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David Carrier [117]David Stewart Carrier [1]
  1.  27
    The Mind and Its Depths by Richard Wollheim. [REVIEW]David Carrier - 1993 - Journal of Philosophy 90 (7):378-384.
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  2.  11
    The Truth in Painting.David Carrier - 1988 - Journal of Philosophy 85 (4):219-223.
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  3.  30
    Art and the Aesthetic.David Carrier - 1975 - Journal of Philosophy 72 (22):823-825.
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  4.  23
    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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  5.  13
    The Aesthetics of Comics.David Carrier & Michael A. Oliker - 2001 - Journal of Aesthetic Education 35 (4):119.
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  6.  9
    Museum Memories. History, Technology, Art.David Carrier & Didier Maleuvre - 2001 - Journal of Aesthetic Education 35 (2):122.
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  7.  38
    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.  65
    Cogitamus Ergo Sumus.David Carrier - 1986 - The Monist 69 (4):521-533.
  9.  73
    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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  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.  33
    In Praise of Connoisseurship.David Carrier - 2003 - Journal of Aesthetics and Art Criticism 61 (2):159-169.
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  12.  27
    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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  13.  44
    Art and its Spectators.David Carrier - 1986 - Journal of Aesthetics and Art Criticism 45 (1):5-17.
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  14.  47
    Gombrich and Danto on Defining Art.David Carrier - 1996 - Journal of Aesthetics and Art Criticism 54 (3):279-281.
  15.  14
    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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  16. Three Kinds of Imagination.David Carrier - 1973 - Journal of Philosophy 70 (22):819-831.
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  17.  67
    Book Reviews. [REVIEW]David Carrier - 1986 - British Journal of Aesthetics 26 (3):84-85.
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  18.  30
    MARSHALL, CHRISTOPHER R. Baroque Naples and the Industry of Painting: The World in the Workbench. Yale University Press, 2016, 352 Pp., 88 Color + 115 B&W Illus., $75.00 Cloth NAPOLI, NICHOLAS J. The Ethics of Ornament in Early Modern Naples: Fashioning the Certosa di San Martino. Burlington, VT: Ashgate, 2015, 430 Pp., 36 Color + 64 B&W Illus., $120.00 Cloth. [REVIEW]David Carrier - 2017 - Journal of Aesthetics and Art Criticism 75 (2):208-210.
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  19.  29
    Rosalind Krauss, David Carrier, and Philosophical Art CriticismRosalind Krauss and American Philosophical Art Criticism: From Formalism to Beyond Postmodernism.Daniel A. Siedell & David Carrier - 2004 - Journal of Aesthetic Education 38 (2):95.
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  20.  13
    In Praise of Connoisseurship.David Carrier - 2003 - Journal of Aesthetics and Art Criticism 61 (2):159–169.
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  21.  35
    The Test of Time: An Essay in Philosophical Aesthetics.David Carrier - 1984 - Journal of Philosophy 81 (4):226-230.
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  22.  57
    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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  23.  66
    Adrian Stokes and the Theory of Painting.David Carrier - 1973 - British Journal of Aesthetics 13 (2):133-145.
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  24.  41
    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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  25. A World Art History and its Objects.David Carrier - 2009 - 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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  26. 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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  27. Danto and His Critics Art History, Historiography and After and End of Art.David Carrier - 1998 - Wesleyan University Press.
     
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  28. High Art Charles Baudelaire and the Origins of Modernist Painting.David Carrier - 1996
     
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  29. Imagination and Our Image of the Mind.David Carrier - 1978 - Philosophical Forum 9 (4):393.
     
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  30. John Barrell, A Political Theory of Painting From Reynolds To Hazlitt: The Body of The Public.David Carrier - 1987 - Journal of Aesthetics and Art Criticism 45 (4):420-420.
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  31. L'estetica di Danto è davvero così generale corne pretende di essere?David Carrier - 2007 - Rivista di Estetica 47 (35):45-66.
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  32. Michael Podro, The Critical Historians of Art.David Carrier - 1983 - Journal of Aesthetics and Art Criticism 42 (1):94-96.
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  33. "Needs, Values, Truth: Essays in the Philosophy of Value": David Wiggins. [REVIEW]David Carrier - 1989 - British Journal of Aesthetics 29 (4):370.
     
