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Elisa Caldarola
University of Padua
  1.  39
    Representation Without Background? A Critical Reading of Wollheim and Greenberg on the Representational Character of Abstract Pictures.Elisa Caldarola - 2012 - Aisthesis: Pratiche, Linguaggi E Saperi Dell’Estetico 5 (2).
    Focussing on some claims addressed by Richard Wollheim and Clement Greenberg I investigate how the concepts of depicted figure, background of a pictorial scene and ground of a picture are relevant for an understanding of the relation between figurative and abstract pictures, especially when it comes to consider whether abstract pictures can be said to represent pictorially.
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  2.  5
    “An Argument Against a Meta-Ontology of Art Inspired by Peter Lamarque’s Reading of Jean Paul Sartre”.Elisa Caldarola - 2019 - Aesthetica Preprint 111:85-96.
    As Peter Lamarque explains in "Work and Object", the claim that artworks are not identical with their vehicles lies at the core of a variety of art-ontological accounts, including Jean-Paul Sartre’s one. In chapter 10, Lamarque gives us an insightful read-ing of Sartre’s art-ontological proposal: works of art in themselves do not exist, while what exists is their ‘material analogue’ which, when perceived, arouses in us certain imaginings. What we call ‘artwork’ is the object of such imaginings – an object (...)
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  3.  77
    Arte Conceptual.Elisa Caldarola - 2018 - Enciclopedia de la Sociedad Española de Filosofía Analítica.
    La categoría ‘arte conceptual’ se aplica a una gran cantidad de obras de arte contemporáneo. El artista Sol LeWitt introdujo el término en la jerga del arte al describir obras de arte donde “la idea o el concepto es el aspecto más importante de la obra” (LeWitt 1967: 79, traducción mía). Inicialmente, el término se utilizó para referirse a obras producidas entre finales de los años sesenta y principios de los setenta por artistas como Sol LeWitt, Robert Barry, Lawrence Weiner, (...)
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  4.  18
    Assessing the Intellectual Value of New Genre Public Art.Elisa Caldarola - 2019 - Open Philosophy 2 (1):22-29.
    Suzanne Lacy introduced the term ‘New Genre Public Art’ (NGPA) to refer to art practices that depart from those traditional of public art (such as installing works in parks and plazas) and focus instead on the direct engagement of artists with audiences to deal with pressing socio-political issues. In this paper, I argue that some works of NGPA should be valued for the intellectual value grounded in their artistic features, not dissimilarly to works of conceptual art. In developing my argument, (...)
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  5.  34
    Caricatures and Prop Oriented Make-Believe.Elisa Caldarola & Matteo Plebani - 2016 - Ergo: An Open Access Journal of Philosophy 3.
    A caricature can reveal an aspect of its subject that a more faithful representation would fail to render: by depicting a slow and clumsy person as a monkey one can point out such qualities of the depicted subject, and by depicting a person with quite big ears as a person with enormous ears one can point out that the depicted person has rather big ears. How can a form of representation that is by definition inaccurate be so representationally powerful? Figurative (...)
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  6. Comments on Jerrold Levinson's "Towards a Non-Minimalist Understanding of Aesthetic Experience".Elisa Caldarola - 2015 - Comparative Studies in Modernism 6.
     
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  7. Ernst H. Gombrich on Abstract Painting.Elisa Caldarola - 2015 - Aisthesis: Pratiche, Linguaggi E Saperi Dell’Estetico 8 (2):77-86.
    Ernst H. Gombrich criticized abstract painting with several remarks scattered around his wide oeuvre. I argue that his view of abstract paintings is coherent with the account of pictorial representation he put forward in Art and Illusion, show some limits of such view, and maintain that, although several of Gombrich’s criticisms of abstract painting should be rejected, some of his remarks are insightful and worth of consideration.
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  8.  6
    Filosofia dell'arte contemporanea: installazioni, siti, oggetti.Elisa Caldarola - 2020 - 62100 Macerata MC, Italia: Quodlibet.
    L’arte contemporanea è caleidoscopica: può catapultarci in ambienti complessi o minimali richiedendo la nostra attiva partecipazione, ancorarsi a luoghi particolari, porci di fronte a opere apparentemente indistinguibili da oggetti ed eventi della vita quotidiana, appropriarsi illegalmente degli spazi pubblici, e così via. Questo volume muove dalla premessa che uno dei compiti della filosofia dell’arte sia prestare attenzione a specifiche pratiche artistiche e a teorie sull’arte avanzate in altri ambiti di ricerca, per poi organizzare in maniera perspicua la molteplicità dei dati (...)
