The Value of Art

The genre to which an artwork belongs affects how it is to be interpreted and evaluated. An account of genre and of the criteria for genre membership should explain these interpretative and evaluative effects. Contrary to conceptions of genres as categories distinguished by the features of the works that belong to them, I argue that these effects are to be explained by conceiving of genres as categories distinguished by certain of the purposes that the works belonging to them are intended (...) to serve. (shrink)

Nicolai Hartmann describes how artistic objects arise through the interplay between a material foreground and immaterial background. In this paper, I show how the layered structure also prevents the modal imbalance inherent in artistic objects from violating the intermodal laws of the real. The real law of intermodal implication specifies that real possibility cannot extend beyond real necessity. I begin by explicating the real intermodal laws and describing how they give the real sphere its characteristic narrowness and determinateness. Hartmann describes (...) artistic objects as entailing a possibility that extends beyond real necessity. This intermodal imbalance does not, however, threaten the hegemony of the real intermodal laws, because only its foreground layer is fully situated within the real sphere of being. Its background layer has components that belong to the ideal sphere governed by the ideal modes. For the ideal modes, the law of intermodal implication only holds in one direction so that what is necessary must be actual and what is actual must be possible. Since this relation of implication is not reciprocal for the ideal modes, ideal possibility implies neither ideal actuality nor ideal necessity. (shrink)

The paper highlights analytic aesthetics’ unacknowledged assumption that art is timeless, a view it inherited from Enlightenment thinkers such as Hume and Kant, who in turn inherited it from the Renaissance. This view, I contend, is no longer tenable because it is at odds with our experience of the art of the past. Analytic aesthetics avoids this key problem because it confines its attention to issues such as the nature of aesthetic pleasure, whether the appreciation of art should be disinterested (...) and so on, which can be partitioned off from historical change and encased in a world where time stands still and where, by consequence, the temporal nature of art, including art’s capacity to transcend time, is ignored. (shrink)

Explores the failure of analytic aesthetics to examine the question of the capacity of art to transcend time, and its own commitment – seldom explicitly acknowledged – to the assumption that this capacity functions through the traditional, but no longer viable, notion of timelessness inherited from Enlightenment aesthetics.

The paper explores the much-neglected but crucial topic of the capacity of art to transcend time.

Explains a key aspect of Malraux's theory of art – his explanation of the nature of artistic creation. The question is widely neglected in modern aesthetics.

How does art – literature, visual art, or music – endure over time? What special power does it possess that enables it to “transcend” time – to overcome temporal distance and speak to us not just as evidence of times gone by, but as a living presence? The Renaissance, which discovered this transcendent power of art in the classical sculpture and literature it admired so strongly, concluded that great art is impervious to time – “timeless”, “immortal”, “eternal” – a belief (...) that left a profound impression on Renaissance culture and often found expression in its poetry. Subsequently the same belief exerted a powerful influence on Enlightenment aesthetics and, in various forms, it still lingers on today. The nineteenth century, however, saw a major challenge to this thinking. Hegel, Marx and Taine stressed the historical embeddedness of art and for these three thinkers, as for a series of more recent theorists such as Sartre, Benjamin, and Adorno, art belongs within the world of historical change. To locate its essential qualities in a “timeless” realm removed from the flow of history would be an idealist illusion. The conflict between these two positions has resulted in an impasse, and today we appear to lack any viable account of one of art’s key features – its capacity to transcend time. André Malraux proposes an entirely new account of this unique power of art. For Malraux, as this article explains, art is neither exempt from history (timeless) nor wholly inseparable from it. Art overcomes temporal distance – transcends time – through metamorphosis, a process of continual transformation in significance in which history plays an essential, but not exclusive, part. “La métamorphose,” Malraux writes, “est la vie même de l’œuvre d’art dans le temps, l’un de ses caractères spécifiques.” This proposition, to which contemporary aesthetics has so far paid very little attention, is a revolutionary step in our thinking about art. -/- . (shrink)

An overview of Malraux's theory of art, with sub-headings: "Basic Principles","The Creative Process","The Emergence of 'Art'","Art and Time", "The Modern Universal World of Art", and "Critical Responses". Includes a brief discussion of the musée imaginaire.

Examines Malraux's account of the creative process in art, discusses a misreading of Malraux by Merleau-Ponty, and highlights shortcomings in certain "analytic aesthetics" accounts of the creative process.

