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Whitney Davis [17]Whitney M. Davis [1]
  1.  31
    Queer Beauty: Sexuality and Aesthetics From Winckelmann to Freud and Beyond.Whitney Davis - 2010 - Columbia University Press.
    The pioneering work of Johann Winckelmann (1717-1768) identified a homoerotic appreciation of male beauty in classical Greek sculpture, a fascination that had endured in Western art since the Greeks.
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  2.  15
    Sculpture in Herder’s Naturalist Aesthetics.Whitney Davis - 2022 - Journal of Aesthetics and Art Criticism 80 (2):239-243.
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  3. When pictures are present: Arthur Danto and the historicity of the eye.Whitney Davis - 2001 - Journal of Aesthetics and Art Criticism 59 (1):29-38.
  4.  24
    Succession and Recursion in Heinrich Wölfflin's Principles of Art History.Whitney Davis - 2015 - Journal of Aesthetics and Art Criticism 73 (2):157-164.
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  5.  89
    Beginning the history of art.Whitney Davis - 1993 - Journal of Aesthetics and Art Criticism 51 (3):327-350.
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  6.  7
    Queer Beauty: Winckelmann and Kant on the Vicissitudes of the Ideal.Whitney Davis - 2013 - In Peg Brand Weiser (ed.), Beauty Unlimited. Indiana University Press. pp. 97-125.
    The history of modern and contemporary art provides many examples of the "queering" of cultural and social norms. It has been tempting to consider this process of subversion and transgression, or "outlaw representation", as well as related performances of "camp" or other gay inflections of the dominant forms of representation, to be the most creative mode of queer cultural production. Whether or not this is true in the history of later nineteenth- and twentieth-century art, we can identify a historical process (...)
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  7.  8
    The Canonical Tradition in Ancient Egyptian Art.Robert Steven Bianchi & Whitney Davis - 1992 - Journal of the American Oriental Society 112 (2):328.
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  8.  17
    Binding and Unbinding the Mondrian Stimulus.Whitney Davis - 2018 - British Journal of Aesthetics 58 (4):449-467.
    This paper considers the use of the ‘Mondrian Stimulus’, invented by Edwin H. Land of the Polaroid Corporation, in various investigations in the visual neuropsychology, the neuroaesthetics, and the social psychology of aesthetic response to works of visual art. What difference does it make—in the set-up of these investigations and in our interpretation of their putative results—that the Mondrian Stimulus might be taken to be a ‘real’ painting by the actual Dutch artist Piet Mondrian? How does the existence of a (...)
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  9.  2
    Berlin Symposium on Post-culturalist Art History.Whitney Davis, Hans Christian Hönes & Jakub Stejskal - 2017 - Estetika: The European Journal of Aesthetics 54 (2):238.
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  10.  13
    Historical and Art-Historical CoverageEncyclopedia of Aesthetics.Whitney Davis & Michael Kelly - 2000 - Journal of Aesthetics and Art Criticism 58 (3):295.
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  11.  28
    Stakeholder Risk as Experienced by Non-Shareholder Stakeholders.Whitney Davis & Harry J. van Buren Iii - 2007 - Proceedings of the International Association for Business and Society 18:431-436.
    In this paper, we explore the interests of non-shareholder stakeholders in the context of a shareholder risk model. We first differentiate shareholders and nonshareholders with regard to the nature of their risks, their awareness of risks, their abilities to avoid risk, and their abilities to ensure compensation for risk. We then develop a model of measuring the risks facing stakeholders that addresses human risk magnitude and environmental risk magnitude. We conclude with implications for theory and practice.
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  12. Stakeholder Risk as Experienced by Non-Shareholder Stakeholders: An Ethical Analysis and Risk Magnitude Model.Whitney Davis & Harry J. Van Buren Iii - 2007 - Proceedings of the International Association for Business and Society 18:431-436.
    In this paper, we explore the interests of non-shareholder stakeholders in the context of a shareholder risk model. We first differentiate shareholders and nonshareholders with regard to the nature of their risks, their awareness of risks, their abilities to avoid risk, and their abilities to ensure compensation for risk. We then develop a model of measuring the risks facing stakeholders that addresses human risk magnitude and environmental risk magnitude. We conclude with implications for theory and practice.
     
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  13.  4
    The Archæology of Radical Pictoriality.Whitney Davis - 2011 - In Publications of the Austrian Ludwig Wittgenstein Society - N.S. 17. De Gruyter. pp. 191-218.
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  14.  2
    The Birth of Art.Whitney Davis - 2022 - In Jonathan Gilmore & Lydia Goehr (eds.), A Companion to Arthur C. Danto. Hoboken, NJ, USA: Wiley. pp. 112–123.
    The paper examines Danto's ideas about the “birth of art” from three perspectives: his concept of a natural aesthetic instinct; his concept of the birth of art “in a narrow sense,” in the transfiguration of substitutes (an event or possibility that he dates and places in various ways); and his concept of the constant birth of art, “in a larger sense,” among “artists‐outside‐the artworld.” The paper comments on these notions, some of their sources, and some of their interest and implications, (...)
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  15.  9
    The Origins of Register Composition in Predynastic Egyptian Art.Whitney M. Davis - 1976 - Journal of the American Oriental Society 96 (3):404-418.
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  16.  32
    The world rewound: Peter forgács's Wittgenstein tractatus.Whitney Davis - 2006 - Journal of Aesthetics and Art Criticism 64 (1):199–211.
  17.  16
    Masking the Blow: The Scene of Representation in Late Prehistoric Egyptian Art.Elizabeth Finkenstaedt & Whitney Davis - 1994 - Journal of the American Oriental Society 114 (4):664.
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  18.  37
    The State of Art Criticism.Stephen Melville, Lynne Cook, Michael Newman, Whitney Davis & Guy Brett - 1960 - Journal of Aesthetics and Art Criticism 18 (3).
    About the Author James Elkins is E.C. Chadbourne Chair in the Department of Art History, Theory, and Criticism at the School of the Art Institute of Chicago. His many books include Pictures and Tears, How to Use Your Eyes, and What Painting Is, all published by Routledge. Michael Newman teaches in the Department of Art History, Theory, and Criticism at the School of the Art Institute of Chicago, and is Professor of Art Writing at Goldsmiths College in the University of (...)
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