Results for 'Institute of Contemporary Arts'

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  1.  18
    Negotiating Rapture: The Power of Art to Transform Lives.Richard Francis, Homi K. Bhabha, Yve Alain Bois & Museum of Contemporary Art - 1996
    Bhabha, Georges Didi-Huberman, David Morgan and Lee Siegel, as well as a series of focused contributions by Yve-Alain Bois, Wendy Doniger, Kenneth Frampton, Martin E. Marty, John Hallmark Neff, Annemarie Schimmel, and Helen Tworkov consider how rapture resonate's both in a cultural context and within the experience of a single human being.
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  2.  6
    Statements at Conference Organized by the Institute of Contemporary Arts, London.Ben Okri, Maggie Gee, Farrukh Dhondy, Malise Ruthven & Marina Warner - 1990 - Cardozo Studies in Law and Literature 2 (1):77-89.
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  3.  31
    Anywhere or not at all: philosophy of contemporary art.Peter Osborne - 2013 - New York: Verso.
    A new reading of the philosophy of contemporary art by the author of The Politics of Time Contemporary art is the object of inflated and widely divergent claims. But what kind of discourse can open it up effectively to critical analysis? Anywhere or Not at All is a major philosophical intervention in art theory that challenges the terms of established positions through a new approach at once philosophical, historical, social and art-critical. Developing the position that “contemporary art (...)
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  4.  19
    The Eschatological Character of Contemporary Art Theory.Sixto J. Castro - 2008 - Proceedings of the Xxii World Congress of Philosophy 1:27-32.
    Along 19th and 20th centuries, art became a sort of new religion, sometimes coexisting peacefully with the institutional one, sometimes trying to provide what the institutional religion was not able to provide any more. Nowadays, art has adopted many of the solutions, topics and theories that theology has handled since it was born. Arthur C. Danto treats art as a reality whose history is over (and so, a escathological reality) and also as a metaxological (metaxy=between) reality dwelling between two realms. (...)
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  5. Authenticity, Misunderstanding, and Institutional Responsibility in Contemporary Art.Sherri Irvin - 2019 - British Journal of Aesthetics 59 (3):273-288.
    This paper addresses two questions about audience misunderstandings of contemporary art. First, what is the institution’s responsibility to prevent predictable misunderstandings about the nature of a contemporary artwork, and how should this responsibility be balanced against other considerations? Second, can an institution ever be justified in intentionally mounting an inauthentic display of an artwork, given that such displays are likely to mislead? I will argue that while the institution has a defeasible responsibility to mount authentic displays, this is (...)
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  6.  30
    Contemporary Art, Democracy, and the State.George Walden - 2000 - Royal Institute of Philosophy Supplement 45:85-95.
    Not long before the change of Government in Britain in 1997, the then Heritage Secretary, Virginia Bottomley, made a speech in which she praised British contemporary art, describing it as the most exciting and innovatory in the world. Unexciting as it seemed, her observation was profoundly innovatory, indeed in its small way historic. To my knowledge no British Cabinet Minister, still less a Conservative, has ever given an official seal of approval to what is conventionally regarded as avant-garde art. (...)
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  7.  7
    The Spirit of Secular Art: A History of the Sacramental Roots of Contemporary Artistic Values.Robert Nelson - 2007 - Monash University Epress.
    The Spirit of Secular Art: A History of the Sacramental Roots of Contemporary Artistic Values explains the spiritual prestige of art. Various theorists have discussed how art has an aura or indefinable magic. This book explains how, when and why it gained its spiritual properties. The idea that all art is somehow spiritual (even though not religious) is often assumed; this book, while narrating the historical trajectory of art in the most accessible language, reveals how the mysteries of religious (...)
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  8.  9
    Contemporary Art and Contemporary Sport in the Arabian Peninsula.Andrew Edgar - 2020 - Sport, Ethics and Philosophy 14 (3):339-354.
    This paper explores the relationship between the development of art and sport in the Arabian Peninsula. In particular, it will be argued that both sport and art can be understood in terms of a trajectory from the ‘modern’ to the ‘contemporary’. Modernity and modernism are introduced through an interpretation of Paul Delaunay’s series of paintings ‘The Cardiff Team’ (1912–22) which may be read as an expression of modernity. The content of the paintings documents core elements of European modernist culture, (...)
