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  1. Art, Philosophy, and Creativity.Said Mikki - manuscript
    We reflect on the nature of art, the creative process, and the connection between art and philosophy.
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  2. The Limits of Art. On Borderline Cases of Artworks and Their Aesthetic Properties.Jiri Benovsky - forthcoming - Springer.
    This book is about exploring interesting borderline cases of art. Jiri Benovsky discusses the cases of gustatory and olfactory artworks (focusing on food), proprioceptive artworks (dance, martial arts, and rock climbing qua proprioceptive experiences), intellectual artworks (philosophical and scientific theories), as well as the vague limits between painting and photography. This book is then about what counts as art and what does not, as well as about the nature of these limits. Overall, Benovsky defends a very inclusive view, 'extending' the (...)
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  3. The Aesthetic Value of the World.Tom Cochrane - forthcoming - Oxford, UK: Oxford University Press.
    This book defends Aestheticism- the claim that everything is aesthetically valuable and that a life lived in pursuit of aesthetic value can be a particularly good one. Furthermore, in distilling aesthetic qualities, artists have a special role to play in teaching us to recognize values; a critical component of virtue. I ground my account upon an analysis of aesthetic value as ‘objectified final value’, which is underwritten by an original psychological claim that all aesthetic values are distal versions of practical (...)
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  4. The Aesthetic Engagement Theory of Art.Patrick Grafton-Cardwell - forthcoming - Ergo: An Open Access Journal of Philosophy.
    I introduce and explicate a new functionalist account of art, namely that something is an artwork iff the fulfillment of its function by a subject requires that the subject aesthetically engage it. This is the Aesthetic Engagement Theory of art. I show how the Aesthetic Engagement Theory outperforms salient rival theories in terms of extensional adequacy, non-arbitrariness, and ability to account for the distinctive value of art. I also give an account of what it is to aesthetically engage a work (...)
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  5. Theory and Practice of Contrast Integrating Science, Art and Philosophy.Mariusz Stanowski (ed.) - forthcoming - London: CRC Press, Tylor&Francis.
    The book Theory and Practice of Contrast completes, corrects and integrates the foundations of science and humanities, which include: theory of art, philosophy (aesthetics, epistemology, ontology, axiology), cognitive science, theory of information, theory of complexity and physics. Through the integration of these distant disciplines, many unresolved issues in contemporary science have been clarified or better understood, among others: defining impact (contrast) and using this definition in different fields of knowledge; understanding what beauty/art is and what our aesthetic preferences depend on; (...)
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  6. Yale Gallery Talk, Language Perception and Representation.PhD Tanya Kelley - forthcoming - Https://Drive.Google.Com/File/D/1YHzX_YR_wOWC3JUvfBcW7KucWX0Wlr_o/View.
    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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  7. André Malraux et l’Art : Une Révolution Intellectuelle.Derek Allan - 2021 - New York, NY, USA: Peter Lang.
    Cette étude présente une explication systématique des éléments clés de la théorie de l’art d’André Malraux. Se basant sur des œuvres telles que Les Voix du silence, Le Surnaturel, L’Irréel et L’Intemporel, elle aborde des sujets cruciaux comme la nature de la création artistique, la psychologie de notre réaction à l’art, la naissance de la notion d’« art » et sa transformation après Manet, la naissance et la mort de l’idée de beauté, la question cruellement négligée de la relation entre (...)
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  8. 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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  9. El estatus de arte del CG-art desde un modo de existencia de tipo-natural.Leonardo Arriagada - 2020 - Káñina 44 (2):35-50.
    La introducción de las redes generativas antagónicas en el mundo del arte ha revitalizado la clásica pregunta: ¿puede una máquina crear arte? Estos algoritmos requieren una mínima intervención humana para funcionar, por lo que sus creaciones se consideran CG-art. En esta clase particular de arte los computadores no son una herramienta al servicio humano, sino un agente creativo autónomo. Por otro lado, estudios cognitivos recientes han demostrado que las personas son escépticas ante la idea de que una máquina pueda crear (...)
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  10. Art (Entrée académique).Constant Bonard & Steve Humbert-Droz - 2020 - Encyclopédie Philosophique.
