Artworks

We develop a series of theses on the philosophical aesthetics of design art. A sketch of an outline of a theory of objects is drawn from within a naturalistic worldview, that of abstract materialism and the general, still ongoing, quest to build a comprehensive philosophy of nature encompassing not only the physical world, but also culture, art, and politics.

Artificial intelligence is now capable of generating sophisticated and compelling images from simple text prompts. In this paper, I focus specifically on how artists might make use of AI to create art. Most existing discourse analogizes AI to a tool or collaborator; this focuses our attention on AI’s contribution to the production of an artistically significant output. I propose an alternative approach, the exploration paradigm, which suggests that artists instead relate to AI as a participant: artists create a space for (...) interaction with the AI algorithm by way of their prompts, thereby allowing them to explore the way that the algorithm “sees” and “represents.” AI art practiced in this fashion bears a striking resemblance to contemporary conceptual and participatory art. Viewing AI art in this way has implications for the appreciation of style in AI art; concerns about novelty and originality; and the assignment of artistic credit and copyright. (shrink)

According to buck-passers about art, such as Dominic Lopes, every work of art belongs to some art. I distinguish two versions of the buck-passing theory of art—what I call the double-buck-passers’ (DBP) view and the single-buck-passers’ (SBP) view—and point out that Lopes’s view is an instance of the latter. Then I argue the SBP view faces a dilemma, each horn of which leads to trouble. In doing so, I explore uncharted territory: the implications of vagueness for theories of art. I (...) conclude that buck-passers should not be single-buck-passers. (shrink)

After viewing a painting, reading a novel, or seeing a film, audiences often feel that they improve their cognitive standing on the world beyond the canvas, page, or screen. To learn from art in this way, I argue audiences must employ high degrees of epistemic autonomy and creativity, engaging in a process I call ‘insight through art.’ Some have worried that insight through art uses audience achievements to explain an artwork’s cognitive and artistic value, thereby failing to properly appreciate the (...) cognitive and artistic achievements of artists. I move against this worry by arguing that in order to learn via insight through art audiences must collaborate with artists, sharing the labour and credit for the cognitive achievements they co-produce. I claim this co-productive outlook reveals that our appreciation of art’s cognitive and artistic value involves far more audience participation than has hitherto been realised. (shrink)

In the last twenty years, a large number of studies have investigated judgments of the identity of various objects (e.g., persons, material objects, institutions) over time. One influential strand of research has found that identity judgments are shaped by normative considerations. People tend to believe that moral improvement is more compatible with the continuity of identity of a person than moral deterioration, suggesting that persons are taken to be essentially morally good. This asymmetry is often referred to as the “Phineas (...) Gage effect”. However, normativity extends beyond morality. In particular, it is unknown whether changes in aesthetic value have a similar impact on identity judgments. We investigate whether works of art would be analogously seen as essentially aesthetically valuable. We ran four studies (N=1264) to explore whether aesthetic considerations have a similar influence on judgments of the identity of artworks. We presented the participants with stories describing either a painting or a musical work which undergoes changes and becomes either more or less aesthetically valuable. Overall, we found only mixed evidence for the Phineas Gage effect in relation to the aesthetic value of artworks. Other factors, such as moral value, seem to have a bigger impact on judgments of persistence. (shrink)

Inspired by Helen Longino’s ‘critical contextual empiricism’, in this paper I argue that art arises from social epistemic procedures that encompass both aesthetic functions and institutional practices. Within these procedures, aesthetic functions are developed, validated, and enforced through institutional practices, rather than being solely tied to the artistic outcomes of those practices. I call this approach ‘critical contextual aestheticism’.

There is a tendency to take mounted dinosaur skeletons at face value, as the raw data on which the science of paleontology is founded. But the truth is that mounted dinosaur skeletons are substantially intention-dependent—they are artifacts. More importantly, I argue, they are also substantially imagination-dependent: their production is substantially causally reliant on preparators’ creative imaginations, and their proper reception is predicated on audiences’ recreative imaginations. My main goal here is to show that dinosaur skeletal mounts are plausible candidates for (...) art-status. But, what is more, I think they are artworks—specifically, sculptures. (shrink)

