Journal of Value Inquiry 51 (2):279-292 (2017)

Authors
John Dyck
University of West Georgia
Abstract
There are some artworks which we appreciate for their bad artistic qualities; these artworks are said to be “good because bad”. This is puzzling. How can art be good just because it is bad? In this essay, we attempt to demystify this phenomenon. We offer a two-part analysis: the artistic flaws in these works make them bizarre, and this bizarreness is aesthetically valuable. Our analysis has the consequence that some artistic flaws make for aesthetic virtues. Such works therefore present a counterexample to aestheticism, the view that all artistically relevant features of artworks are aesthetic features.
Keywords aesthetic normativity  artistic normativity  value theory  artistic value  aesthetic value  good-bad art  aestheticism
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DOI 10.1007/s10790-016-9569-2
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References found in this work BETA

Mere Exposure to Bad Art.Aaron Meskin, Mark Phelan, Margaret Moore & Matthew Kieran - 2009 - British Journal of Aesthetics 53 (2):139-164.
Art, Intention, and Conversation.Noël Carroll - 1992 - In Gary Iseminger (ed.), Intention and Interpretation. Temple University Press. pp. 97--131.
Appreciation and the Natural Environment.Allen Carlson - 1979 - Journal of Aesthetics and Art Criticism 37 (3):267-275.
The Myth of (Non-Aesthetic) Artistic Value.Dominic McIver Lopes - 2011 - Philosophical Quarterly 61 (244):518-536.
The Reality of (Non‐Aesthetic) Artistic Value.Louise Hanson - 2013 - Philosophical Quarterly 63 (252):492-508.

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Citations of this work BETA

Art and Painful Emotion.Matthew Strohl - 2019 - Philosophy Compass 14 (1):e12558.
Guilty Pleasures Revisited.Melinda Reid - 2022 - Journal of Aesthetics and Art Criticism 80 (2):189-200.
Bad Art and Good Taste.Per Algander - 2018 - Journal of Value Inquiry 53 (1):145-154.
Thought Experiments and the Scientific Imagination.Alice Murphy - 2020 - Dissertation, University of Leeds

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