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  9.  24
    Memories of the Future: Chaosmosis and Contemporary Art.Stephen Zepke - 2022 - Deleuze and Guattari Studies 16 (4):600-622.
    Thirty years on from the publication of Chaosmosis, Guattari’s words invite an evaluation: ‘The aesthetic power of feeling seems on the verge of occupying a privileged position within the collective Assemblages of enunciation of our era.’ While this privilege can be seen today in the realms of social networks, mass media and populist politics, its place in contemporary artistic practices is more ambiguous. Guattari is careful to separate ‘aesthetic power‘ from ‘institutional art’, but the ontology of Chaosmosis nevertheless seems (...)
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  10.  6
    Masterpiece Photographs of the Minneapolis Institute of Arts: The Curatorial Legacy of Carroll T. Hartwell.Christian A. Peterson - 2008 - Minneapolis Institute of Art.
    The Minneapolis Institute of Arts holds the Upper Midwest's most significant permanent collection of fine photographs. Covering the entire history of the medium, from the mid-nineteenth century to the present day. This beautiful book opens with an 1845 salt print by the English inventor William Henry Fox Talbot and closes with a 2002 color portrait by Alec Soth from his series Sleeping by the Mississippi. In between, selected images represent the genres of documentary photography, photojournalism, and street photography. (...)
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  11.  9
    Knowledge beside itself: contemporary art's epistemic politics.Tom Holert - 2020 - Berlin: Sternberg Press.
    An examination of contemporary art's recent emphasis on “research” and “knowledge production,” and its claims to provide a novel access to “knowledge.” Questioning the role and function of contemporary art in economic and political systems that increasingly manage data and affect, Knowledge Beside Itself delves into the peculiar emphasis placed in recent years, curatorially and institutionally, on such notions as “research” and “knowledge production.” Contemporary art is viewed here as a strategic bet on the social distinctions and (...)
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  12.  5
    Official and informal professional associations of artists in the contemporary art space of Russia and China.Zhiwei Ding - forthcoming - Philosophy and Culture (Russian Journal).
    The article presents an analysis of the activities of formal and informal art associations in the space of contemporary art in Russia and China. The two countries actively cooperate in the field of art, including at the institutional level, which actualizes the appeal to the work of existing creative unions. The object of attention in the framework of the study is the modern art associations of the two countries, and the subject is the relationship between the structure and activities (...)
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  13.  56
    Pragmatist aesthetics and new visions of the contemporary art museum: The Tate modern and the baltic centre for contemporary art.Angela Marsh - 2004 - Journal of Aesthetic Education 38 (3):91-106.
    In lieu of an abstract, here is a brief excerpt of the content:Pragmatist Aesthetics and New Visions of the Contemporary Art Museum:The Tate Modern and the Baltic Centre for Contemporary ArtAngela Marsh (bio)John Dewey mandated the repositioning of our experience of art within the realm of the everyday, and recognized the importance of art objects principally with regard to how they operate within an experience as "carriers of meaning."1 In this quote from Art as Experience, Dewey illustrates the (...)
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  14.  21
    Pragmatist Aesthetics and New Visions of the Contemporary Art Museum: The Tate Modern and the Baltic Centre for Contemporary Art.Angela Marsh - 2004 - Journal of Aesthetic Education 38 (3):91.
    In lieu of an abstract, here is a brief excerpt of the content:Pragmatist Aesthetics and New Visions of the Contemporary Art Museum:The Tate Modern and the Baltic Centre for Contemporary ArtAngela Marsh (bio)John Dewey mandated the repositioning of our experience of art within the realm of the everyday, and recognized the importance of art objects principally with regard to how they operate within an experience as "carriers of meaning."1 In this quote from Art as Experience, Dewey illustrates the (...)
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  15.  9
    UCI critical theory and contemporary art practice: Jacques Derrida, Jean-François Lyotard, Bruce Nauman, and others.Ewa Bobrowska - 2020 - New York: Peter Lang. Edited by Georges Van den Abbeele.
    This book is unique in both its subject matter and its approach. It focuses on the collaboration of J. Derrida, J.-F. Lyotard, J. Hillis Miller, D. Carroll, F. Jameson and others at the Critical Theory Institute at the University of California, Irvine and on the application of critical theory for the analysis of contemporary American visual art. The critical and philosophical analysis concerns the art of Bruce Nauman, Kosuth, Burden, Christo, Wodiczko, Johns, Rauschenberg, and others. The focus of (...)