Very little has been written in recent decades about the temporal nature of art. The two principal explanations provided by our Western cultural tradition are that art is timeless (`eternal') or that it belongs within the world of historical change. Neither account offers a plausible explanation of the world of art as we know it today, which contains large numbers of works which are self-evidently not timeless because they have been resurrected after long periods of oblivion with significances quite different (...) from those which they originally held, and which also seem to have escaped history because, though long-forgotten, they have `come alive' again for us today. In his two key works on the theory of art, "Les Voix du silence" and "La Métamorphose des dieux", André Malraux offers an entirely new account of the temporal nature of art based on the concept of metamorphosis. Unlike the traditional explanations, Malraux's account makes sense of the world of art as we now know it. He revolutionizes our understanding of the relationship between art and time. (shrink)

" Suitable for both newcomers to Malraux and more advanced students, the study also examines critical responses to these works by figures such as Maurice ...

Strange Tools foregoes stolid conventions of professional philosophy, laudably broadening the book’s appeal to accommodate a popular audience. However, Noë’s manner of glossing over complex issues about art does not necessarily render these topics intelligible to philosophical novices. Instead, his oversimplifications will tend to confirm naïve notions that art is straightforward – a common misconception that a foray into philosophy of art ought to dispel, not corroborate.

By discussing a selection of socially engaged street artworks from the Frankfurt-based project ‘Under Art Construction’, this essay sheds light on street art’s possibilities as a form of resistance against the power of globalizing finance. The author argues that through the use of carnivalesque strategies of irony and appropriation, street art can challenge the pretense of rationality of recent policies of austerity in the eurozone. Such a challenge exposes the contingency of spending cut programs. He finally suggests that, in debunking (...) the myth of economic rationality, street art can change people’s experience of finance, while opening up a space for imagining alternative economic scenarios. (shrink)

Currently, advanced art education is in the process of developing research programs throughout Europe. Therefore, it seems to us urgent to explore what the term research actually means in the topical practice of art. After all, research as such is often understood as a method stemming from the alpha, beta or gamma sciences directed towards knowledge production and the development of a certain scientific domain. How is artistic research connected with those types of scientific research, taking into account that the (...) artistic domain so far has tended to continually exceed the parameters of knowledge management?One could claim that the artistic field comprises the hermeneutic question of the humanities, the experimental method of the sciences, and the societal commitment of the social sciences. Will that knowledge influence the domain, the methodology, and the outcome of artistic research? Another major topic concerns not only the specificity of the object of knowledge of artistic research but above all whether and how artistic research and its institutional programs will influence topical visual art, its artworks and its exhibitions.These complex problematics with their various points of view and management models are mapped out through the contributions of theorists, curators, and institutions, from Belgium, France, Great-Britain, Italy, The Netherlands, Finland, Germany, and Sweden. May these contributions be a constructive impetus for a versatile debate which may influence the future role of advanced art institutions and the position of artistic research in the next decade. (shrink)

Can pornographic depictions have artistic value? Much pornography closely resembles art, at least in many superficial respects. Films, photographs, paintings—all of these can have artistic value. Of course, films, photographs and paintings can also be pornographic. If some photographs have artistic value, and some photographs are pornographic, can pornographic photographs have artistic value too? I argue that pornography may only possess artistic value despite, not by virtue of, its pornographic content.

What kind of things are damaged art-objects? Are they junk, trash, mere stuff? Or do they remain art by virtue of their distinguished provenance or still discernible design? What kind of powers do such things have as material bodies and forces? Instead of attempting to locate proper concepts for salvaged art-things, this essay, from a perspective centered on the power of bodies-in-encounter – where “power” in Spinoza’s sense is the capacity to affect and be affected – attempts to home in (...) on the presence of a material vibrancy in the hope of better understanding the postures, reactions, and comportments that damaged art pieces inspire as we engage with them. This article proposes that even so-called “inanimate” things convey specific degrees of animacy even if not all of them qualify under the biological definition of life. (shrink)

What are we to make of works of art whose apparent point is to convince us of the meaninglessness and absurdity of human existence? I examine, in this paper, the attempt of Albert Camus to provide philosophical justification of art in the face of the supposed fact of absurdity and note its failure as such with specific reference to Sartre’s criticism. Despite other superficial similarities, I contrast Camus’s concept of the absurd with that of his ‘existentialist’ colleagues, including Sartre, and (...) suggest that the latter concept is more philosophically viable. I conclude that existential phenomenology consequently provides a more promising philosophical justification for artistic creation in the light of the more viable conception of absurdity. (shrink)

