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David Carrier [118]David Stewart Carrier [1]
  1.  12
    The Truth in Painting.David Carrier - 1988 - Journal of Philosophy 85 (4):219-223.
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  2.  37
    Arthur C. Danto, Beyond The Brillo Box: The Visual Arts in A Post-Historical Perspective, Mark Tansey: Visions and Revisions.David Carrier & Arthur C. Danto - 1993 - Journal of Aesthetics and Art Criticism 51 (3):513.
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  3.  68
    Cogitamus Ergo Sumus.David Carrier - 1986 - The Monist 69 (4):521-533.
  4.  15
    The Aesthetics of Comics.David Carrier & Michael A. Oliker - 2001 - Journal of Aesthetic Education 35 (4):119.
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  5.  11
    Museum Memories. History, Technology, Art.David Carrier & Didier Maleuvre - 2001 - Journal of Aesthetic Education 35 (2):122.
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  6.  77
    Introduction: Danto and his critics: After the end of art and art history.David Carrier - 1998 - History and Theory 37 (4):1–16.
    In Bielefeld, Germany in April, 1997 an author conference was devoted to Arthur C. Danto's 1995 Mellon Lectures After the End of Art: Contemporary Art and the Pale of History . This essay provides an introduction to seven essays given at that conference and expanded for this Theme Issue of History and Theory. Danto presented his view of the nature of art in The Transfiguration of the Commonplace . He then added in the Mellon lectures a sociological perspective on the (...)
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  7.  56
    Piero della Francesca and his Interpreters: Is There Progress in Art History?David Carrier - 1987 - History and Theory 26 (2):150-165.
    The existence of conflicting interpretations in literature, history, and art history casts doubt on the ability of any interpretation to be true to the facts. The role of the art historian is complicated by this reconsideration of what is valuable in interpretation. Progress in the history of art is difficult to ascertain. The scope and diversity of twentieth-century criticism of Piero della Francesca's Renaissance frescoes is difficult to compare to his less extensive Renaissance criticism by Vasari. While the antirelativist would (...)
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  8.  17
    Introduction: Danto and His Critics: Art History, Historiography and After the End of Art.David Carrier - 1998 - History and Theory 37 (4):1-16.
    In Bielefeld, Germany in April, 1997 an author conference was devoted to Arthur C. Danto's 1995 Mellon Lectures After the End of Art: Contemporary Art and the Pale of History. This essay provides an introduction to seven essays given at that conference and expanded for this Theme Issue of History and Theory. Danto presented his view of the nature of art in The Transfiguration of the Commonplace. He then added in the Mellon lectures a sociological perspective on the current situation (...)
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  9.  35
    In praise of connoisseurship.David Carrier - 2003 - Journal of Aesthetics and Art Criticism 61 (2):159-169.
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  10. Erwin Panofsky, Leo Steinberg, David carrier: The problem of objectivity in art historical interpretation.David Carrier - 1989 - Journal of Aesthetics and Art Criticism 47 (4):333-347.
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  11.  41
    Artforum, Andy Warhol, and the Art of Living: What Art Educators Can Learn from the Recent History of American Art Writing.David Carrier - 2005 - Journal of Aesthetic Education 39 (1):1-12.
    In lieu of an abstract, here is a brief excerpt of the content:Artforum, Andy Warhol, and the Art of Living:What Art Educators Can Learn from the Recent History of American Art WritingDavid Carrier (bio)When around 1980 I began writing art criticism, Artforum was much concerned with historical analysis.1 When presenting the work of younger painters and sculptors, it seemed natural to explain artists' accomplishments by identifying precedents for their work. Much of my criticism published in the 1980s presented post-formalist accounts (...)
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  12.  49
    Art and its spectators.David Carrier - 1986 - Journal of Aesthetics and Art Criticism 45 (1):5-17.
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  13.  50
    Gombrich and Danto on defining art.David Carrier - 1996 - Journal of Aesthetics and Art Criticism 54 (3):279-281.
  14.  21
    On Narratology.David Carrier - 1984 - Philosophy and Literature 8 (1):32-42.
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  15.  43
    Shadows and EnlightenmentShadows: The Depiction of Cast Shadows in Western Art.David Carrier, Michael Baxandall & E. H. Gombrich - 1996 - Journal of Aesthetics and Art Criticism 54 (2):200.
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  16.  29
    The Object of Art: The Theory of Illusion in Eighteenth-Century France.David Carrier - 1983 - Journal of Aesthetics and Art Criticism 41 (4):455-456.
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  17.  27
    The Mind and Its Depths by Richard Wollheim. [REVIEW]David Carrier - 1993 - Journal of Philosophy 90 (7):378-384.
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  18.  80
    Gavin Hamilton’s Oath of Brutus and David’s Oath of the Horatii.David Carrier - 1988 - The Monist 71 (2):197-213.
