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The Ontological Diversity of Visual Artworks

In Kathleen Stock & Katherine Thomson-Jones (eds.), New Waves in Aesthetics. Palgrave Macmillan. pp. 1-19 (2008)

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  1. The Aesthetic Engagement Theory of Art.Patrick Grafton-Cardwell - 2021 - Ergo: An Open Access Journal of Philosophy 8:243-268.
    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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  • Psychologism and Completeness in the Arts.Guy Rohrbaugh - 2017 - Journal of Aesthetics and Art Criticism 75 (2):131-141.
    When is an artwork complete? Most hold that the correct answer to this question is psychological in nature. A work is said to be complete just in case the artist regards it as complete or is appropriately disposed to act as if he or she did. Even though this view seems strongly supported by metaphysical, epistemological, and normative considerations, this article argues that such psychologism about completeness is mistaken, fundamentally, because it cannot make sense of the artist's own perspective on (...)
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  • Contemporary Art: Ontology.Sherri Irvin - 2014 - In Michael Kelly (ed.), Encyclopedia of Aesthetics, 2nd ed., Vol. 2. Oxford University Press. pp. 170-172.
    The ontology of visual artworks might be thought comparable to the ontology of other sorts of artifacts: a work of painting seems to be materially constituted by a particular canvas with paint on it, just as a spoon is constituted by a particular piece of metal. But recent developments have complicated the situation, requiring a new account of the ontology of contemporary art. These developments also shed light on the ontology of works from earlier historical eras. This article discusses Artworks (...)
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  • In Advance of the Broken Theory: Philosophy and Contemporary Art.Sherri Irvin & Julian Dodd - 2017 - Journal of Aesthetics and Art Criticism 75 (4):375-386.
    We discuss how analysis of contemporary artworks has shaped philosophical theories about the concept of art, the ontology of art, and artistic media. The rapid expansion, during the contemporary period, of the kinds of things that can count as artworks has prompted a shift toward procedural definitions, which focus on how artworks are selected, and away from definitions that focus exclusively on artworks’ features or effects. Some contemporary artworks challenge the traditional art–ontological dichotomy between physical particulars and repeatable entities whose (...)
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  • Artworks, Objects and Structures.Sherri Irvin - 2012 - In Anna Christina Ribeiro (ed.), The Continuum Companion to Aesthetics. Continuum. pp. 55-73.
    This essay examines the difficulties faced by the claim that artworks are simple physical objects (or, in the case of non-visual art forms, simple structures of another sort) and examines alternative proposals regarding their ontological nature.
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  • Debugging the Case for Creationism.Patrick Grafton-Cardwell - 2019 - Philosophical Studies:1-19.
    Repeatable artworks like musical works have presented theorists in the ontology of art with a puzzle. They seem in some respects like eternal, immutable objects and in others like created, historical objects. Creationists have embraced the latter appearances and attempted to compel Platonists to follow them. I examine in detail each argument in a cumulative case for Creationism, showing how the Platonist can respond. The conclusion is that the debate between Platonists and Creationists is a stalemate. In order for progress (...)
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  • Debugging the Case for Creationism.Patrick Grafton-Cardwell - 2020 - Philosophical Studies 177 (11):3509-3527.
    Repeatable artworks like musical works have presented theorists in the ontology of art with a puzzle. They seem in some respects like eternal, immutable objects and in others like created, historical objects. Creationists have embraced the latter appearances and attempted to compel Platonists to follow them. I examine in detail each argument in a cumulative case for Creationism, showing how the Platonist can respond. The conclusion is that the debate between Platonists and Creationists is a stalemate. In order for progress (...)
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  • Ontologia da Arte.António Lopes - 2013 - Compêndio Em Linha de Problemas de Filosofia Analítica.
    Este artigo aborda as principais teorias sobre a natureza metafísica das obras de arte, cobrindo as propostas eliminativistas, monistas e pluralistas. Entre estas últimas, é dado destaque ao trabalho sobre a ontologia das artes performativas, e em particular, da música. Termina-se com uma referência à recente viragem da discussão para o campo da meta-ontologia e a polémica sobre a plausibilidade do revisionismo ontológico no caso de artefactos ou objectos sociais.
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  • History of the Ontology of Art.Paisley Nathan Livingston - 2011 - Stanford Encyclopedia of Philosophy.
    First critical survey devoted to the history of philosophical contributions to this topic. Brings to light neglected contributions prior to the second half of the 20th century including works in Danish, German, and French. Provides a division of issues and clarifies key ambiguities related to modality.
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