The paper recognizes the failure of contemporary non-aesthetic theories of art and aims at recovering the phenomenological notion of derealization – which re-emerges in A. Dantoʼs idea of the ʻbracketting effectʼ of art –, in order to explain art and art-experience. The main point is that art makes us free from the ʻreal worldʼ through an act of derealization that leads to the establishment of possible or fictional worlds different from the one we live in. Artworks are primarly imaginary, unreal (...) objects, due to the fact that they interest us only for its appearance and as appearance. Therefore, art cannot be understood without the frame of a particular kind of experience that we can understand in terms of Kantʼs notion of disinterestedness. This notion is still productive to understand why art has a certain power to free us from the needs of reality, although through art we do have profound views of certain aspects of reality and our life. Some objections against Kantʼs theory of aesthetic disinterestedness are discussed and refused, in order to understand the transcendental significance of the aesthetic theory of art. (shrink)

The history of art is replete with examples of artists who have broken from existing conventions and genres, redefining the meaning of art and its function in society. Our interest is in emerging forms of art that trespass – occupy space, place, and time as part of their aesthetic identity. These new forms of art, which we call trespassory art, are creatures of a movement that seeks to appropriate cultural norms and cultural signals, reinterpreting them to create new meaning. Marcel (...) DuChamp produced such a result when, in the early twentieth century, he took a urinal, signed his name to it, titled it Fountain, and called it art. Whether they employ 21st century technologies, such as lasers, or painting, sculpture and mosaic, music, theatre, or merely the human body, these new artists share one thing in common. Integral to their art is the physical invasion of space, the trespass, often challenging our conventional ideas of location, time, ownership, and artistic expression. Their art requires not only borrowing the intellectual assets of others, but their physical assets. This is trespassory art - art that redefines and reinterprets space-art that gives new meaning to a park bench, to a billboard, to a wall, to space itself. Our purpose is to propose a modified regime in the law of trespass to make room for the many new forms of art with which we are concerned - art that is locationally dependent or site specific. We begin by briefly describing and characterizing these often-new artistic forms. This provides a jumping off point for addressing the basic question this article seeks to address-should the law accommodate these new types of art, and if so, to what degree? We first turn to the law of trespass, with particular focus on real property, both public and private, but also with an eye to personal and intellectual property. We conclude that adjusting trespass remedies for artistic trespass through a set of common law privileges would better balance the competing interests of owners and artists than do current trespass rules. We then turn to a set of constitutional issues and conclude that our common law proposal is consistent with, and in some ways perhaps required by, the First Amendment. Finally, we summarize our proposal and then revisit the value of trespassory art as art in our creative culture. (shrink)

Paul Valéry is de dichter die zwijgt; de denker die weigert filosoof te zijn; de schrijver die de taal in staat van beschuldiging stelt; de expert die volhoudt een amateur te zijn; de mysticus die zijn heil zoekt bij de wiskunde; de stamelaar die aan een kwaal van precisie lijdt; de Narcissus die misschien toch liever Orpheus had willen zijn. Hij is de chroniqueur van het denken en de meester van de tegenspraak. Ik probeer me hem voor te stellen. Het (...) is 1894 en hij zit gebogen te schrijven in de schriftjes waarin hij elk ochtend 'entre la lampe et le soleil' zijn denken fileert, een project dat uitmondde in ca. 30.000 bladzijden weerbarstige onvoltooidheid: de Cahiers. (shrink)

According to welfarism about value, something is good simpliciter just in case it is good for some being or beings. In her recent Presidential Address to the American Philosophical Association, “Good-For-Nothings”, Susan Wolf argues against welfarism by appeal to great works of art, literature, music, and philosophy. Wolf provides three main arguments against this view, which I call The Superfluity Argument, The Explanation of Benefit Argument, and The Welfarist’s Mistake. In this paper, I reconstruct these arguments and explain where, in (...) my view, each goes wrong. (shrink)