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  16.  26
    Institutions and deviance: Art and psychiatry.Laurie Calhoun - 1994 - Critical Review: A Journal of Politics and Society 8 (3):393-409.
    Deviance is esteemed in the art world, and all great artists have broken with the traditions that preceded them and rebelled against their contemporaries. Yet in society deviance is more often than not condemned. Our apparently contradictory attitudes toward artistic and social deviance are explicable in light of the conservative nature of institutions and the nature of comprehensibility and psychiatry.
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  17.  31
    Going Far by Going Together: James M. Buchanan’s Economics of Shared Ethics.Art Carden, Gregory W. Caskey & Zachary B. Kessler - 2022 - Business Ethics Quarterly 32 (3):359-373.
    We explore themes in Nobel Prize–winning economist James M. Buchanan’s work and apply his Ethics and Economic Progress to problems facing individuals and firms. We focus on Buchanan’s analysis of the individual work ethic, his exhortations to “pay the preacher” of the “institutions of moral-ethical communication,” and his notion of law as “public capital.” We highlight several ways people with other-regarding preferences can contribute to social flourishing and some of the ways those who have “affected to trade for the public (...)
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  18. Philosophy of Art: A Contemporary Introduction.Noël Carroll - 1999 - New York: Routledge.
    _Philosophy of Art_ is a textbook for undergraduate students interested in the topic of philosophical aesthetics. It introduces the techniques of analytic philosophy as well as key topics such as the representational theory of art, formalism, neo-formalism, aesthetic theories of art, neo-Wittgensteinism, the Institutional Theory of Art. as well as historical approaches to the nature of art. Throughout, abstract philosophical theories are illustrated by examples of both traditional and contemporary art including frequent reference to the avant-garde in this way (...)
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  19. The Artist's Sanction in Contemporary Art.Sherri Irvin - 2005 - Journal of Aesthetics and Art Criticism 63 (4):315-326.
    I argue that contemporary artists fix the features of their works not only through their actions of making and presenting objects, but also through auxiliary activities such as corresponding with curators and institutions. I refer to such fixing of features as the artist’s sanction: artists sanction features of their work through publicly accessible actions and communications, such as making a physical object with particular features, corresponding with curators and producing artist statements. I show, through an extended example, that in (...)
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  20.  34
    Cardinal Giordano Orsini (+1438) as a Prince of the church and a patron of the arts. A contemporary panegyric and two descriptions of the lost frescoes in Monte Giordano.W. A. Simpson - 1966 - Journal of the Warburg and Courtauld Institutes 29 (1):135-159.
  21.  7
    Formation of the Street Art Discourse by private institutions: on the example of the Inloco Foundation.Yuliya Alexandrovna Kuzovenkova - forthcoming - Philosophy and Culture (Russian Journal).
    The subject of this study is the process of entering the art world of a new object – the art of the street wave. Based on the method of discursive analysis proposed by M. Foucault, an attempt is made to determine through which discursive utterances the subjects of the art world form the discourse of street wave art, as well as how the field of utterances is organized. The subject whose activity is being investigated is the St. Petersburg Inloco Foundation, (...)
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  22.  7
    Virtue and the Art of Teaching Art.John Haldane - forthcoming - British Journal of Educational Studies.
    Discussions of the aims and efficacy of teachers tend to focus on an extended present pre supposing a more or less common profile across subjects and recent times. Given the concern with contemporary schooling this is unsurprising, but it limits what might be learned about the character of good and bad teaching, about the particularities of certain fields, and about the ways teachers conceive themselves in relation to their subjects, students and society. This essay considers the teaching of art, (...)
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  23.  21
    Contemporary Philosophy of Art: Readings in Analytic Aesthetics.John W. Bender & Gene Blocker (eds.) - 1993 - Pearson College Division.
    An anthology of contemporary readings in analytic aesthetics, this reference reflects the relationships among the central aesthetic concerns of recent years. Providing a new perspective on the contemporary philosophy of art, this volume examines the challenge of Postmodernism and how it may or may not affect the future of analytic aesthetics... offers a case study of the progress that has been made in handling the problem of expression in the arts... reconceptualizes the concepts of the art work, (...)