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  19.  16
    Calligram: Essays in New Art History from France.David Carrier - 1989 - Journal of Aesthetics and Art Criticism 47 (3):286-287.
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  20.  6
    Artwriting.David Carrier - 1988 - Journal of Aesthetics and Art Criticism 46 (3):437-439.
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  21.  34
    Art and its preservation.David Carrier - 1985 - Journal of Aesthetics and Art Criticism 43 (3):291-300.
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  22.  41
    Art and its Canons.David Carrier - 1993 - The Monist 76 (4):524-534.
    My recent book, Principles of Art History Writing, presents and defends a relativistic theory of art history. That book describes the changing styles of acceptable interpretations of such artists as Piero, Caravaggio and David. The validity of an interpretation, I argue, must be judged relative to the standards of its time. At each time, there is a certain consensus about what kinds of interpretations are worth taking seriously. Because those standards change with the times, the interpretations admired by earlier generations (...)
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  23.  32
    Art History in the Mirror Stage: Interpreting Un Bar aux Folies Bergères.David Carrier - 1990 - History and Theory 29 (3):297-320.
    There are a variety of interpretations of Manet's Un Bar auxFolies Bergères, but there is no genuinely neutral standpoint from which to judge their seemingly opposed accounts. T. J. Clark's analysis involves placing the work in the context of critical commentary by the artist's contemporaries, and examining the exact place and role of the mirror. Just as Manet painted two versions of the picture, so Clark has published two analyses of it; and just as we can ask whether the artist (...)
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  24.  12
    Art museums, old paintings, and our knowledge of the past.David Carrier - 2001 - History and Theory 40 (2):170–189.
    Art museums frequently remove old paintings from their original settings. In the process, the context of these works of art changes dramatically. Do museums then preserve works of art? To answer this question, I consider an imaginary painting, The Travels and Tribulations of Piero's Baptism of Christ, depicting the history of display of Piero della Francesca's Baptism of Christ. This example suggests that how Piero's painting is seen does depend upon its setting. According to the Intentionalist, such changes in context (...)
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  25.  57
    A Reading of Goodman on Representation.David Carrier - 1974 - The Monist 58 (2):269-284.
    Nelson Goodman’s account of representation is complicated, often obscurely presented, and deeply original. Hence an exposition of that account is the necessary prolegomena to a critique. Formalizing his notation is a useful beginning.
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  26.  24
    Art's spectators.David Carrier - 1988 - Journal of Aesthetics and Art Criticism 46 (3):419-420.
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  27.  67
    Adrian Stokes and the theory of painting.David Carrier - 1973 - British Journal of Aesthetics 13 (2):133-145.
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  28.  9
    Alpers, Svetlana. Rembrandt's Enterprise. The Studio and The Market.David Carrier - 1988 - Journal of Aesthetics and Art Criticism 46 (4):521-521.
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  29.  8
    [A Thought Experiment, for a Book to Be Called "Failure in Twentieth-Century Art"]: Reply to Arthur C. Danto, Richard Kuhns, and James Elkins.David Carrier - 1998 - The Journal of Aesthetic Education 32 (4):51.
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  30.  2
    A World Art History and its Objects.David Carrier - 2008 - Pennsylvania State University Press.
    Is writing a world art history possible? Does the history of art as such even exist outside the Western tradition? Is it possible to consider the history of art in a way that is not fundamentally Eurocentric? In this highly readable and provocative book, David Carrier, a philosopher and art historian, does not attempt to write a world art history himself. Rather, he asks the question of how an art history of all cultures could be written—or whether it is even (...)
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  31.  3
    A World Art History and its Objects.David Carrier - 2008 - Pennsylvania State University Press.
    Is writing a world art history possible? Does the history of art as such even exist outside the Western tradition? Is it possible to consider the history of art in a way that is not fundamentally Eurocentric? In this highly readable and provocative book, David Carrier, a philosopher and art historian, does not attempt to write a world art history himself. Rather, he asks the question of how an art history of all cultures could be written—or whether it is even (...)
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  32.  3
    Art wothout its objects?David Carrier - 1979 - British Journal of Aesthetics 19 (1):53-62.
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  33.  50
    Art without its artists?David Carrier - 1982 - British Journal of Aesthetics 22 (3):233-244.
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  34.  27
    Andy Warhol: Sublime Superficiality by tata, michael angelo.David Carrier - 2011 - Journal of Aesthetics and Art Criticism 69 (3):333-334.
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  35.  9
    Book-reviews.David Carrier - 1988 - British Journal of Aesthetics 28 (1):84-85.
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  36.  1
    Book Reviews: Richard Wrigley, The Origins of French Art Criticism: From The Ancien Régime To The Restoration.David Carrier - 1996 - Journal of Aesthetics and Art Criticism 54 (4):383-383.
