, насправді є глибоко ідеологізованим. Уваго було приділено і (...)
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  16. added 2019-06-08
    The Birth and Death of Beauty in Western Art.Derek Allan - manuscript
    Examines (1) the birth of art-as-beauty in Western art and the concomitant birth of the idea of art itself; (2) the death of art-of-beauty from Manet onwards. Also looks briefly at some major implications for aesthetics (the philosophy of art). Paper includes some relevant reproductions.
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  17. added 2019-06-06
    Schopenhauer, Philosophy and the Arts.Dale Jacquette (ed.) - 1996 - Cambridge University Press.
    This collection brings together thirteen essays by some of the most respected contemporary scholars of Schopenhauer's aesthetics from a wide spectrum of philosophical perspectives. The dynamics of the empirical will and Will as a thing-in-itself in the interplay of Schopenhauer's metaphysics and philosophy of fine art has important implications for the freedom, salvation and tragic suffering of the artist, the representation of Platonic Ideas in art, and the role of artistic inspiration, emotion and aesthetic pleasure in the beautiful and sublime. (...)
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  18. added 2019-06-06
    On Functioinal Definitions Of Art: A RESPONSE TO ROWE.Graham Oppy - 1993 - British Journal of Aesthetics 33 (1):67-71.
    This paper is a critical assessment of M. W. Rowe's functional definition of art.
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  19. added 2019-05-23
    Understanding Art-Making as Documentation.Tim Gorichanaz - 2017 - Art Documentation 36 (2):191-203.
    Though typically arts information professionals are concerned with the documentation of artwork, this conceptual paper explores how art-making itself can be considered a form of documentation and finished artworks as documents in their own right. On this view, artwork references something outside itself as part of a broader system, and exposes how it references. The implications of this perspective are discussed, springing from a historical discussion of document epistemology, research on the information behavior of artists and the philosophy of Nelson (...)
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  20. added 2018-12-04
    Cézanne - Van Gogh - Monet. Genese der Abstraktion, second editon of PhD thesis from 1999/2000.Martina Sauer - 2014 - Heidelberg: ART-Dok.
    Do abstract paintings still make sense and if so what do they mean? By reducing the paintings to simple square blots as by Cézanne, to lines as by van Gogh and color traces as by Monet their meaning is fundamentally questioned. But by interpreting these compositions as effective forces or rather affective stimuli a new and different meaning becomes apparent. Landscapes are no longer introduced but made real in the aesthetic experience. Therefore aesthetics or rather aisthetics (perception) can be defined (...)
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  21. added 2018-11-28
    The Problem of Non-Perceptual Art.James Shelley - 2003 - British Journal of Aesthetics 43 (4):363-378.
    Consider the following three propositions: (R) Artworks necessarily have aesthetic properties that are relevant to their appreciation as artworks. (S) Aesthetic properties necessarily depend, at least in part, on properties perceived by means of the five senses. (X) There exist artworks that need not be perceived by means of the five senses to be appreciated as artworks. The independent plausibility and apparent joint inconsistency of these three propositions give rise to what I refer to as ‘the problem of non-perceptual art’. (...)
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  22. added 2018-11-28
    The Nature of Art. [REVIEW]James Shelley - 2003 - American Society for Aesthetics Newsletter 23.
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  23. added 2018-11-28
    Philosophies of Arts: An Essay in Differences. [REVIEW]James Shelley - 1999 - Philosophy in Review 18.
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  24. added 2018-11-28
    Aesthetics: The Big Questions. [REVIEW]James Shelley - 1999 - American Society for Aesthetics Newsletter 19.
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  25. added 2018-09-26
    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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  26. added 2018-07-27
    Thierry de Duve, Kant after Duchamp. [REVIEW]Tomas Hribek - 1999 - Umění/Art 47:238-241.
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  27. 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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  28. added 2018-05-07
    Goodman’s Semiotic Theory of Art.Markus Lammenranta - 1992 - Canadian Journal of Philosophy 22 (3):339-351.
  29. 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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  30. added 2018-03-23
    Heidegger, Art, and the Overcoming of Metaphysics.Matt Dill - 2017 - European Journal of Philosophy 25 (2):294-311.