In his most recent book, Thoughtful Images: Illustrating Philosophy Through Art (2023), Thomas E. Wartenberg explores the variety of ways in which visual art has illustrated philosophy. Employing a new framework for thinking about the nature of illustration, Wartenberg surveys a wide variety of cases which, he argues, show not only that philosophical concepts can be illustrated but that such illustrations have the capacity to do philosophy in a substantial way. In this interview, Professor Wartenberg and I discuss the book (...) and its central themes, including the nature and aesthetics of illustration, how art can cultivate philosophical understanding, and how it can contribute unique philosophical insight. (shrink)

Genres inform our appreciative practices. What it takes for a work to be a good work of comedy is different than what it takes for a work to be a good work of horror, and a failure to recognize this will lead to a failure to appreciate comedies or works of horror particularly well. Likewise, it is not uncommon to hear people say that a film or novel is a good work, but not a good work of x (where x (...) is the genre of that work). A work can be good all things considered, but genre membership provides us with an additional set of evaluative criteria over and above those of the medium, which colors how we interpret and appreciate the work. Given this importance, it is not surprising that philosophers of art have been interested in providing an account of what, exactly, a genre is. Despite this interest, there is not widespread agreement about what it takes for something to be a genre, nor what kinds of considerations are relevant in determining whether a work is a member of that genre. Beyond this, we might also want to know to what degree we ought to consider genre in evaluating a work of art and why it should matter at all. Here, I explore the variety of recent theories that philosophers have taken up on the topic of genre and why we should ultimately think of genres as artistic practices rather than the alternatives. (shrink)

Cet article part d’un constat retenu par un certain art « politique » : la nécessité de visibiliser les corps minorisés. On y interroge le mot d’ordre suivant, celui d’après lequel l’enjeu principal d’une esthétique de l’émancipation est la représentation. Plus largement, il s’agira de voir comment les discours de libération en art s’empèsent de contraintes rigoristes à l’opposé de l’agenda politique qu’ils annoncent. Méthodologiquement, il est fait recours à une symptomatologie nietzschéenne du langage : une étude des énoncés qui (...) cherche à faire remonter à la surface un système de morale grégaire dont ces énoncés sont solidaires. (shrink)

Theoretically grounded in queer death studies and environmental humanities, this article has a twofold aim. Firstly, it explores the somatechnics of environmental violence in the context of Northern and Eastern Europe, while paying attention to ongoing ecocide inflicted by Russia on Ukraine, and to the post-WW2 chemical weapon dumps in the Baltic Sea. Secondly, the article examines the concept of eco-grief in its close relation to artistic narratives on ecocide. By bridging the discussion on environmental violence and artistic renderings of (...) eco-grief, the article hopes to contribute to a better understanding of the socio-cultural responses to more-than-human death and loss, and their accompanying ethical imaginaries and affordances. (shrink)

In the creation of maps, scientific knowledge related to mathematics and physics combines with knowledge specific to graphic or artistic disciplines. Since all maps are artifacts whose aesthetic qualities convey information that simultaneously engages the fields of ontology, epistemology, and politics, they are objects of undeniable interest for philosophical inquiry. This introduction to the 5th issue of the Journal for the Philosophy of Language, Mind, and the Arts reviews the latest literature and key topics surrounding the relationship between philosophy, cartography (...) and mapmaking. (shrink)

This dissertation examines the practice of categorizing works of art and its relationship to art criticism. How a work of art is categorized influences how it is appreciated and criticized. Being frightening is a merit for horror, but a demerit for lullabies. The brushstrokes in Monet's "Impression, Sunrise" (1874) look crude when seen as a Neoclassical painting, but graceful when seen as an Impressionist painting. Many of the judgments we make about artworks are category-dependent in this way, but previous research (...) has rarely examined in depth the ontological structure of art categories, how they are generated and maintained, and how they function. This dissertation fills this gap. The proposal of this dissertation can be summarized as follows. Categories (especially genres) should be analyzed as clusters of rules that regulate the responses and behaviors of agents in the artworld. The visual mundaneness is a critical reason to consider Duchamp's "Comb" (1916) provocative, given the existence of the readymade as a set of rules that justifies such reasoning. The critical and appreciative practice of which categorization is a part is a social practice of making, declaring, proposing, reforming, and developing rules of appreciation. How we appreciate artworks, and how criticism guides our appreciation, is sensitive to how we categorize artworks. How we categorize artworks is sensitive to what categories have been set up in our community and which categories are active regarding each artwork. (shrink)