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  24.  72
    A software agent model of consciousness.Stan Franklin & Art Graesser - 1999 - Consciousness and Cognition 8 (3):285-301.
    Baars (1988, 1997) has proposed a psychological theory of consciousness, called global workspace theory. The present study describes a software agent implementation of that theory, called ''Conscious'' Mattie (CMattie). CMattie operates in a clerical domain from within a UNIX operating system, sending messages and interpreting messages in natural language that organize seminars at a university. CMattie fleshes out global workspace theory with a detailed computational model that integrates contemporary architectures in cognitive science and artificial intelligence. Baars (1997) lists the (...)
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  25. Dewey’s Institutions of Aesthetic Experience.Joseph Swenson - 2018 - Southwest Philosophy Review 34 (1):217-224.
    I argue that John Dewey’s account of aesthetic experience offers a contextual approach to aesthetic experience that could benefit contemporary contextual definitions of art. It is well known that many philosophers who employ contextual definitions of art (most notably, George Dickie) also argue that traditional conceptions of aesthetic experience are obsolete because they fail to distinguish art from non-art when confronted with hard cases like Marcel Duchamp’s Fountain. While questions of perceptual indiscernibility are a problem for many traditional theories (...)
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  26.  26
    Review of Paul Horwich's Truth_ and _Meaning[REVIEW]Art Skidmore - 2000 - Southwest Philosophy Review 16 (2):205-210.
    A comprehensive review of Paul Horwich's _Truth_ and _Meaning_.
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  27.  12
    On the Institutional Theory of Art.Ivan Parascic - 2008 - Prolegomena 7 (2):181-203.
    The topic of the article is George Dickie’s institutional theory of art as one of contemporary art theories which purport to answer the “what is art?” question by defining the concept of art in terms of its necessary and sufficient conditions. Introductory part of the article brings a brief review of so-called functionalist theories, as well as of their shortcomings when compared to theories to which institutional theory belongs. Also included is a short survey of theories and arguments that (...)
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  28.  17
    Art as Meme: The Key Issues Concerning Contemporary Art.Gary Willis - 2009 - Cologne, Germany: Lambert Academic Publishing.
    The Art Meme The supernova that was art, must have imploded sometime back in the late twentieth century; its memes sent hurtling out into the furthest reaches of the universe. Everything appears as art now, although art itself has become a dark matter, a black hole, surrounded by pulsars. The mission of this project has been to track arts trace elements and evaluate its dynamic structure. To this end we have charted the further reaches of the stellar system and (...)
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  29.  44
    Institutional Definition of a Work of Art.Bohdan Dziemidok - 1980 - Philosophical Inquiry 2 (4):555-564.
  30.  35
    The Institutional Theory of Art.T. J. Diffey - 1984 - Philosophical Inquiry 6 (3-4):153-159.
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  31.  18
    The ethnographer as a trader.Piret Koosa & Art Leete - 2006 - Sign Systems Studies 34 (2):387-401.
    Collecting ethnographic items for the Estonian National Museum has been linked to the practice of buying objects during fieldwork. Often we can find metaphors or expressions connected with trading in the Komi fieldwork diaries. Comparing ethnographers with merchants is a stereotypical way of describing the activities of Estonian researchers in the field. If ethnographers use, in their diaries, metaphors and expressions connected to trading, it may be just a spontaneous phrasing or inter-textual play of words. Inside the community of Estonian (...)
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  32.  15
    The ethnographer as a trader.Piret Koosa & Art Leete - 2006 - Sign Systems Studies 34 (2):387-401.
    Collecting ethnographic items for the Estonian National Museum has been linked to the practice of buying objects during fieldwork. Often we can find metaphors or expressions connected with trading in the Komi fieldwork diaries. Comparing ethnographers with merchants is a stereotypical way of describing the activities of Estonian researchers in the field. If ethnographers use, in their diaries, metaphors and expressions connected to trading, it may be just a spontaneous phrasing or inter-textual play of words. Inside the community of Estonian (...)
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  33.  24
    Destructive Leadership: A Critique of Leader-Centric Perspectives and Toward a More Holistic Definition.Christian N. Thoroughgood, Katina B. Sawyer, Art Padilla & Laura Lunsford - 2018 - Journal of Business Ethics 151 (3):627-649.