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  9. Introduzione.Elisa Caldarola, Quattrocchi Davide & Gabriele Tomasi - 2013 - In Elisa Caldarola, Davide Quattrocchi & Gabriele Tomasi (eds.), Wittgenstein, l’estetica e le arti. Roma - Bari: Carocci.
  10. “Improvisation and Installation Art”.Elisa Caldarola - forthcoming - In Alessandro Bertinetto & Marcello Ruta (eds.), The Routledge Handbook of Philosophy and Improvisation in The Arts. New York, Stati Uniti:
    This chapter illustrates through the analysis of some examples how philosophical research can illuminate the improvisational aspects of installation art. There is little philosophical research on improvisation in the visual arts. Similarly, there is little philosophical research on installation art – in section 2, I mention some key claims that have been put forward. Not surprisingly, then, philosophers have not yet focussed – at least to my knowledge – on improvisation in installation art. The issue, though, is timely. Not only (...)
     
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  11. La rappresentazione pittorica.Elisa Caldarola - 2010 - Aesthetica Preprint 2010:11-19.
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  12. “Martin Creed: Conceptual Art and More”.Elisa Caldarola - forthcoming - In Davide Dal Sasso & Elisabeth Schellekens (ed.), Aesthetics, Philosophy and Martin Creed. Londra, Regno Unito:
    In this paper, I put forward a philosophical analysis of some works by Martin Creed. I suggest that all the works under consideration are works of conceptual art as well as of installation art, and that they display significant expressive properties. The paper is structured as follows: in the first section, I claim that the works are ontologically similar and that they all appear problematic, because it is not very clear how they should be appreciated as artworks; in the second (...)
     
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  13.  5
    “Methodology in The Ontology of Artworks: Exploring Hermeneutic Fictionalism”.Elisa Caldarola - 2020 - In Concha Martinez Vidal & José Luis Falguera Lopez (ed.), Abstract Objects: For and Against.
    There is growing debate about what is the correct methodology for research in the ontology of artworks. In the first part of this essay, I introduce my view: I argue that semantic descriptivism is a semantic approach that has an impact on meta-ontological views and can be linked with a hermeneutic fictionalist proposal on the meta-ontology of artworks such as works of music. In the second part, I offer a synthetic presentation of the four main positive meta-ontological views that have (...)
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  14.  12
    On Experiencing Installation Art.Elisa Caldarola - 2020 - Journal of Aesthetics and Art Criticism 78 (3):339-344.
    This paper contrasts the experience of works of installation art with sculptural and architectural experience and argues that installation art is an interactive art form.
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  15.  18
    Pictorial Representation and Abstract Pictures.Elisa Caldarola - 2011 - Dissertation, Università Degli Studi di Padova
    This work is an investigation into the analytical debate on pictorial representation and the theory of pictorial art. My main concern are a critical exposition of the questions raised by the idea that it is resemblance to depicted objects that explains pictorial representation and the investigation of the phenomenon of abstract painting from an analytical point of view in relation to the debate on depiction. The first part is dedicated to a survey of the analytical debate on depiction, with special (...)
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  16. Pictorial Representation and Abstract Pictures.Elisa Caldarola - 2010 - Proceedings of the European Society for Aesthetics 2:46-61.
     
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  17.  1
    "Arte e illusione" di Ernst H. Gombrich. Una lettura filosofica.Elisa Caldarola - 2013 - Padova: Cleup.
    Che cosa vediamo quando vediamo un’immagine? Con Arte e illusione, pubblicato nel 1960, Ernst H. Gombrich è stato il primo a indagare a fondo l’effetto che hanno su di noi le immagini figurative. Alla sua indagine, concepita nell’ambito della storia delle arti pittoriche, si sono successivamente affiancati molti studi in vari contesti di ricerca, dalla psicologia della visione all’estetica analitica, dalla semiotica ai visual studies. Questo studio si concentra su quei nuclei teorici della proposta di Gombrich che suscitano l’interesse dei (...)