The late Middle Ages witnessed a recapitulation of medieval reflection on beauty. Jean Gerson is an important representative of these philosophical and theological contributions, although he has been largely neglected up to this time. A first dimension of his ideas on beauty is the incorporation of beauty (pulchrum) into the number of transcendentals, i.e., the concepts “convertible” with the notion of being (ens), that is, unity, truth, and goodness (unum, verum and bonum). This article revisits Monica Calma’s study on Gerson’s (...) theory of beauty and suggests new hypothetical sources that may have inspired this aspect of his thought. The second aspect emphasised here is Gerson’s classification of beauty, which entails some similarities to the one of Ulrich of Strasbourg, but also differs from it. Moreover, its incorporation of a division entirely devoted to artistic beauty is highly remarkable. (shrink)

According to commentators like Rosalind Krauss, Briony Fer, Caroline Jones, and Michael Fried, Clement Greenberg’s formalist/positivist device of “medium-specificity” debars errant affective aesthetic experiences that are embodied; despite significant differences in how these theorists arrive at this conclusion, one shared point of emphasis is Greenberg’s inheriting Kant’s disinterested conception of pleasure in reflective judgments of beauty. Offering a textualist review of Kant’s Analytic of the Beautiful, I seek to demonstrate that neither Greenberg, nor Greenberg’s critics, are correct in their account (...) of Kant’s judgments of beauty.1 Specifically, I argue that Greenberg conflates Kant’s conception of judgments of free beauty (pulchritudo vaga) with merely adherent beauty (pulchritudo adhaerens). In formulating a rejoinder to Greenberg and the misplacement of Greenberg as a Kantian, and following Diarmuid Costello, I hope to save a path for a Kantian aesthetics of the present, much in the spirit of other broadly Kantian art historians and philosophers of art/aesthetics (e.g., Thierry de Duve, Paul Guyer, Ido Geiger, etc.). (shrink)

Realism about types is the view that types are abstract and repeatable objects. Although type realists seem to agree that types, unlike properties, are objects in their own right, they argue that there is a metaphysically intimate tie between the existence conditions of types and properties. In particular, most type realists believe that types are, in a certain sense, determined by the properties that underlie them. I argue that this is a mistake, especially for those type realists who believe that (...) social and cultural types such as works of music and fiction or words are artifacts. I offer an alternative version of type realism where social and cultural types are dependent objects that should be understood in analogy with concrete artifacts. (shrink)

In the life and work of Marcel Duchamp, there is the combination of the visual and the ideational in works such as The Large Glass, the combination of art and chess within his productive activity, the combination of this productive activity and the ways he made money to live, and the combination of the artwork and the viewer in art’s ongoing developmental movements. These combinations provide a content that can be used to create an understanding of the operation of combination (...) itself. This combination can then be conceptualised through a demarcation of its general features: the layered structural basis of how multiple combinations constitute a combinational whole, and the way in which the purpose of combination becomes the driver of its developmental movements. Another purpose could be to open other terrains of thought for the development of philosophy, allowing a renewed source of momentum through a combinational method. (shrink)

I propose a construal of aesthetic value that gives us reason to emphasize some aesthetic practices over others. This construal rests on the existence of a central aesthetic value, namely apprehension-testing intricacy within an appropriate domain. I address three objections: the objection that asks how an aesthetic value based on intricacy can account for the value of minimalism; the objection that asks about the difference between intricacy within a medium and intricacy between media; and the objection that asks about the (...) danger of a regress. I then say that, although this central aesthetic value can in principle allow us to adjudicate between aesthetic practices, we have epistemic limits (about the potential of certain artistic domains to allow for apprehension-testing intricacy) that prevent adjudication in some cases. Even if there is a difference between the vastness of the potential-intricacy-fields somewhere down the line, it is too far for us to see. (shrink)

Many contemporary artworks include active matter along with rules for conservation that are designed to either facilitate or prevent that matter’s degradation or decay. I discuss the mechanisms through which actual or potential states of material decay contribute to the work’s expressive import. Nelson Goodman and Catherine Elgin introduce the concepts of literal and metaphorical exemplification, which are critical to expression: a work literally exemplifies a property when it both possesses and highlights that property, and it metaphorically exemplifies a property (...) when the properties it literally exemplifies bring that property powerfully to mind. I argue that the literal exemplification of actual or potential states of decay enhances a work’s expressive power by stimulating our bodily and emotional responses to the physical potential of the work’s active matter. Conservation practices, by affecting the properties the work literally and metaphorically exemplifies, are key to the expressive power of works that employ states of degradation and decay. The argument is illustrated through discussion of works by Zoe Leonard, Marc Quinn, and Kara Walker that literally exemplify actually or potentially decaying materials, as contrasted with works by Ai Weiwei and Sam Taylor-Johnson that represent rather than exemplify decaying materials. (shrink)