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  34. New York Art, Pittsburgh Art, Art1.David Carrier - 2003 - Journal of Aesthetic Education 37 (3):99.
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  35.  11
    Proust/Warhol: Analytical Philosophy of Art.David Carrier - 2009 - Peter Lang.
    Introduction -- Ch. 1. The search for Proust's and Warhol's sources -- Ch. 2. Dramatically opposed styles of art making -- Ch. 3. Defining art -- Ch. 4. Elstir's studio/Warhol's factory -- Ch. 5. Queer art making -- Ch. 6. The value of art -- Ch. 7. Art fashion -- Acknowledgments -- Bibliography.
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  36. "Prophets of Extremity: Nietzsche, Heidegger, Foucault, Derrida": Allan Megill. [REVIEW]David Carrier - 1986 - British Journal of Aesthetics 26 (3):288.
     
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  37. Ronald Paulson, Representations of Revolution.David Carrier - 1983 - Journal of Aesthetics and Art Criticism 42 (2):223-225.
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  38. Stephen N. Thomas, "The Formal Mechanics of Mind". [REVIEW]David Carrier - 1983 - Metaphilosophy 14:72.
     
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  39.  31
    The Aesthete in the City: The Philosophy and Practice of American Abstract Painting in the 1980s.David Carrier - 1994 - Pennsylvania State University Press.
    In the 1980s, when the American art market flourished, critics were heavily concerned with theory. In T_he Aesthete in the City_ David Carrier offers a personal view on the artistic activity of that decade. He begins with a theoretical perspective on the relationship between two very different forms of artwriting: art criticism and art history writing. Carrier surveys the developments within theory during the 1980s, focusing on constructive critical analysis of the then fashionable work of Jean Baudrillard, Walter Benjamin, T. (...)
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  40. "The Content of the Form. Narrative Discourse and Historical Representation": Hayden White. [REVIEW]David Carrier - 1988 - British Journal of Aesthetics 28 (1):84.
     
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  41. "The Forger's Art: Forgery and the Philosophy of Art": Edited by Denis Dutton. [REVIEW]David Carrier - 1984 - British Journal of Aesthetics 24 (4):371.
     
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  42. "The Judgment of Sense: Renaissance Naturalism and the Rise of Aesthetics": David Summers. [REVIEW]David Carrier - 1989 - British Journal of Aesthetics 29 (1):74.
     
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  43. The World Art History Museum.David Carrier - 2013 - Sztuka I Filozofia (42).
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  44.  78
    Gavin Hamilton’s Oath of Brutus and David’s Oath of the Horatii: The Revisionist Interpretation of Neo-Classical Art.David Carrier - 1988 - The Monist 71 (2):197-213.
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  45.  26
    The Star as Icon: Celebrity in the Age of Mass Consumption by Daniel Herwitz.David Carrier - 2011 - Journal of Aesthetic Education 45 (2):117.
    Aestheticians have tended to focus their attention almost exclusively on high art, on museum painting and sculpture, classical music and literature, and architecture, leaving the popular arts to their colleagues in cultural studies. That seems a big mistake, for like it or not, popular movies and television attract enormous audiences everywhere, including very many people who take little interest in high art. This mass art creates stars, actors, and musicians who are so famous that everyone recognizes them. And celebrities such (...)
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  46.  28
    Winckelmann and Pater, Morelli and Freud: The Tropics of Art Historical Discourse.David Carrier - 1989 - History of the Human Sciences 2 (1):19-38.
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  47.  35
    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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  48.  25
    Sublime Poussin.David Carrier - 2003 - Common Knowledge 9 (1):167-167.
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  49.  23
    The Sense of Order by E. M. Gombrich. [REVIEW]David Carrier - 1980 - Journal of Philosophy 77 (3):179-181.
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  50.  26
    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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