    Over the last 25 years, there has been an increasing fascination with the “dark” side of leadership. The term “destructive leadership” has been used as an overarching expression to describe various “bad” leader behaviors believed to be associated with harmful consequences for followers and organizations. Yet, there is a general consensus and appreciation in the broader leadership literature that leadership represents much more than the behaviors of those in positions of influence. It is a dynamic, cocreational process between leaders, followers, (...)
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  34.  9
    The Aesthetics of Enchantment in the Fine Arts.Marlies Kronegger, Anna-Teresa Tymieniecka & Fine Arts Aesthetics American Society for Phenomenology - 2000 - Springer Verlag.
    Published under the auspices of The World Institute for Advanced Phenomenological Research and Learning, 19 essays document the April 1998 international congress held at Harvard University. They ponder on such topics as the phenomenology of the experience of enchantment, Leonardo's enchantress, the ambiguous meaning of musical enchantment in Kant's Third Critique, art and the reenchantment of sensuous human activity, the creative voice, the allure of the Naza, Henri Matisse's early critical reception in New York, Zizek's sublimicist aesthetic of enchanted (...)
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  35.  8
    Ethics of contemporary art: in the shadow of transgression.Theo Reeves-Evison - 2020 - New York: Bloomsbury Visual Arts.
    Scatological shock-merchants, untrained social workers, conflict-zone tourists: from a certain standpoint the relationship between contemporary art and ethics involves a string of negative conjunctions. At their center stands the artist, whose personality and intentions often serve as an ethical measure of the work. This book operates on the basis of a different premise: that artworks themselves have ethical effects, and looking at these effects can tell us about wider processes of social change. As the first full-length study of its (...)
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  36.  35
    Educational myth: Persistence, resistances, breaks and connections. The secret of telematic art.Patrizia Moschella - 2012 - Technoetic Arts 10 (1):17-23.
    As Malinowsky states, myth is closely related to rite, presenting the social and moral values that rite asserts in each cyclical repetition. Rite marks the threshold between the sacred and profane, allowing access to myth as an art form, as a narrative expression both of the sacred – in the extension of meaning Emile Durkheim introduced with the term ‘collective consciousness’ – and of the ‘collective unconscious’ as Jung defined it. If it is true that the rite of passage to (...)
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  37.  88
    The transfiguration of the commonplace: a philosophy of art.Arthur Coleman Danto - 1981 - Cambridge: Harvard University Press.
    Mr. Danto argues that recent developments in the artworld, in particular the production of works of art that cannot be told from ordinary things, make urgent the need for a new theory of art and make plain the factors such a theory can and cannot involve. In the course of constructing such a theory, he seeks to demonstrate the relationship between philosophy and art, as well as the connections that hold between art and social institutions and art history. The book (...)
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  38.  3
    Theories of Contemporary Art.Richard Hertz - 1993 - Pearson.
    Collection of provocative essays that introduce students to the best and most recent criticism of post modern art (1960-1990).
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  39.  8
    Building a Ludovisian Monument. The Apparato of the Arts in the Cornerstone Ceremony of the Church of Sant’Ignazio di Loyola in Rome.Eneko Ortega Mentxaka - 2023 - Journal of the Warburg and Courtauld Institutes 86 (1):193-229.
    This article discusses the foundation ceremony of the church of Sant’Ignazio di Loyola in Rome, the new chapel of the Collegio Romano. The ceremony was held in the Collegio’s existing smaller chapel, dedicated to the Annunziata, in 1626. The ceremony was led by the sponsor of the new church, Cardinal Ludovico Ludovisi, the nephew of the late Pope Gregory XV and one of the greatest art collectors of his time. The extraordinary apparato of the foundation ceremony focussed on the personifications (...)
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  40.  16
    On Collingwood and the Institutional Theory Of Art.Ed Lawry - 1995 - Southwest Philosophy Review 11 (2):259-261.
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  41.  8
    A Defence of the Institutional Definition of Art.Stephen Davies - 1988 - Southern Journal of Philosophy 26 (3):307-324.
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  42.  64
    A defence of the institutional definition of art.Stephen Davies - 1988 - Southern Journal of Philosophy 26 (3):307-324.
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  43.  15
    The Creative Kingdom: Economic reform and art as a new space of Islamic critique in Saudi Arabia.Danijel Cubelic - 2019 - Zeitschrift für Religionswissenschaft 27 (1):27-47.