It is widely acknowledged that categories play significant roles in the appreciation of artworks. This paper argues that the correct categories of artworks are institutionally established through social processes. Section 1 examines the candidates for determining correct categories and proposes that this question should shift the focus from category membership to appreciative behaviour associated with categories. Section 2 draws on Francesco Guala’s theory of institutions to show that categories of artworks are established as rules-in-equilibrium. Section 3 reviews the explanatory benefits (...) of this institutional theory of the correct category. [Winner of the 2022 Debates in Aesthetics Essay Prize]. (shrink)

Nguyen offers a number of profound insights about the nature and value of games. Games are works of art, according to Nguyen, because they offer players aesthetic experiences. Game designers aim to...

Metamorphosis as it is represented by some pre-historical artists seems problematic for our occidental point of view. In fact, it seems to be strongly against identity and law of non-contradiction. Becoming in general is also viewed as an error or exception by our classic point of view. This very claim can conduct to theories of non-classical logic. Deleuze and Guattari in their monumental work had tried to offer enormous contributions in order to comprehend the becoming phenomenon. Through a pre-historical representations (...) analysis, with also an intrusion in contemporary art's field, I want to confront with possible metamorphosis representations remain theoretically founded in the deleuzian proposal in dialogue with phenomenological inquiry. New principle of individuation and analysis of expression provide new looks to arisen problems with classical logic and metamorphosis representations, which will be acceptable and comprehensible as art shows. (shrink)

Art-science, as its name suggests, combines art with science. The idea of combining art and science raises the question whether the outcome, art-scientific works, can succeed against a standard properly belonging to them. In other words: can there be such a thing as an art-scientific work, or do such works merely belong to either art or science while superficially seeming to belong to the other sphere as well? Surprisingly perhaps, these concerns overlap with a chief point of contention as regards (...) Adorno’s mature thinking, in particular his Aesthetic Theory ([1970] 2002): whether or not it is coherent to believe that knowledge can have an aesthetic form. This essay is motivated by the thought that Adorno’s reflections are useful for understanding contemporary art as well, and the burgeoning paradigm of art-science represents a welcome occasion to ask the reverse question: can art become theoretical? The first aim of this essay is, accordingly, to consider how Adorno’s negative dialectic of philosophy and art might illuminate the field of art-science, how its works might express sui generis truths. In turn, an examination of how the aestheticisation theme in Adorno might be appropriated for the business of art-science critique, might tell us something about the relationship between artistic content and philosophical interpretation, beauty and truth, in Adorno. (shrink)

At the heart of Anders Pettersson’s 2017 book, The Idea of a Text and the Nature of Textual Meaning, is his proposed “cluster” definition of a textual work. On this view, a text is a cluster of three kinds of objects: all the physical exemplars of the work, the work’s meaning, and the complex signs that convey that meaning. Pettersson contrasts this with the “ordinary conception” of a text, wherein a text is a unitary object made of the signs and (...) meaning, and each exemplar is an instance of the supervening textual work. The cluster definition is preferable because it is able to overcome contradictions plaguing the ordinary conception and its competitors. This cluster conception of a textual work is both original and deserving of more critical attention. Pettersson not only motivates the view well through his consideration of key examples, but deftly handles the obvious objections. Although the cluster conception is revisionary of our ordinary conception, he makes a strong case. However, I do not focus here on the heart of Pettersson’s work but on something akin to its spleen; Pettersson’s criticism of David Davies’ “Pragmatic Constraint” (PC) on the ontology of artworks. (shrink)

