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  1.  9
    Art and Aesthetics After Adorno.J. M. Bernstein, Claudia Brodsky, Anthony J. Cascardi, Thierry de Duve, Ales Erjavec, Robert Kaufman & Fred Rush (eds.) - 2022 - Fordham University Press.
    Theodor Adorno's Aesthetic Theory offers one of the most powerful and comprehensive critiques of art and of the discipline of aesthetics ever written. The work offers a deeply critical engagement with the history and philosophy of aesthetics and with the traditions of European art through the middle of the 20th century. It is coupled with ambitious claims about what aesthetic theory ought to be. But the cultural horizon of Adorno's Aesthetic Theory was the world of high modernism, and much has (...)
  2.  6
    Kant after GreenbergThe Collected Essays and CriticismClement Greenberg between the LinesKant after Duchamp.Stephen Melville, Clement Greenberg, John O'Brian & Thierry de Duve - 1998 - Journal of Aesthetics and Art Criticism 56 (1):67.
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  3. Aesthetics at large.Thierry de Duve - 2018 - London: University of Chicago Press.
     
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  4. Sewn in the Sweatshops of Marx: Beuys, Warhol, Klein, Duchamp.Thierry de Duve - 2012 - University of Chicago Press.
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  5.  16
    The story of Fountain: Hard facts and soft speculation.Thierry De Duve - 2019 - Nordic Journal of Aesthetics 28 (57-58):10-47.
    Thierry de Duve’s essay is anchored to the one and perhaps only hard fact that we possess regarding the story of Fountain: its photo in The Blind Man No. 2, triply captioned “Fountain by R. Mutt,” “Photograph by Alfred Stieglitz,” and “THE EXHIBIT REFUSED BY THE INDEPENDENTS,” and the editorial on the facing page, titled “The Richard Mutt Case.” He examines what kind of agency is involved in that triple “by,” and revisits Duchamp’s intentions and motivations when he created the (...)
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  6. The Post-Duchamp Deal. Remarks on a few Specifications of the Word 'Art'.Thierry de Duve - 2007 - Filozofski Vestnik 28 (2):27 - +.
    The purpose of this paper is to offer some theoretical clarification of the word art in the wake of the reception of Duchamp's readymades and their acknowledgment by art history.It became clear in the sixties that it is now both technically possible and institutionally legitimate to make art from absolutely anything whatever.To this a priori possibility would like to give the term art in general. After which shall define three other terms which may help clarify our usage of the word (...)
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  7.  3
    Aesthetics as the Transcendental Ground of Democracy.Thierry de Duve - 2015 - Critical Inquiry 42 (1):149-165.
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  8.  33
    How Manet's "A Bar at the Folies-Bergère" Is Constructed.Thierry de Duve & Brian Holmes - 1998 - Critical Inquiry 25 (1):136-168.
  9.  4
    Autour du « monde de l'art ».Arthur Coleman Danto, Thierry De Duve & Richard Shusterman - 2012 - Cahiers Philosophiques 4:108.
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  10.  17
    Intuition, Logic, Intuition.Thierry de Duve - 1998 - Critical Inquiry 25 (1):181-189.
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  11.  27
    Pictorial Nominalism: On Marcel Duchamp's Passage from Painting to the Readymade.George H. Bauer & Thierry de Duve - 1993 - Substance 22 (2/3):350.
  12.  7
    Viande du monde.Thierry de Duve - 2011 - Revista Portuguesa de Filosofia 67 (3):417-432.
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  13. Kant's "free-play" in the light of minimal art.Thierry de Duve - 2009 - In Francis Halsall, Julia Jansen & Tony O'Connor (eds.), Rediscovering Aesthetics: Transdisciplinary Voices from Art History, Philosophy, and Art Practice. Stanford University Press.
  14.  2
    Letters to the Editor.William Conger & Thierry de Duve - 1999 - Critical Inquiry 26 (1):159-160.
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