    In this paper, I advance a new interpretation of Heidegger's reflections on art as we find them in his essay, ‘The Origin of the Work of Art’. I begin, in Section 1, by uncovering the fundamental concern that motivates Heidegger's essay. I show that Heidegger's reflections on art are part of his attempt to uncover a path beyond the history of metaphysics. I then suggest, in Section 2, that while Heidegger does think that art may allow for the overcoming of (...)
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  31. 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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  32. added 2018-02-17
    We Do Not Have an Adequate Conception of Art Until We Have One That Accommodates Gardens.John Powell - 2012 - Dissertation, Lincoln University
    The thesis explores the adequacy of five well-known conceptions of art to the case of gardens. It concludes that, of those conceptions, the cluster theory is best suited to the case of gardens.
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  33. added 2018-02-10
    Assessing Socially Engaged Art.Vid Simoniti - 2018 - Journal of Aesthetics and Art Criticism 76 (1):71-82.
    The last twenty-five years have seen a radical shift in the work of politically committed artists. No longer content to merely represent social reality, a new generation of artists has sought to change it, blending art with activism, social regeneration projects, and even violent political action. I assess how this form of contemporary art should lead us to rethink theories of artistic value and argue that these works make a convincing case for an often-dismissed position, namely, the pragmatic view of (...)
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  34. added 2018-01-10
    Del pathos, la extensión y la circunstancia del mundo para la experiencia del arte actual.Carlos Vanegas - 2016 - In ¿Arte sin estética? Medellín, Colombia: Universidad de Antioquia. pp. 131-166.
    Frente al interés por construir un discurso que dé cuenta del momento particular del arte contemporáneo, y que, además, pueda esclarecer y proponer diversas respuestas frente a los productos artísticos que se realizan en la difícil circunstancia actual, se han dirigido diferentes propuestas disciplinares que presentan análisis de la obra de arte y la experiencia que surge en su comprensión. La situación, que a veces se caracteriza por la impotencia de la teoría, la historia y la crítica del arte al (...)
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  35. added 2017-12-07
    The Cultural Definition of Art.Simon Fokt - 2017 - Metaphilosophy 48 (4):404-429.
    Most modern definitions of art fail to successfully address the issue of the ever-changing nature of art, and rarely even attempt to provide an account that would be valid in more than just the modern Western context. This article develops a new theory that preserves the advantages of its predecessors, solves or avoids their problems, and has a scope wide enough to account for art of different times and cultures. It argues that an object is art in a given context (...)
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  36. added 2017-12-07
    Defining Art Culturally : Modern Theories of Art - a Synthesis.Simon Fokt - unknown
    Numerous theories have attempted to overcome the anti-essentialist scepticism about the possibility of defining art. While significant advances have been made in this field, it seems that most modern definitions fail to successfully address the issue of the ever-changing nature of art raised by Morris Weitz, and rarely even attempt to provide an account which would be valid in more than just the modern Western context. This thesis looks at the most successful definitions currently defended, determines their strengths and weaknesses, (...)
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  37. added 2017-11-28
    Doing Without the Ideology of Art.Ellen Dissanayake - 2011 - New Literary History 42:71-79.
    My invited comment on Steven Connor’s essay, “Doing Without Art,” proposes that a fuller understanding of the implications of my notion of “making special”—referred to by Connor in his essay as somewhat relevant to his own position—would expand his view of the human art impulse and allay some of his disaffections. Rather than contributing to aesthetic theory, the ideology of art, my work proposes an ethology of art: it suggests why members of the human species, in all times and places, (...)
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  38. added 2017-11-18
    Feeling, Emotion and Imagination: In Defence of Collingwood's Expression Theory of Art.Nick Wiltsher - 2018 - British Journal for the History of Philosophy 26 (4):759-781.
    ABSTRACTIn ‘The Principles of Art’, R. G. Collingwood argues that art is the imaginative expression of emotion. So much the worse, then, for Collingwood. The theory seems hopelessly inadequate to the task of capturing art’s extension: of encompassing all the works we generally suppose should be rounded up under the concept. A great number of artworks, and several art forms, have nothing to do with emotion. But it would be surprising were Collingwood philistine enough to think that art is only (...)
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  39. 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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  40. added 2017-08-10
    Feminism: Feminisms and Tradition.Peg Zeglin Brand Weiser - 2014 - In Michael Kelly (ed.), Encyclopedia of Aesthetics, 2nd ed. Oxford University Press. pp. 22-26.