The theory and culture of the arts has largely focused on the arts of objects, and neglected the arts of action – the “process arts”. In the process arts, artists create artifacts to engender activity in their audience, for the sake of the audience’s aesthetic appreciation of their own activity. This includes appreciating their own deliberations, choices, reactions, and movements. The process arts include games, urban planning, improvised social dance, cooking, and social food rituals. In the traditional object arts, the (...) central aesthetic properties occur in the artistic artifact itself. It is the painting that is beautiful; the novel that is dramatic. In the process arts, the aesthetic properties occur in the activity of the appreciator. It is the game player’s own decisions that are elegant, the rock climber’s own movement that is graceful, and the tango dancers’ rapport that is beautiful. The artifact’s role is to call forth and shape that activity, guiding it along aesthetic lines. I offer a theory of the process arts. Crucially, we must distinguish between the designed artifact and the prescribed focus of aesthetic appreciation. In the object arts, these are one and the same. The designed artifact is the painting, which is also the prescribed focus of appreciation. In the process arts, they are different. The designed artifact is the game, but the appreciator is prescribed to appreciate their own activity in playing the game. Next, I address the complex question of who the artist really is in a piece of process art — the designer or the active appreciator? Finally, I diagnose the lowly status of the process arts. (shrink)

Diarmuid Costello has recently argued that, contra received opinion, Kant’s aesthetics can accommodate conceptual art, as well as all other art. Costello offers an interpretation of Kant’s art theory that demands from all art a minimal structure involving three basic “players” and three basic “actions” corresponding to those “players.” The article takes issue with the “action” assigned by Costello’s Kant to the artwork’s recipient, namely that her imagination generates a multitude of playful thoughts deriving from or in any other way (...) relating to the concept or idea that the artist has instilled in the artwork and that the artwork transmits to the recipient. It is argued that the “proper” recipient of conceptual art may very well have a multitude of thoughts that are all irrelevant to the concept or idea the artist has instilled in the artwork, even if the artwork has transmitted that concept or idea to the recipient. This shows that Kant’s art theory, as presented by Costello, cannot accommodate conceptual art. I conclude by suggesting that either one of two amendments to the theory’s account of the recipient’s experience could enable it to accommodate conceptual art. (shrink)

In this paper I focus on the topic of reproducibility (and irreproducibility) of aesthetic experience and effects, distinguishing it from the traditional subject of artifact reproducibility. The main aim is to outline a typology of the various kind of irreproducibility of aesthetic experience and to draw some implications for the aesthetic discussion concerning contemporary art. Depending on the type of artwork, we can define the difference (or the “ratio”) between aesthetic experience in the presence of the artwork and aesthetic experience (...) in its absence, that is, in the presence of its reproductions or documentations. For instance, in an easily reproducible painting the difference between experiencing the real artwork or its reproduction could be considered relatively small, while the difference between real experience and reproduction would be high in a complex roomfilling installation. This ratio could depend on ontological, material, or practical reasons and could also depend on the technological means of reproduction and documentation. In conclusion, following Groys (2017), I will suggest that the application of different "strategies of irreproducibility” testifies the urge to escape the replicability of aesthetic experience and the desire to generate forms of uniqueness and exclusivity in the fruition of art, and could therefore be seen as one of the reasons why art today is strongly based on documentations, installations or performative events. You really need to make the real effort to queue up and attend them, no substitute would be otherwise possible. (shrink)

In a chapter that hones in on certain Renaissance portraits by Hans Holbein, Giorgione, and Jan van Scorel, Hans Maes examines how it is that we can be deeply moved by such portraits, despite (or perhaps because of) the fact that we don’t know anything about their sitters. Standard explanations in terms of the revelation of an inner self or the recreation of a physical presence prove to be insuffi cient. Instead, Maes provides a more rounded account of what makes (...) said portraits moving and memorable, thereby relying on Barthes’ notion of ‘punctum,’ James Elkins’ account of why people cry in front of paintings, and a phenomenological exploration of the parallel between portraiture and the tradition of the Vanitas painting. (shrink)