    Whilst the field of contemporary art has been impeded until recently by Saudi Arabia’s blasphemy laws and heavy censorship, the last decade has seen a rapid growth of art networks and institutions. Incidents such as the conviction of internationally lauded artist and curator Ashraf Fayadh in 2015 on charges of apostasy show that Islamic authorities still claim to define what is acceptable and not acceptable in the field of cultural production, but several renowned Saudi artists have started to question (...)
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  44.  7
    The ethical challenges of recovering historical memory seeing land: Resituating landscapes through contemporary indigenous art exhibitions.Carmen Robertson - 2019 - Les Ateliers de l'Éthique / the Ethics Forum 14 (2):108-127.
    Canadian landscapes on gallery walls in art museums serve as a primer for understanding the nation. Visitors cannot easily escape the purposeful emptiness of rugged scenes meant to visually assure them of the nation’s right to colonial possession. Most viewers respond positively to these pretty pictures because such ways of seeing the art history of Canada has been naturalized and normalized, appearing politically neutral.Ubiquitous Canadian landscape paintings also reinforce colonial claiming of land and authorize erasure of Indigenous relations with the (...)
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  45.  2
    The Art of Gratitude.Jeremy David Engels - 2018 - SUNY Press.
    Explores how the emotional experience of gratitude has been enlisted in neoliberal governance through the language of debt. In The Art of Gratitude, Jeremy David Engels sketches a genealogy of gratitude from the ancient Greeks to the contemporary self-help movement. One of the most striking things about gratitude, Engels finds, is how consistently it is described using the language of indebtedness. A chief purpose of this, he contends, is to make us more comfortable living lives in debt, with the (...)
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  46. The Wrong of Contemporary Art: Aesthetics and Political Indeterminacy.Suhail Malik & Andrea Phillips - 2011 - In .
    This article proposes that Ranciere offers an accurate account of contemporary art’s self-understanding of its politicality, explaining his widespread appreciation and influence by the sector. For this reason the critique of Ranciere’s notion of politics and the demonstration of its deliberate disavowal of specific political determination allow for a systemic argument against contemporary art’s critical ambitions as in any way politically adequate.
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  47. The definition of art.Thomas Adajian - 2018 - Stanford Encyclopedia of Philosophy.
    The definition of art is controversial in contemporary philosophy. Whether art can be defined has also been a matter of controversy. The philosophical usefulness of a definition of art has also been debated. -/- Contemporary definitions can be classified with respect to the dimensions of art they emphasize. One distinctively modern, conventionalist, sort of definition focuses on art’s institutional features, emphasizing the way art changes over time, modern works that appear to break radically with all traditional art, the (...)
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  48. The Sublime Conditions of Contemporary Art.Stephen Zepke - 2011 - Deleuze and Guatarri Studies 5 (1):73-83.
    Deleuze's relationship to Kant is intricate and fundamental, given that Deleuze develops his transcendental philosophy of difference in large part out of Kant's work. In doing so he utilises the moment of the sublime from the third Critique as the genetic model for the irruption of the faculties beyond their capture within common sense. In this sense, the sublime offers the model not only for transcendental genesis but also for aesthetic experience unleashed from any conditions of possibility. As a result, (...)
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  49.  8
    Aesthetics and the Iconoclasm of Contemporary Art: Pictures Without a World.Žarko Paić - 2021 - Springer Verlag.
    The main themes and aims of this book are understanding aesthetics, contemporary art and the end of the avant-garde not from the traditional viewpoint of the metaphysics of the beautiful and the sublime but rather thru close connection to the techno-genesis of virtual worlds. This book tackles problems in contemporary art theory such as the body in space and time of digital technologies, along with other issues in visual studies and image science. Further intentions exhibit the fundamental reasons (...)
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  50.  2
    Trends in the development of institutions and forms of artistic communication in modern St. Petersburg.Liang Pan - forthcoming - Philosophy and Culture (Russian Journal).
    The subject of the study is the works of contemporary St. Petersburg artists of different generations and creative trends, as well as the forms and features of their communication with each other and with the general as well as professional public. The trends of artistic communication in the city are determined by the activities of such institutions as art and non-art museums, art galleries and exhibition centers, which are a classic form of presentation of contemporary art; alternative venues (...)
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