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  1. The Double Life of Jeff Koon's Made in Heaven Glass Artworks.Max Ryynanen - 2004 - Nordic Journal of Aesthetics 16 (29-30).
    This article owes a lot to Arthur C. Danto's heuristic writings about the Artworld, which have shown us, that the ontological status of works of art is, at least when we discuss some current, maybe even dominating trends in contemporary art, dependent on our more or less philosophical interpretations of them. The effects of the Dantoan atmosphere of theory and art historical consciousness are, still, decisive for just some contemporary art. Danto's interest in the philosophical side of contemporary art makes (...)
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  2. The Art Scenes.Jozef Kovalčik & Max Ryynänen - 2018 - Contemporary Aesthetics 16 (1).
     
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  3.  32
    Contemporary Kitsch: The Death of Pseudo-Art and the Birth of Everyday Cheesiness (A Postcolonial Inquiry).Max Ryynänen - 2018 - Terra Aestheticae: Journal of Russian Society for Aesthetics 1 (1):70-86.
    The discourse on kitsch has changed tone. The concept, which in the early 20th century referred more to pretentious pseudo-art than to cute everyday objects, was attacked between the World Wars by theorists of modernity (e.g. Greenberg on Repin). The late 20th century scholars gazed at it with critical curiosity (Eco, Kulka, Calinescu). What we now have is a profound interest in and acceptance of cute mass-produced objects. It has become marginal to use the concept to criticize pseudo-art. Scholars who (...)
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  4.  1
    Educating Bodies, Educating Streets.Max Ryynänen - 2021 - Journal of Aesthetic Education 55 (2):115.
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    Kitsch Happens. On the Kitsch Experience of Nature.Max Ryynänen - 2019 - Espes 9 (2):10-16.
    In Kitsch and Art Tomáš Kulka notes that natural landscapes cannot be called kitsch. Kitsch needs to be produced by a human being, he says. I agree with that. Experience-wise it is more complicated, though. Sometimes kitsch affects our experience of landscapes. It is not just that our overwhelming culture of images affects how we see nature, but that also sugared, sentimental and stereotypical kitsch images of nature, that we see in postcards and social media, affect our experience of e.g. (...)
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    Kitsch Happens. On the Kitsch Experience of Nature.Max Ryynänen - 2020 - Espes 9 (1):10-16.
    In Kitsch and Art Tomáš Kulka notes that natural landscapes cannot be called kitsch. Kitsch needs to be produced by a human being, he says. I agree with that. Experience-wise it is more complicated, though. Sometimes kitsch affects our experience of landscapes. It is not just that our overwhelming culture of images affects how we see nature, but that also sugared, sentimental and stereotypical kitsch images of nature, that we see in postcards and social media, affect our experience of e.g. (...)
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    Kitsch Happens. On the Kitsch Experience of Nature.Max Ryynänen - 2019 - Espes. The Slovak Journal of Aesthetics 9 (2):10-16.
    In Kitsch and Art Tomáš Kulka notes that natural landscapes cannot be called kitsch. Kitsch needs to be produced by a human being, he says. I agree with that. Experience-wise it is more complicated, though. Sometimes kitsch affects our experience of landscapes. It is not just that our overwhelming culture of images affects how we see nature, but that also sugared, sentimental and stereotypical kitsch images of nature, that we see in postcards and social media, affect our experience of e.g. (...)
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    Kitsch Happens. On the Kitsch Experience of Nature.Max Ryynänen - 2020 - Espes. The Slovak Journal of Aesthetics 8 (2):10-16.
    In Kitsch and Art Tomáš Kulka notes that natural landscapes cannot be called kitsch. Kitsch needs to be produced by a human being, he says. I agree with that. Experience-wise it is more complicated, though. Sometimes kitsch affects our experience of landscapes. It is not just that our overwhelming culture of images affects how we see nature, but that also sugared, sentimental and stereotypical kitsch images of nature, that we see in postcards and social media, affect our experience of e.g. (...)
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  9.  21
    Nobrow.Max Ryynänen - 2005 - Nordic Journal of Aesthetics 17 (32).
    Less than an attempt to philosophically define anything, the following text should be read as a theoretical sketch to portray an artistic margin, which has not yet been much discussed, although it has been loosely touched upon as a side product of many other theoretical aspirations. Its name, ‘nobrow’, is borrowed from a use somewhat different from mine, but is accurate in pointing out that there is a dynamic position works of art can acquire when they use both high and (...)
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  10. On the Philosophy of Central European Art: The History of an Institution and its Global Competitors.Max Ryynänen - 2020 - Lexington Books.
    This book is an introduction to the history of art as an institution, from its development in Central Europe to its global expansion through colonialism and diaspora. It considers how the class, gender, and race of artists function to challenge highbrow notions of art and develops the concept of nobrow as a way to democratize art in the future.
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  11.  16
    Review: Dorota Koczanowicz and Wojciech Małecki, Eds., Shusterman’s Pragmatism: Between Literature and Somaesthetics; Wojciech Małecki, Embodying Pragmatism: Richard Shusterman’s Philosophy and Literary Theory; and Richard Shusterman, Thinking Through the Body: Essays in Somaesthetics. [REVIEW]Max Ryynänen - 2015 - Nordic Journal of Aesthetics 24 (47).
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    Radically Rethinking Copyright in the Arts: A Philosophical Approach.Max Ryynänen - forthcoming - British Journal of Aesthetics.
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  13. Art, Excess, and Education.Kevin Tavin, Mira Kallio-Tavin & Max Ryynänen (eds.) - 2019 - Palgrave Macmillan.
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