At a time when professional art criticism is on the wane, the ancient quarrel between art and philosophy demands fresh answers. Professional art criticism provided a basis upon which to distinguish apt experiences of art from the idiosyncratic. However, currently the kind of narratives from which critics once drew are underplayed or discarded in contemporary exhibition design where the visual arts are concerned. This leaves open the possibility that art operates either as mere stimulant to private reverie or, in the (...) more contentful cases, as propaganda. The ancient quarrel between art and philosophy is that art influences surreptitiously while philosophy presents reasons that invite rational scrutiny. As such, in contrast to philosophy, art would undermine our agency. In July 2017, a group of philosophers gathered at the Art Gallery of NSW (AGNSW), in Sydney, Australia, in the presence of two AGNSW curators to explore the basis of their own experiences of selected artworks. Here, those commentaries are reproduced. Each reveal that objective grounds for an experience of art can be based in the community from which one draws one’s terms of reference. In our commentaries we see the expertise of the respective philosophical communities but other communities of culture or expertise might serve the same purpose and hence resolve the ancient quarrel. Before hearing these commentaries, I explain what is at stake when the ancient quarrel between art and philosophy is understood in contemporary terms. This Issue of the Curator also includes an article on the community-based art criticism that emerges from these commentaries followed by an exhibition review which reveals the incorrigible impulse (also demonstrated in the commentaries) to find the basis for the most apt experience of an artwork. A response by the AGNSW curators completes this issue. (shrink)

Is there a right or wrong way to play a game? Many think not. Some have argued that, when we insist that players obey the rules of a game, we give too much weight to the author’s intent. Others have argued that such obedience to the rules violates the true purpose of games, which is fostering free and creative play. Both of these responses, I argue, misunderstand the nature of games and their rules. The rules do not tell us how (...) to interpret a game; they merely tell us what the game is. And the point of the rules is not always to foster free and creative play. The point can be, instead, to communicate a sculpted form of activity. And in games, as with any form of communication, we need some shared norms to ground communicative stability. Games have what has been called a “prescriptive ontology.” A game is something more than simply a piece of material. It is some material as approached in a certain specified way. These prescriptions help to fix a common object of attention. Games share this prescriptive ontology with more traditional kinds of works. Novels are more than just a set of words on a page; they are those words read in a certain order. Games are more than just some software or cardboard bits; they are those bits interacted with according to certain rules. Part of a game’s essential nature is the prescriptions for how we are to play it. What’s more, we investigate the prescriptive ontology of games, we will uncover at least distinct prescriptive categories of games. Party games prescribe that we encounter the game once; heavy strategy games prescribe we encounter the game many times; and community evolution games prescribe that we encounter the game while embedded in an ongoing community of play. (shrink)

In this article, Catherine Kirchner-Blanchard et Frédéric Lefrançois question the decolonial stance of Caribbean artists who pursue artistic freedom and agency without relating or comparing their work to the great models of Western art history.

How can conceptual art contribute to political discourse? By the late 1960s, New York conceptual artists like Adrian Piper were faced with this difficult question. Conceptual artistic experiments seemed removed from the anti-war, anti-racist and feminist struggles, while personally many artists became increasingly involved in activism. I revisit the knotty relationship between art and politics through a close analysis of Piper's work in this period. Against the received view, I argue that Piper's early work was remarkably devoid of political concerns, (...) however, I also show how Piper’s later, anti-racist work, crucially derived from the rhetorical strategies, which she had developed earlier. Bridging art historical and philosophical approaches, this investigation culminates in a new philosophical view of the relationship between art and (anti-racist) political discourse: art emerges as a creative form of political rhetoric. (shrink)

In their Anachronic Renaissance, Alexander Nagel and Christopher Wood identify two principles upon which, in fifteenth-century Europe, a work of art might establish its validity or authority: substitution and performance. It has become established wisdom that the dual schema of substitution and performance follows Hans Belting's dualism of the medieval cult of the image and the modern aesthetic system of art. This, I submit, is not just a mistake, but also prevents from evaluating one of the book's most ambitious contributions (...) to art-historical theory on its own merits. An analysis of the structure of the claims made by Nagel and Wood brings to light that the two concepts—substitution and performance—do not play the same role as the conceptual pair of Bild and Kunst in Belting's influential work. (shrink)

Bu yazıda bir sanat yapıtının sahte olmasının ne anlama geldiği incelenmektedir. Bu amaçla iki tür sahtecilik türü olan yapıt kopyacılığı ve biçem kopyacılığı birbirinden ayırt edilmektedir. İlk tür kopyacılık ile ilgili temel tartışma bir yapıtın aslından ayırt edilemeyecek kadar iyi bir kopyası neden yine de sanatsal olarak aslından daha değersiz bulunur, sorusuyla ilgilidir. İkinci tür kopyacılıkta ise temel soru bir sanatçının biçemini taklit ederek "yeni" yapıtlar üretmenin sanatsal açıdan nasıl değerlendirilmesi gerektiğidir. Yazıda bu ikinci tür kopyacılık, Hollandalı ressam Van Meegeren'in (...) Vermeer'in biçemini taklit ederek yapıp Naziler'e sattığı tablolar üzerinden tartışılmaktadır. (shrink)

The traditional conception of art is about sensual beauty and refined taste; modern art on the other hand has introduced an entirely unexpected dimension to the visual arts, namely that of ‘revelatory narrative’. Classical art aspires to present works which can be appreciated as sensually beautiful; modern art, when it succeeds, presents us instead with the unsettling narrative. This radical difference in artistic purpose is something relatively new, and not yet fully appreciated or understood.