    Feminism came to the discipline of philosophical aesthetics rather late--approximately 1990--in spite of advances made much earlier in the 1970s by feminist scholars in related fields such as literary theory, art history, art criticism, and film studies. This essay tracks notions of "tradition" within the history of aesthetics and subsequent feminist challenges to patriarchal traditions and existing philosophical practices. No one unitary feminist approach is sought; rather a multiplicity of feminisms have arisen within aesthetics that have brought new focus to (...)
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  41. added 2017-08-09
    Lord, Lewis, and the Institutional Theory of Art.Peggy Zeglin Brand - 1982 - Journal of Aesthetics and Art Criticism 40 (3):309-314.
    In "Convention and Dickie's Institutional Theory" (British Journal of Aesthetics 1980), Catherine Lord maintains the following thesis: (L) If a work of art is defined as institutional and conventional, then the definition precludes the freedom and creativity associated with art. Lord also maintains that the antecedent of this conditional is false. In this note, I argue that (i) certain confusions and assumptions prevent Lord from showing the antecedent is false, and (ii) even if the antecedent is assumed to be true, (...)
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  42. added 2017-08-08
    Definitions of Art, by Stephen Davies. [REVIEW]Peg Brand - 1994 - Philosophy and Phenomenological Research 54 (2):492-494.
    Davies presents the reader with a sterling review of the literature on the definition of "art" and a stimulating discussion of the role of conventions in the making and appreciating of contemporary art. Definitions of Art is essential reading for anyone interested in the history of aesthetics and as it informs the current dialectic on art.
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  43. added 2017-08-06
    Surface and Deep Interpretation.Peg Brand & Myles Brand - 2012 - In Mark Rollins (ed.), Danto and His Critics, 2nd Edition. Wiley-Blackwell. pp. 69-83.
    Arthur C. Danto proposes a complex and controversial relationship between surface and deep interpretations in The Philosophical Disenfranchisement of Art (1986). We detail the analogy between understanding human actions and interpreting works of art that both develops a motivation for Danto's view and clarifies it. We object to the most plausible version of content dependency among surface and deep interpretations and in so doing, we also clarify the way in which an interpretation is constitutive of an artwork.
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  44. 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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  45. added 2017-06-22
    Errors in ‘The History of an Error’.Simon Fokt & Aaron Meskin - 2016 - British Journal of Aesthetics 56 (2):179-185.
    In a recent article in this journal, Alex Neill and Aaron Ridley argue that relational theories of art are rooted in a misunderstanding of what it would take to falsify the family resemblance theories they are meant to supplant, and are incapable of meeting all the requirements a successful theory of art must meet. Hence, they are doomed to failure. We show that the arguments Neill and Ridley offer are rooted in misunderstandings about relational theories and the requirements for a (...)
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  46. 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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  47. added 2017-03-07
    Conceptual Art Is Not What It Seems.Dominic McIver Lopes - 2007 - In Peter Goldie & Elisabeth Schellekens (eds.), Philosophy and Conceptual Art. Oxford University Press.
    Hypotheses in aesthetics should explain appreciative failure as well as appreciative success. They should state the general conditions under which people fail to understand and value works as works of art. This stricture is all the more important when the typical response to conceptual art is one of resistance. Some philosophers explain this by claiming that conceptual art violates traditional theories of art. Others say that it violates folk ontologies of art. In fact, the appreciative failure to which conceptual art (...)
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  48. added 2017-03-06
    Beyond Art.Dominic McIver Lopes - 2014 - Oxford University Press.
    This book offers a bold new approach to the philosophy of art. General theories of art don't work: they can't deal with problem cases. Instead of trying to define art, we should accept that a work of art is nothing but a work in one of the arts. Lopes's buck passing theory works well for the avant garde, illuminating its radical provocations.
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  49. added 2017-03-06
    The Aesthetic Function of Art. [REVIEW]Dominic McIver Lopes - 2007 - Philosophy and Phenomenological Research 75 (2):484-487.
  50. added 2017-02-15
    Some Institutional Theories of Art.John Hoaglund - 1986 - Journal of Aesthetic Education 20 (1):19-26.
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