Emphasizing the human body in all of its forms, Beauty Unlimited expands the boundaries of what is meant by beauty both geographically and aesthetically. Peg Zeglin Brand and an international group of contributors interrogate the body and the meaning of physical beauty in this multidisciplinary volume. This striking and provocative book explores the history of bodily beautification; the physicality of socially or culturally determined choices of beautification; the interplay of gender, race, class, age, sexuality, and ethnicity within and on the (...) body; and the aesthetic meaning of the concept of beauty in an increasingly globalized world. Foreward by Carolyn Korsmeyer. Authors include Noel Carroll, Gregory Velazco Y Trianosky, Monique Roelofs, Whitney Davis, Eleanor Heartney, Diana Tietjens Meyers, Phoebe M. Farris, Mary Devereaux, Jo Ellen Jacobs, Karina L. Cespedes-Cortes and Paul C. Taylor, Fedwa Malti-Douglas, Stephen Davies, Jane Duran, Valerie Sullivan Fuchs, Keith Lehrer, Allen Douglas, Cynthia Freeland, Eva Kit Wah Man, Mary Bittner Wiseman, and Peg Brand's essay, "ORLAN Revisited: Disembodied Virtual Hybrid Beauty.". (shrink)

Review of 1989 text by Ralph A. Smith, noted art education scholar during the era of DBAE (Discipline Based Art Education), that criticizes the author's agenda to remedy the ills of the state of arts education, arts' secondary status to the sciences, pluralism, and popular ideologies of of contemporary culture as an agenda that is (below the surface) clearly conservative, male-centered, Eurocentric and elitist. My conclusion: "Educators, beware.".

The question whether art is of any epistemic value is an old question in the philosophy of art. Whereas many contemporary artists, art-critics, and art-historians answer this question affirmatively, many contemporary philosophers remain skeptical. If art is of epistemic significance, they maintain, then it has to contribute to our quest of achieving our most basic epistemic aim, namely knowledge.Unfortunately, recent and widely accepted analyses of knowledge make it very hard to see how art might significantly contribute to the quest of (...) achieving this aim. Hence, by the lights of recent epistemology, it is questionable whether art is of any epistemic value. In order to hold on to the epistemic value of art, one has three options: (a) reject the recent analyses of knowledge that make the epistemic value of art questionable, (b) accept the recent analyses of knowledge but argue that they are compatible with the epistemic value of art, or (c) find another epistemic aim (besides knowledge) and show that art is of significant help in achieving this aim. In this paper I will argue that, at least with respect to pictorial art, option (c) seems promising. By reconsidering some basic insights and ideas from Nelson Goodman we can identify (objective) understanding as an epistemic aim to which pictorial art makes a significant contribution. (shrink)

Mary Devereaux has suggested, in an overview of feminist aesthetics[1], that feminist aesthetics constitutes a revolutionary approach to the field: "aesthetics cannot simply 'add on' feminist theories as it might add new works by [ Nelson ] Goodman, Arthur Danto or George Dickie. To take feminism seriously involves rethinking our basic concepts and recasting the history of the discipline." In particular, feminist theory involves a rejection of "deeply entrenched assumptions about the universal value of art and aesthetic experience." Overthrowing these (...) assumptions "constitutes what art historian, Linda Nochlin, describes as a Kuhnian paradigm shift."[2] Near the end of her essay, Devereaux returns to this theme: "If feminism constitutes a new paradigm, then we may wish to ponder how far the old model of aesthetics and the new are commensurable. Is traditional aesthetics contingently or necessarily associated with patriarchy? Can the 'gender-neutral' aesthetics of the traditional model be reformed or must it be rejected?". (shrink)

If you are interested in art, you engage in artistic evaluation, thinking of one work as being better than another; one artist as being better than another; some works and some artists as being great, mediocre, or poor; and, perhaps, thinking of some forms or genres of art as being superior to others in that works within the favored form or genre have achieved or can aspire to a higher artistic value than is possible for those less favored. The greatest (...) philosophical challenge to this practice—a challenge that, if successful, would have wide-ranging consequences outside philosophy, in particular in undermining the status of the practice of art criticism—would maintain that it is, all of it, taken at face value .. (shrink)

The principal focus of the essay is the idea of artistic value, understood as the value of a work of art as the work of art it is, and the essay explores the connections, if any, between artistic value and a variety of other values in human life. I start with a series of observations about social values and then turn to moral values. Beginning from Goethe’s claim that ‘music cannot affect morality, nor can the other arts, and it would (...) be wrong to expect them to do so’, I proceed from music through the other arts; I distinguish different conceptions of morality; I highlight what I call a work of art’s positive moral value ; and distinguish three kinds of moral improvement, one taking pride of place. My conclusion is that the positive moral value of works of art has been greatly overrated. I then return to the social values of art, looking at the situation from a very different point of view and reaching new conclusions, some of them positive. I end by explaining why my observations and arguments about the positive moral value of a work of art in no way diminishes the importance of art in human life, the true end of art having an importance in human life not guaranteed by morality. (shrink)