A brief overview of the current status of the scholarship on Heidegger and contemporary art and of the contributions included in the special issue.

Modern art has yet to be properly explained and given its own distinctive and authentic philosophy. It is almost always portrayed – openly or subliminally – as if it were somehow striving for much the same objectives as classical art, though perhaps by very different means. This has the effect of making modern artworks look slightly ridiculous in comparison with the grandeur of their classical counterparts, at the same time as making it an uphill struggle to try to argue the (...) case for their supposed value. (shrink)

Con este volumen de la serie Academia y egresados, la Colección La Fuente ofrece una selección de los trabajos presentados en junio de 2014 en el III Encuentro de Egresados de la Maestría en Estética y Arte de la BUAP. El encuentro resultó ser inter-académico, por las diversas procedencias institucionales tanto de los conferencistas invitados, como de los propios exalumnos. De ahí el título general del libro, que también busca expresar la circularidad total de un movimiento que nace en la (...) Academia y regresa a ella. Compuesta de tres partes –De Academia a Academia, Desde el interior de la Academia y De regreso a la Academia–, la obra incluye, por ese orden, las aportaciones de académicos visitantes, propios y egresados, presentadas respectivamente en el encuentro como conferencias, mesas redondas y ponencias. (shrink)

In 2012, choreographer and dancer Jill Sigman of jill sigman/thinkdance and visual artist Janine Antoni collaborated to produce Wedge, a live performance at the Albright-Knox Gallery. In this essay, I describe the collaboration and the resulting work and examine the benefits and challenges of the collaboration. The discussion touches on broader issues pertaining to collaboration, co-authorship, artists' intentions, and interpretation.

La obra de Yosman Botero siempre ha orbitado entre paradojas. Desde los mismos lugares suplementarios de su obra, como los títulos de sus series Full of Emptiness (2013), Immaterial matter (2014) y Postcolombino (2016) se plantea una encrucijada tanto de la “supervivencia de las imágenes” del arte como de su capacidad comunicativa de la realidad: ya sea esta la experiencia del arte o la realidad social colombiana, o lo que sea que entendemos por “lo real”, tan cara a las propuestas (...) simulacionistas y posapropiacionistas de las décadas del setenta y ochenta. Y digo paradojas porque aquí se juega en los terrenos de una intención inexpresiva ante los procesos de creación de la imagen: Opie, Haring, Negret, Davies, Los Simpsons, Velásquez, o el conflicto colombiano, no son más que el mundo al que Yosman Botero se refiere; pero es un mundo sometido a los procesos de reproducción y mediación cultural, y reflejado en las imágenes. (shrink)

‘Art’ still needs a practical, useful definition, not of the academic variety, but rather of the plain and simple sort that you can usefully take with you into a gallery, and apply directly to what you see. People want to know, with a basic clarity, what it is they are looking at, and how to judge the good from the bad. Because if you don’t know what ‘art’ is, and you think it’s all about ‘classical fine crafting’, then you are (...) missing out on a very special type of experience, and an entire realm of imaginative possibilities. As it turns out, the best way to think of ‘art’ – taking a huge hint from the concept of ‘arthouse cinema’ - is not about delighting in solemn, stolid museum pieces, and developing a deferential love of the classical: it is all about an exploration - through various available media - of the strange, the disturbing, and the darkly fascinating. The great thing about art is that it offers a safe and enjoyable environment in which to contemplate all kinds of darkness, without having to submit to this negativity in life itself. (shrink)

