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David Carrier [116]David Stewart Carrier [1]
  1.  26
    The Mind and Its Depths by Richard Wollheim. [REVIEW]David Carrier - 1993 - Journal of Philosophy 90 (7):378-384.
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  2.  7
    The Truth in Painting.David Carrier - 1988 - Journal of Philosophy 85 (4):219-223.
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  3.  29
    Art and the Aesthetic.David Carrier - 1975 - Journal of Philosophy 72 (22):823-825.
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  4.  19
    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.  9
    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.  34
    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.  71
    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.  26
    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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  12.  32
    In Praise of Connoisseurship.David Carrier - 2003 - Journal of Aesthetics and Art Criticism 61 (2):159-169.
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  13.  46
    Gombrich and Danto on Defining Art.David Carrier - 1996 - Journal of Aesthetics and Art Criticism 54 (3):279-281.
  14.  40
    Art and its Spectators.David Carrier - 1986 - Journal of Aesthetics and Art Criticism 45 (1):5-17.
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  15.  13
    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.  77
    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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  17.  35
    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.
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  18.  38
    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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  19.  85
    Ekphrasis and Interpretation: Two Modes of Art History Writing.David Carrier - 1987 - British Journal of Aesthetics 27 (1):20-31.
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  20.  54
    Remembering the Past: Art Museums as Memory Theatres.David Carrier - 2003 - Journal of Aesthetics and Art Criticism 61 (1):61–65.
  21.  40
    The Presentness of Painting: Adrian Stokes as Aesthetician.David Carrier - 1986 - Critical Inquiry 12 (4):753-768.
    Adrian Stokes , long admired by a small, highly distinguished, mostly English circle, was the natural successor to Pater and Ruskin. But though his place in cultural history is important, what is of particular interest now to art historians is his theory of the presentness of painting, a theory which offers a challenging critique of the practice of artwriting. From Vasari to the present, the most familiar rhetorical strategy of the art historian is the narrative of “the form, prophet-saviour-apostles,” in (...)
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  22.  58
    Naturalism and Allegory in Flemish Painting.David Carrier - 1987 - Journal of Aesthetics and Art Criticism 45 (3):237-249.
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  23.  43
    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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  24.  50
    Art Without its Artists?David Carrier - 1982 - British Journal of Aesthetics 22 (3):233-244.
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  25.  17
    On Narratology.David Carrier - 1984 - Philosophy and Literature 8 (1):32-42.
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  26.  14
    Walter Pater's "Winckelmann".David Carrier - 2001 - Journal of Aesthetic Education 35 (1):99-109.
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  27.  11
    Poussin's Paintings: A Study in Art-Historical Methodology.David Carrier - 1995 - Journal of Aesthetics and Art Criticism 53 (3):326-328.
  28.  12
    In Praise of Connoisseurship.David Carrier - 2003 - Journal of Aesthetics and Art Criticism 61 (2):159–169.
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  29.  9
    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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  30.  3
    A New Theory of Beauty.David Carrier - 1977 - Journal of Philosophy 74 (6):372-375.
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  31.  3
    Imagination.David Carrier - 1978 - Journal of Philosophy 75 (1):40-44.
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  32.  3
    Courbet's Realism.Realism, Writing, Disfiguration. On Thomas Eakins and Stephen Crane.David Carrier & Michael Fried - 1991 - History and Theory 30 (3):368.
  33.  11
    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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  34.  5
    Artwriting.David Carrier - 1988 - Journal of Aesthetics and Art Criticism 46 (3):437-439.
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  35.  33
    Art and its Preservation.David Carrier - 1985 - Journal of Aesthetics and Art Criticism 43 (3):291-300.
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  36.  34
    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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  37.  10
    Art and the Aesthetic. [REVIEW]David Carrier - 1975 - Journal of Philosophy 72 (22):823-825.
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  38.  22
    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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  39.  10
    A New Theory of Beauty. [REVIEW]David Carrier - 1977 - Journal of Philosophy 74 (6):372-375.
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  40.  22
    Art's Spectators.David Carrier - 1988 - Journal of Aesthetics and Art Criticism 46 (3):419-420.
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  41.  66
    Adrian Stokes and the Theory of Painting.David Carrier - 1973 - British Journal of Aesthetics 13 (2):133-145.
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  42. 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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  43.  3
    Reply to Arthur C. Danto, Richard Kuhns, and James Elkins.David Carrier - 1998 - Journal of Aesthetic Education 32 (4):51-59.
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  44. 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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  45. 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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  46.  3
    Art Wothout its Objects?David Carrier - 1979 - British Journal of Aesthetics 19 (1):53-62.
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  47.  2
    Ai Weiwei in New York.David Carrier - 2017 - Journal for Cultural Research 21 (1).
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  48.  22
    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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  49. Book-Reviews.David Carrier - 1988 - British Journal of Aesthetics 28 (1):84-85.
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  50.  67
    Book Reviews. [REVIEW]David Carrier - 1986 - British Journal of Aesthetics 26 (3):84-85.
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