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Peg Brand [10]Peggy Zeglin Brand [8]Peg Zeglin Brand [6]Peggy Brand [1]
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Peg Brand Weiser
Indiana University Purdue University, Indianapolis
  1. Feminism and Aesthetics.Peg Brand - 2007 - In Linda Alcoff & Eva Feder Kittay (eds.), The Blackwell Guide to Feminist Philosophy. Blackwell.
    This chapter presents an overview of feminism and aesthetics in the 2007 Blackwell Guide to Feminist Philosophy edited by Linda Martin Alcoff and Eva Feder Kittay. Sections cover the topics of distinguishing aesthetics and philosophy of art, bringing feminist theory into aesthetics, developing feminist challenges to aesthetics, the role of women artists in feminist aesthetics, feminist philosophers reflect on self-portraiture and women as objects of beauty, and future developments.
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  2. Feminist Art Epistemologies: Understanding Feminist Art.Peg Brand - 2006 - Hypatia 21 (3):166 - 189.
    Feminist art epistemologies (FAEs) greatly aid the understanding of feminist art, particularly when they serve to illuminate the hidden meanings of an artist's intent. The success of parodic imagery produced by feminist artists (feminist visual parodies, FVPs) necessarily depends upon a viewer's recognition of the original work of art created by a male artist and the realization of the parodist's intent to ridicule and satirize. As Brand shows in this essay, such recognition and realization constitute the knowledge of a well-(in)formed (...)
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  3. Surface and Deep Interpretation.Peg Brand & Myles Brand - 2012 - In Mark Rollins (ed.), Danto and His Critics, 2nd Edition. Wiley-Blackwell. pp. 69-83.
    Arthur C. Danto proposes a complex and controversial relationship between surface and deep interpretations in The Philosophical Disenfranchisement of Art (1986). We detail the analogy between understanding human actions and interpreting works of art that both develops a motivation for Danto's view and clarifies it. We object to the most plausible version of content dependency among surface and deep interpretations and in so doing, we also clarify the way in which an interpretation is constitutive of an artwork.
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  4. Painting the Difference: Sex and Spectator in Modern Art.Peg Brand - 2007 - Journal of Aesthetics and Art Criticism 65 (2):244-246.
    British art historian Charles Harrison presumes the existence of a patriarchal world with power in the hands of men who dominate the representation of women and femininity. He applauds the ground-breaking work of feminist theorists who have questioned this imbalance of power since the 1970s. He stops short, however, of accepting their claims that all women have been represented by male artists as images of “utter passivity” (p. 4), routinely reduced by the male gaze to the status of exploited sexual (...)
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  5. Definitions of Art, by Stephen Davies. [REVIEW]Peg Brand - 1994 - Philosophy and Phenomenological Research 54 (2):492-494.
    Davies presents the reader with a sterling review of the literature on the definition of "art" and a stimulating discussion of the role of conventions in the making and appreciating of contemporary art. Definitions of Art is essential reading for anyone interested in the history of aesthetics and as it informs the current dialectic on art.
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  6. The Aesthetics of Childbirth.Peg Brand & Paula Granger - 2012 - In Sheila Lintott & Maureen Sander-Staudt (eds.), Philosophical Inquiries into Pregnancy, Childbirth, and Mothering: Maternal Subjects. Routledge. pp. 215-236.
    Images abound of women throughout the ages engaging in various activities. But why are there so few representations of childbirth in visual art? Feminist artist Judy Chicago once suggested that depictions of women giving birth do not commonly occur in Western culture but can be found in other contexts such as pre-Columbian art or societies previously considered "primitive." Chicago's own exploration of the theme resulted in the creation of The Birth Project (1980-85): an unprecedented series of eighty handcrafted works of (...)
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  7.  6
    Beauty Matters.Peg Zeglin Brand - 1999 - Journal of Aesthetics and Art Criticism 57 (1):1.
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  8.  4
    Definitions of Art.Peg Brand - 1994 - Philosophy and Phenomenological Research 54 (2):492-494.
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  9. Feminism and Tradition in Aesthetics.Peggy Zeglin Brand & Carolyn Korsmeyer - 1996 - Hypatia 11 (3):169-172.
  10. Beauty Unlimited.Peg Zeglin Brand (ed.) - 2013 - Bloomington, IN: Indiana University Press.
    Emphasizing the human body in all of its forms, Beauty Unlimited expands the boundaries of what is meant by beauty both geographically and aesthetically. Peg Zeglin Brand and an international group of contributors interrogate the body and the meaning of physical beauty in this multidisciplinary volume. This striking and provocative book explores the history of bodily beautification; the physicality of socially or culturally determined choices of beautification; the interplay of gender, race, class, age, sexuality, and ethnicity within and on the (...)