    Dans cette entrée, après une introduction qui servira de cadre à notre discussion (section 1.), nous allons présenter et analyser des définitions du concept « Art ». Nous discuterons brièvement les définitions classiques les plus influentes puis nous nous concentrerons sur les principales définitions contemporaines. -/- Nous verrons pourquoi les définitions classiques sont aujourd’hui considérées comme insatisfaisantes (2.a.), et comment les philosophes, à partir de la seconde moitié du XXème siècle ont tenté de pallier leurs défauts. Dans les grandes lignes, (...)
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  11. 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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  12. Can Kant’s Aesthetics Accommodate Conceptual Art? A Reply to Costello.Ioannis Trisokkas - 2020 - Con-Textos Kantianos 12:226-247.
    Diarmuid Costello has recently argued that, contra received opinion, Kant’s aesthetics can accommodate conceptual art, as well as all other art. Costello offers an interpretation of Kant’s art theory that demands from all art a minimal structure involving three basic “players” and three basic “actions” corresponding to those “players.” The article takes issue with the “action” assigned by Costello’s Kant to the artwork’s recipient, namely that her imagination generates a multitude of playful thoughts deriving from or in any other way (...)
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  13. What Makes a Kind an Art-Kind?Michel-Antoine Xhignesse - 2020 - British Journal of Aesthetics 60 (4):471-88.
    The premise that every work belongs to an art-kind has recently inspired a kind-centred approach to theories of art. Kind-centred analyses posit that we should abandon the project of giving a general theory of art and focus instead on giving theories of the arts. The main difficulty, however, is to explain what makes a given kind an art-kind in the first place. Kind-centred theorists have passed this buck on to appreciative practices, but this move proves unsatisfactory. I argue that the (...)
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  14. Failures of Intention and Failed-Art.Michel-Antoine Xhignesse - 2020 - Canadian Journal of Philosophy 50 (7):905-917.
    This paper explores what happens when artists fail to execute their goals. I argue that taxonomies of failure in general, and of failed-art in particular, should focus on the attempts which generate the failed-entity, and that to do this they must be sensitive to an attempt’s orientation. This account of failed-attempts delivers three important new insights into artistic practice: there can be no accidental art, only deliberate and incidental art; art’s intention-dependence entails the possibility of performative failure, but not of (...)
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  15. 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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  16. 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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  17. 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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  18. 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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  19. Profiled Hands in Palaeolithic Art: The First Universally Recognized Symbol of the Human Form.James W. P. Walker, David T. G. Clinnick & Jan B. W. Pedersen - 2018 - World Art 8 (1):1-19.
    Drawing on both anthropology and philosophy, this paper argues that the profiled form of the human hand is a universally recognizable image; one whose significance transcends temporally and geographically defined cultural divisions, and represents the earliest known artistic symbol of the human form. The unique co-occurrence of five properties in the image of the human hand and the way it is recognized support this argument, including that it is: (1) unmistakably a hand, (2) unmistakably human, (3) a universal point of (...)
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  20. 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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  21. 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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  22. 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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  23. 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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  24. 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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  25. This Is Art: A Defence of R. G. Collingwood's Philosophy of Art.James Camien McGuiggan - 2017 - Dissertation, University of Southampton
    R. G. Collingwood’s 'The Principles of Art' argues that art is the expression of emotion. This dissertation offers a new interpretation of that philosophy, and argues that this interpretation is both hermeneutically and philosophically plausible. The offered interpretation differs from the received interpretation most significantly in treating the concept of ‘art’ as primarily scalarly rather than binarily realisable (this is introduced in ch. 1), and in understanding Collingwood’s use of the term ‘emotion’ more broadly (introduced in ch. 2). -/- After (...)
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  26. 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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  27. The Death of Beauty: Goya's Etchings and Black Paintings Through the Eyes of André Malraux.Derek Allan - 2016 - History of European Ideas 42 (7):965-980.
    Modern critics often regard Goya's etchings and black paintings as satirical observations on the social and political conditions of his times. In a study of Goya first published in 1950, which seldom receives the attention it merits, the French author and art theorist André Malraux contends that these works have a much deeper significance. The etchings and black paintings, Malraux argues, represent a fundamental challenge to the humanist artistic tradition that began with the Renaissance - a tradition founded on the (...)
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  28. Street Art: A Reply to Riggle.Andrea Baldini - 2016 - Journal of Aesthetics and Art Criticism 74 (2):187-191.