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  37.  6
    Baudelaire's Voyages: The Poet and His PaintersBaudelaire and Schizoanalysis: The Sociopoetics of Modernism.David Carrier, Jeffrey Coven & Eugene W. Holland - 1994 - Journal of Aesthetics and Art Criticism 52 (4):475.
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  38.  45
    Chinese art: How different could it be from western painting?David Carrier - 2012 - History and Theory 51 (1):116-122.
    ABSTRACTWhen encountering something unfamiliar, it is natural to describe and understand it by reference to what is familiar. Commentary on Chinese landscape painting usually relies heavily upon analogies with Western art. James Elkins, concerned to understand the implications of this procedure, asks whether in seeing and writing about this art we ever can escape our Western perspectives. His problem is not just that he himself does not know Chinese. Even bilingual specialists or native Chinese speakers employ this vocabulary, for the (...)
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  39.  26
    Constructive postmodernism: Toward renewal in cultural and literary studies (review).David Carrier - 2008 - Journal of Aesthetic Education 42 (3):p. 122.
    In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Constructive Postmodernism: Toward Renewal in Cultural and Literary StudiesDavid CarrierConstructive Postmodernism: Toward Renewal in Cultural and Literary Studies, by Martin Schiralli. Westport, CT, and London: Bergin and Garvey, 1999, 165pp., $55 cloth.Concerned with the consequences of Jacques Derrida's philosophy of deconstruction for cultural and literary studies, Martin Schiralli's elegantly written book offers, first, a critique of these claims and, then, a constructive alternative analysis. He admires Derrida's brilliantly (...)
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  40. Danto and His Critics Art History, Historiography and After and End of Art.David Carrier - 1998 - Wesleyan University Press.
     
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  41.  3
    Danto's Aesthetic.David Carrier - 2012 - In Ernest Lepore & Mark Rollins (eds.), Danto and his Critics. Oxford, UK: Wiley‐Blackwell. pp. 232–247.
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  42.  1
    Danto as Systematic Philosopher, or Comme on Lit Danto En Français.David Carrier - 2012 - In Ernest Lepore & Mark Rollins (eds.), Danto and his Critics. Oxford, UK: Wiley‐Blackwell. pp. 13–29.
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  43.  19
    Elective affinities and their philosophy.David Carrier - 2010 - History and Theory 49 (1):139-146.
    Elective Affinities: Musical Essays on the History of Aesthetic Theory collects a selection of Lydia Goehr's recent essays. In them she traces “a history of attraction and reaction … of music to philosophy, drama, birdsong, crime, film, and nationhood” . Goehr examines the ways that philosophers, the ideas that they present, and works of art display “elective affinities”. Her procedure is like that of an art historian who presents parallel slides to reveal visual affinities, even between artists who themselves were (...)
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  44. Ekphrasis and interpretation: Two modes of art history writing.David Carrier - 1987 - British Journal of Aesthetics 27 (1):20-31.
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  45.  2
    EVANS, THOMAS. The Outwardness of Art: Selected Writings of Adrian StokesZWEITE, ARMIN. Gerhard Richter: Life and Work: In Painting Thinking is Painting.David Carrier - forthcoming - Journal of Aesthetics and Art Criticism.
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  46.  2
    High Art: Charles Baudelaire and the Origins of Modernist Painting.David Carrier - 1996 - Penn State Press.
    Moving from the grand tradition of Delacroix to the images of modern life made by Constantin Guys, this movement from "high" to "low," from the unified world of correspondances to the fragmented images of contemporary city life, motivates Baudelaire's equivalent to the post-1968 turn away from formalist art criticism.
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  47. Imagination and Our Image of the Mind.David Carrier - 1978 - Philosophical Forum 9 (4):393.
     
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  48.  59
    Interpreting Musical Performances.David Carrier - 1983 - The Monist 66 (2):202-212.
    Interpreting artworks involves “the overtone or implication of an obligation of a moral kind.” Here “moral” might be understood in two different ways. First, such obligation, like moral obligation, involves recognition of and submission to some law outside oneself. The law says “Do not kill” and so I intend my actions to conform with that standard; analogously, a performance presents that work created by the composer. Second, the act of interpretation may itself have moral value. Interpretation brings to life artworks (...)
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  49.  5
    If These Apples Should Fall. Cézanne and the Present.David Carrier - forthcoming - British Journal of Aesthetics.
    T. J. Clark’s two early books, The Absolute Bourgeois: Artists and Politics in France, 1848–1851 and Image of the People: Gustave Courbet and the 1848 Revolutio.
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  50.  5
    John Alsberg, Modern Art and Its Enigma: Art Theories From 1800 To 1950.David Carrier - 1984 - Journal of Aesthetics and Art Criticism 43 (1):106-106.
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