Modern contemporary art remains a mystery because most people – including art critics and even artists themselves – are unable to see beyond the imprisoning confines of classical fine art. Everything is judged in terms of beauty and technical skill, when it should be viewed from a quite different perspective, namely that of the imaginative world that the modern artwork is a part of. Successful and authentic modern art is about creating worlds of the imagination - like a film, or (...) a novel - only this time using different media. Modern artworks are like lobby cards and film stills to imaginative worlds, and they should not be seen as aesthetic ends-in-themselves. And for an artwork to be authentically artistic, as opposed to merely crafted, it must invoke a ‘strange and disturbing’ imaginative world, not a variant of the world we currently inhabit, as that world is the world of crafted and aesthetic objects. (shrink)

Art is about the exploration of the strange and disturbing; it is not about classical fine crafting. Artists use artworks to exteriorise their inner landscapes, thereby allowing others to experience their take on life, at least vicariously. It is this exteriorisation which is ‘art’, not the aesthetic features of the individual artworks themselves, which is properly the domain of crafting and design. Aesthetics cannot explain the work of many major modern contemporary artists, because it fails to locate the underlying unifying (...) ideas. Jeff Koons qualifies as an artist not because of his production of standalone objects, but because behind these objects is a distinctive and unusual mentality and mindset which gives meaning to them. This is where the art of Jeff Koons is to be located. His work is contrasted with that of Andy Warhol and Damien Hirst, in order to further illustrate and clarify the conception of art employed in this study. (shrink)

One of the difficulties standing in the way of a straightforward understanding of art is caused by the confusion that arises at a very basic level between the purposes and functions of various types of crafted material. In fact, there are only three major types – covering all eventualities – and being able to differentiate between them very much helps to pinpoint exactly what the special nature of ‘art’ is.

The genre to which an artwork belongs affects how it is to be interpreted and evaluated. An account of genre and of the criteria for genre membership should explain these interpretative and evaluative effects. Contrary to conceptions of genres as categories distinguished by the features of the works that belong to them, I argue that these effects are to be explained by conceiving of genres as categories distinguished by certain of the purposes that the works belonging to them are intended (...) to serve. (shrink)

This article examines the fourteen conditions constituting Levinson and Alperson’s taxonomy of conditions for temporal arts. It claims that some of the conditions and several of the lists of arts exemplifying them need revision. It recommends adding a new condition concerned with the effects of the passage of time on gardens, environmental sculpture, and outdoor installations. The article concludes that gardens may be a model for understanding and appreciating other arts sharing the same bi-(multi-) modality.

Most artists who are familiar with the contemporary art scene—especially the New York City scene—know that “beauty” is not especially hip. Unless, that is, it serves a “deeper” purpose, e.g., it helps to make a conceptual or political point. Danto’s influence, it would seem, pervades and persists (31). But, as Brand points out in her introduction, in the past twenty years or so, the philosophical study of beauty has been making a comeback; she lists over fifty titles that have been (...) written on the subject since the nineties. Brand’s book, Beauty Unlimited, promises to add to the feminist oeuvre on the subject. The book is comprised of twenty essays, with a foreword by Carolyn Korsmeyer and an introduction by Brand. Although the majority of the essays are interdisciplinary, they are primarily written by trained philosophers. Other essays are written by practicing artists and writers, historians, and cultural anthropologists. (shrink)

Response to Gover (2015) on Trogdon and Livingston (2015) on artwork completion.

What follows here is not a definition of art by decree. Nor is this some kind of art manifesto. We are not saying this is how art should be, or could be, but how it is, if you let go of the prison of aesthetics, and follow an infinitely more interesting conceptual trail. This is about uncovering and identifying an approach to art which avoids the triviality of sensory-based aesthetic theory and moves instead towards exploring the experiential worlds that art (...) presents us with. And this approach is not about diminishing the sensory enjoyment of artworks, but about placing them in a much richer context, where they can work a far greater magic. (shrink)

Noel Carroll, a central figure in analytic (Anglo-American) philosophy of art, and spouse of renowned dance scholar Sally Banes (who co-authored several of these essays), offers us something remarkable in his new book—namely, a collection of thirty years of his theoretical essays and dance reviews. Carroll wrote some of the pieces while he was a graduate student at the University of Illinois, Chicago, and there have been some dramatic changes since then in both the art world and Carroll’s philosophical views. (...) Thus, he modestly characterizes the book as “an archeological artifact” of a “somewhat confessional” variety (p. 267). Inspired by Carroll, I too will adopt an archeological stance, with a promise that the reader’s patience will be repaid with something surprising at the end of the dig. (shrink)