    In this paper, I critically discuss Riggle’s definition of street art. I argue that his definition has important limitations, and is therefore unsuccessful. I show that his view obscures a defining feature of street art, that is, its subversive power. As a significant consequence of ignoring that essential aspect, Riggle is incapable of fully understanding how street art transforms public space by turning one corner of the city at the time into contested ground. I also suggest that, when appreciating street (...)
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  29. 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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  30. From Zombie Art to Dead Art.Raamy Majeed - 2016 - Think 15 (43):25-37.
    Zombie art, or salvage art, are artworks that are damaged beyond repair, deemed by insurance companies, and removed from the market and stored at claims inventories due to their purported loss of value. This paper aims to make sense of the notion of zombie art. It then aims to determine whether artefacts that fall under this concept retain any aesthetic value, and whether they can genuinely cease being artworks, i.e. be dead art.
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  31. Between Philosophy and Art.Jennifer A. McMahon, Elizabeth B. Coleman, David Macarthur, James Phillips & Daniel von Sturmer - 2016 - Australasian Journal of Popular Culture 5 (2/3):135-150.
    Similarity and difference, patterns of variation, consistency and coherence: these are the reference points of the philosopher. Understanding experience, exploring ideas through particular instantiations, novel and innovative thinking: these are the reference points of the artist. However, at certain points in the proceedings of our Symposium titled, Next to Nothing: Art as Performance, this characterisation of philosopher and artist respectively might have been construed the other way around. The commentator/philosophers referenced their philosophical interests through the particular examples/instantiations created by the (...)
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  32. Borderline Cases and the Project of Defining Art.Annelies Monseré - 2016 - Acta Analytica 31 (4):463-479.
    Most philosophers of art assume that there are three categories with regard to arthood, namely ‘art’, ‘artful’ and ‘non-art’ and that, therefore, a definition must be able to account for ‘artful items’, also called ‘borderline cases of art’. This article, however, defends the thesis that, since there is no agreement over which items fall under the category ‘artful’, the ability to account for borderline cases of art should not be used as a criterion for evaluating definitions of art. The defended (...)
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  33. Still an Error: Relational Theories of Art.Alex Neill & Aaron Ridley - 2016 - British Journal of Aesthetics 56 (2):187-189.
    Aaron Meskin and Simon Fokt have recently taken issue with our 2012 paper, ‘Relational Theories of Art: the History of an Error’. Here we respond to their objections.
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  34. 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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  35. 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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  36. Andina, Tiziana. The Philosophy of Art: The Question of Definition—From Hegel to Post‐Dantian Theories, Trans. Natalia Iacobelli, New York: Bloomsbury, 2013, 190 Pp., 5 B&W Illus., $37.95 Paperback, $120.00 Cloth. [REVIEW]Michel-Antoine Xhignesse - 2016 - Journal of Aesthetics and Art Criticism 74 (1):106-108.
    A review of Tiziana Andina's The Philosophy of Art: The Question of Definition: From Hegel to Post-Dantian Theories (Bloomsbury 2013).
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  37. Understanding Art: A Checklist of the Three Most Basic Categories of Crafted Material.Jakob Zaaiman - 2016 - Alldaynight.Info.
    One of the difficulties standing in the way of a straightforward understanding of art is caused by the confusion that arises at a very basic level between the purposes and functions of various types of crafted material. In fact, there are only three major types – covering all eventualities – and being able to differentiate between them very much helps to pinpoint exactly what the special nature of ‘art’ is.
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  38. ‘But is It Art ?’ The Search for a Simple, Practical and Illuminating Answer.Jakob Zaaiman - 2016 - Alldaynight.Info.
    ‘Art’ still needs a practical, useful definition, not of the academic variety, but rather of the plain and simple sort that you can usefully take with you into a gallery, and apply directly to what you see. People want to know, with a basic clarity, what it is they are looking at, and how to judge the good from the bad. Because if you don’t know what ‘art’ is, and you think it’s all about ‘classical fine crafting’, then you are (...)
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  39. How to Understand Modern Contemporary Art, Enjoy It, and Not Be Fooled.Jakob Zaaiman - 2016 - Alldaynight. Info.
    Modern contemporary art remains a mystery because most people – including art critics and even artists themselves – are unable to see beyond the imprisoning confines of classical fine art. Everything is judged in terms of beauty and technical skill, when it should be viewed from a quite different perspective, namely that of the imaginative world that the modern artwork is a part of. Successful and authentic modern art is about creating worlds of the imagination - like a film, or (...)