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  18. "¿Qué son las obras de arte? Las propuestas de los teóricos de la acción".Elisa Caldarola - manuscript
    Este capítulo presenta dos versiones de la teoría según la cual deberíamos centrarnos en ciertas acciones realizadas por los artistas para comprender qué tipo de objetos son las obras de arte: la propuesta de Gregory Currie (An Ontology of Art, 1989) y la de David Davies (Art as Performance, 2004). Si bien estas teorías no están exentas de problemas, es cierto que estas proporcionan una guía completa de algunos de los temas en los que uno debería meditar al evaluar y (...)
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  19.  10
    Review of Alberto Voltolini's "A Syncretistic Theory of Depiction". [REVIEW]Elisa Caldarola - 2016 - Notre Dame Philosophical Reviews 226.
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  20.  12
    Review of Victoria S. Harrison, Anna Bergqvist and Gary Kemp (Eds.), Philosophy and Museums: Essays on the Philosophy of Museums, Notre Dame Philosophical Reviews, 2018. [REVIEW]Elisa Caldarola - 2018 - Notre Dame Philosophical Reviews 2018.
    This volume collects fifteen essays debating the value of museums, the ontology and epistemology of exhibited objects, and museum ethics. The essays stem from talks originally given at a conference at the University of Glasgow in 2013 by philosophers working both within and outside the analytic tradition, museum scholars, and museum practitioners. The collection succeeds in showing that we need a philosophy of museums to improve our understanding of such institutions.
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  21.  19
    Rappresentazione pittorica.Elisa Caldarola - 2015 - Aphex 11.
    Le immagini sono rappresentazioni visive: quello che mostrano ai nostri occhi è rilevante per la comprensione di ciò che rappresentano. Le rappresentazioni pittoriche sono immagini che rappresentano visivamente aspetti visibili di altri oggetti: per questo motivo, ci sembra spesso che queste immagini assomiglino agli oggetti che rappresentano, ci sembra di riconoscere tali oggetti guardando le immagini che li rappresentano e può anche capitarci che ci sembri di avere un'esperienza degli oggetti rappresentati attraverso l'immagine che li rappresenta. Potrebbe però anche darsi (...)
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  22. Ugo Nespolo: a proposito di rappresentazioni.Elisa Caldarola - 2015 - Rivista di Estetica 58.
    An analysis of three pictorial works by Ugo Nespolo is put forward: "Barbe posticce" (1977); "Guardar Manzoni" (1974); "Il museo: Fontana" (1975). It is claimed that such works embody meditations on the concept and the varieties of representation, that they prompt critical reflections on the role of museums in art-making, and that they suggest an alternative route to that of the 'dematerialization' of the art object for the understanding of contemporary art.
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  23.  44
    Understanding Resemblance in Depiction: What Can We Learn From Wittgenstein?Elisa Caldarola - 2013 - Aisthesis: Pratiche, Linguaggi E Saperi Dell’Estetico 6 (1):239-253.
    Wittgenstein’s remarks on “seeing-as” have influenced several scholars working on depiction. They have especially inspired those who think that in order to understand depiction we should understand the specific kind of visual experience depictions arouse in the viewer (e.g. Gombrich [1960], Wollheim [1968; 1987]). In this paper I would like to go a different way. My hypothesis is that certain of Wittgenstein’s claims both in the Tractatus and in his later writings resonate well within the context of an objective resemblance (...)
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  24.  22
    Wittgenstein, l'estetica e le arti.Elisa Caldarola, Davide Quattrocchi & Gabriele Tomasi (eds.) - 2013 - Carocci.
    In his writings Wittgenstein has touched some key aspects of aesthetic experience, of the experience of art, and of the dynamics of culture. Moreover, several lines of research in these fields have emerged and are still emerging from the roots of Wittgenstein's thought. This volume collects a number of essays on these topics by renowned international scholars (such as H.-J. Glock, J. Hyman, S. Majetschak, J. Schulte, A. Voltolini, and W. Vossenkuhl) and younger researchers. Our aim is to document the (...)
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  25. Wittgenstein su immagini e linguaggio: elementi per la comprensione delle rappresentazioni pittoriche.Elisa Caldarola - 2013 - In Elisa Caldarola, Davide Quattrocchi & Gabriele Tomasi (eds.), Wittgenstein, l’estetica e le arti. Roma - Bari: Carocci.
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  26.  4
    Installation Art.Gemma Argüello Manresa & Elisa Caldarola - 2020 - Journal of Aesthetics and Art Criticism 78 (3):331-332.
    This is a short introduction to the "Installation Art" Symposium appeared on JAAC, which presents papers by Gemma Argüello Manresa, Eleen Deprez, Ken Wilder, and myself.
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