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  11. Salon-Haunters: The Impasse Facing French Intellectuals.Peg Brand - 2005 - In Sally Scholz & Shannon Mussett (eds.), The Contradictions of Freedom: Philosophical Essays on Simone de Beauvoir's the Mandarins. SUNY Press. pp. 211-226.
    Beauvoir maintains a unified "compromise theory" of aesthetics throughout her ethics, feminism, and fiction that portrays the conundrum that every artist faces -- an impasse that sets action against inaction, politics against culture. Beauvoir's theory of art in The Mandarins, aided by an analysis of women's oppression in The Second Sex, advocates art that keeps past events alive in the present and in so doing, changes even the tragic into the life affirming. Beauvoir lauds artists who, even in the face (...)
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  12. Lord, Lewis, and the Institutional Theory of Art.Peggy Zeglin Brand - 1982 - Journal of Aesthetics and Art Criticism 40 (3):309-314.
    In "Convention and Dickie's Institutional Theory" (British Journal of Aesthetics 1980), Catherine Lord maintains the following thesis: (L) If a work of art is defined as institutional and conventional, then the definition precludes the freedom and creativity associated with art. Lord also maintains that the antecedent of this conditional is false. In this note, I argue that (i) certain confusions and assumptions prevent Lord from showing the antecedent is false, and (ii) even if the antecedent is assumed to be true, (...)
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  13. Letters to the Editor.Peg Brand, Myles Brand, G. E. M. Anscombe, Donald Davidson, John M. Dolan, Peter T. Geach, Thomas Nagel, Barry R. Gross, Nebojsa Kujundzic, Jon K. Mills, Richard J. McGowan, Jennifer Uleman, John D. Musselman, James S. Stramel & Parker English - 1995 - Proceedings and Addresses of the American Philosophical Association 69 (2):119 - 131.
    Co-authored letter to the APA to take a lead role in the recognition of teaching in the classroom, based on the participation in an interdisciplinary Conference on the Role of Advocacy in the Classroom back in 1995. At the time of this writing, the late Myles Brand was the President of Indiana University and a member of the IU Department of Philosophy.
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    Glaring Omissions in Traditional Theories of Art.Peg Zeglin Brand - 1999 - The Proceedings of the Twentieth World Congress of Philosophy 4:177-186.
    I investigate the role of feminist theorizing in relation to traditionally-based aesthetics. Feminist artworks have arisen within the context of a patriarchal Artworld dominated for thousands of years by male artists, critics, theorists, and philosophers. I look at the history of that context as it impacts philosophical theorizing by pinpointing the narrow range of the paradigms used in defining “art.” I test the plausibility of Danto’s After the End of Art vision of a post-historical, pluralistic future in which “anything goes,” (...)
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  15. Beauty Matters.Peg Zeglin Brand - 2000 - Indiana University Press.
    Beauty has captured human interest since before Plato, but how, why, and to whom does beauty matter in today's world? Whose standard of beauty motivates African Americans to straighten their hair? What inspires beauty queens to measure up as flawless objects for the male gaze? Why does a French performance artist use cosmetic surgery to remake her face into a composite of the master painters' version of beauty? How does beauty culture perceive the disabled body? Is the constant effort to (...)
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  16.  58
    Review of New Feminist Art Criticism by Katy Deepwell. [REVIEW]Peg Brand - 1997 - Journal of Aesthetics and Art Criticism 55 (3):344-345.
    Katy Deepwell calls for a vital and visible "new" feminist criticism in 1997 amidst a pessimistic overview of the state of feminist art and criticism in Britain, Canada, and the U.S. As an update to this review, I note that Deepwell took decisive and effective action on her pessimism and for the past twenty years (as of this writing in July 2017) created an online feminist journal--n.paradoxa: international feminist art journal--that has published over 550 articles by 400 writers and artists (...)
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  17. Feminism and Tradition in Aesthetics.Peg Zeglin Brand & Carolyn Korsmeyer (eds.) - 2010 - Penn State Press.
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  18. Introduction: Feminism and Aesthetics.Peggy Zeglin Brand & Mary Devereaux - 2003 - Hypatia 18 (4):ix-xx.
  19.  15
    Feminism and Tradition in Aesthetics.Peggy Zeglin Brand - 1996 - Journal of Aesthetics and Art Criticism 54 (4):404-405.
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  20.  47
    Review of Out of Order, Out of Sight. [REVIEW]Peggy Zeglin Brand - 1998 - Journal of Aesthetics and Art Criticism 56 (4):405-406.
    There has been an important artist in our midst. Her work is about gender, race, and the internal structures of the artworld, and it predated the current popularity of those topics in theoretical circles by three decades.... Piper's volumes serve two functions. Volume I, Selected writings in Meta-Art, 1968-1992, provides an intimate history of the development of her own creative art making, while Volume 2, Selected writings in Art Criticism, 1967-1992, chronicles her more public responses to art-critical writings. Together they (...)
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