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  40. In Monstrous Shallows: Pinpointing Where the Real Art of Jeff Koons Lies.Jakob Zaaiman - 2016 - Alldaynight.Info.
    Art is about the exploration of the strange and disturbing; it is not about classical fine crafting. Artists use artworks to exteriorise their inner landscapes, thereby allowing others to experience their take on life, at least vicariously. It is this exteriorisation which is ‘art’, not the aesthetic features of the individual artworks themselves, which is properly the domain of crafting and design. Aesthetics cannot explain the work of many major modern contemporary artists, because it fails to locate the underlying unifying (...)
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  41. Ernst H. Gombrich on Abstract Painting.Elisa Caldarola - 2015 - Aisthesis: Pratiche, Linguaggi E Saperi Dell’Estetico 8 (2):77-86.
    Ernst H. Gombrich criticized abstract painting with several remarks scattered around his wide oeuvre. I argue that his view of abstract paintings is coherent with the account of pictorial representation he put forward in Art and Illusion, show some limits of such view, and maintain that, although several of Gombrich’s criticisms of abstract painting should be rejected, some of his remarks are insightful and worth of consideration.
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  42. 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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  43. Defining Art and Artworlds.Stephen Davies - 2015 - Journal of Aesthetics and Art Criticism 73 (4):375-384.
    Most art is made by people with a well-developed concept of art and who are familiar with its forms and genres as well as with the informal institutions of its presentation and reception. This is reflected in philosophers’ proposed definitions. The earliest artworks were made by people who lacked the concept and in a context that does not resemble the art traditions of established societies, however. An adequate definition must accommodate their efforts. The result is a complex, hybrid definition: something (...)
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  44. 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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  45. Arte de apropiación. Reconsideraciones alrededor del problema de los indiscernibles en Danto.Gemma Arguello Manresa - 2015 - Páginas de Filosofía (Universidad Nacional del Comahue) 16 (19):80-95.
    Resumen: En este trabajo se desarrollan los argumentos que Arthur Danto elaboró en torno al significado metafórico y el estilo con el objetivo de mostrar si es posible que su modelo permita comprender nuevas formas de Arte de Apropiación. Éstas engloban las prácticas recientes en las que los artistas hacen réplicas más o menos exactas de otras obras que han sido importantes en la historia del arte. -/- Abstract: In this paper Arthur Danto’s arguments about metaphorical meaning and style are (...)
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  46. My Canvas, on History of English Literature - SlideShare.Rituparna Ray Chaudhuri - 2015
    "Let you see, whether it can help you- on topic of discussion..I cannot claim I am right, but I can suggest you.." LET PEOPLE DECIDE ON THE LANGUAGE, ON TOPIC OF DISCUSSION. ( http://philpapers.org/profile/112741 ).
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  47. Review of Beauty Unlimited, Peg Zeglin Brand, Ed. [REVIEW]Stefanie Rocknak - 2015 - Apa Newsletter on Feminism and Philosophy 15 (1):14-16.
    Most artists who are familiar with the contemporary art scene—especially the New York City scene—know that “beauty” is not especially hip. Unless, that is, it serves a “deeper” purpose, e.g., it helps to make a conceptual or political point. Danto’s influence, it would seem, pervades and persists (31). But, as Brand points out in her introduction, in the past twenty years or so, the philosophical study of beauty has been making a comeback; she lists over fifty titles that have been (...)
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  48. Beyond Art.Robert Stecker - 2015 - British Journal of Aesthetics 55 (2):258-261.
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  49. Can Levinson's Intentional‐Historical Definition of Art Accommodate Revolutionary Art?Daniel Wilson - 2015 - Journal of Aesthetics and Art Criticism 73 (4):407-416.
    In this article, I examine whether Jerrold Levinson's intentional-historical definition of art can successfully accommodate revolutionary art. For Levinson, an item is art if it was intended to be regarded as some prior art was regarded. But revolutionary art involves a regard that is “completely distinct” from preexisting art regards. I consider and reject Levinson's proposed solutions to the problem of accommodating revolutionary art. I then defend an alternative account of transgressive art regard. Unfortunately for the intentional-historical definition, the acceptance (...)
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  50. Christy Mag Uidhir, Art & Art-Attempts. Reviewed By. [REVIEW]Michel-Antoine Xhignesse - 2015 - Philosophy in Review 35 (3):182-184.
    A review of Christy Mag Uidhir's Art & Art-Attempts (OUP 2013).
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