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K. E. Gover [9]K. Gover [3]Karen Gover [2]
  1.  14
    Ambivalent Agency: A Response to Trogdon and Livingston on Artwork Completion.K. E. Gover - 2015 - Journal of Aesthetics and Art Criticism 73 (4):457-460.
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  2.  13
    Are All Multiples the Same? The Problematic Nature of the Limited Edition.K. E. Gover - 2015 - Journal of Aesthetics and Art Criticism 73 (1):69-80.
    The aim of this inquiry is to determine whether printmaking is best understood ontologically as analogous to a work-performance relation. Are prints the visual analogue of symphonies? My motivation for pursuing the comparison of printmaking to music is twofold. First, because relatively little has been written on the ontology of fine art prints, our use of an already developed body of scholarship will help us to gain some traction on the question. Second, within the existing literature on the ontology of (...)
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  3.  43
    Artistic Freedom and Moral Rights in Contemporary Art: The Mass MoCA Controversy.K. E. Gover - 2011 - Journal of Aesthetics and Art Criticism 69 (4):355-365.
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  4.  42
    What is Humpty-Dumptyism in Contemporary Visual Art? A Reply to Maes.K. E. Gover - 2012 - British Journal of Aesthetics 52 (2):169-181.
    In a recent article, Hans Maes argues that examples drawn from contemporary visual art shed new light on the long-standing and seemingly intractable debate between Hypothetical Intentionalism (HI) and Moderate Actual Intentionalism (AI). He presents two test cases that, he argues, tilt the scale in favour of AI. In this paper I re-examine Maes's two test cases, and argue that neither succeeds as a test case. The first case fails because it confuses a relevant fact about the artwork with the (...)
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  5.  38
    The Overlooked Work of Art in “the Origin of the Work of Art”.K. Gover - 2008 - International Philosophical Quarterly 48 (2):143-153.
    In this essay I call attention to the fact that there is a work of art in Heidegger’s “The Origin of the Work of Art,” and yet almost no one talks about it: the C. F. Meyer poem “Roman Fountain.” This critical silence is all the more ironic, since (1) it is a self-sufficient artwork, and not just described or mentioned in the text; and (2) the poem’s fountain, as man-made spring, seems to speak to—if not speak of—Heidegger’s thesis concerning (...)
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  6.  5
    Darren Hudson Hick and Reinhold Schmücker, Eds., The Aesthetics and Ethics of Copying. Reviewed By.Karen Gover - 2017 - Philosophy in Review 37 (2):59-61.
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  7.  11
    Freeman, Damien, and Derek Matravers, Eds. Figuring Out Figurative Art: Contemporary Philosophers on Contemporary Paintings. New York: Routledge, 2015, Xv + 210 Pp., 15 Color + 2 B&W Illus., $155.00 Cloth, $39.95 Paper. [REVIEW]K. E. Gover - 2015 - Journal of Aesthetics and Art Criticism 73 (4):465-467.
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  8.  9
    The Gift of Debt.K. E. Gover - 2015 - New Nietzsche Studies 9 (3):169-176.
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  9.  23
    Review of Jennifer Anna Gosetti-Ferencei, The Ecstatic Quotidian: Phenomenological Sightings in Modern Art and Literature[REVIEW]K. Gover - 2008 - Notre Dame Philosophical Reviews 2008 (7).
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  10. Søen Kierkegaard Critical Assessments of Leading Philosophers.Daniel W. Conway & K. E. Gover - 2002
     
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  11. Art and Authority: Moral Rights and Meaning in Contemporary Visual Art.K. E. Gover - 2018 - Oxford University Press.
    Art and Authority explores the sources, nature, and limits of artistic freedom. K. E. Gover draws upon real-world cases and controversies in contemporary visual art to offer a better understanding of artistic authorship and authority. Each chapter focuses on a case of dispute over the rights of an artist with respect to his or her artwork.
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  12. The Overlooked Work of Art in “The Origin of the Work of Art”.K. Gover - 2008 - International Philosophical Quarterly 48 (2):143-153.
    In this essay I call attention to the fact that there is a work of art in Heidegger’s “The Origin of the Work of Art,” and yet almost no one talks about it: the C. F. Meyer poem “Roman Fountain.” This critical silence is all the more ironic, since it is a self-sufficient artwork, and not just described or mentioned in the text; and the poem’s fountain, as man-made spring, seems to speak to—if not speak of—Heidegger’s thesis concerning the Ur-sprung (...)
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  13. 1. Front Matter Front Matter (Pp. I-Iii).Andrea Kantrowitz, David Wong, Tyson E. Lewis, K. E. Gover, Sophie Bourgault, Azlan Iqbal, Emily Brady, Mordechai Gordon & Todd Parker - 2012 - Journal of Aesthetic Education 46 (1).
     
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