Related

Contents
15 found
Order:
  1. Vertiginous Acedie.Gavin Keeney - manuscript
    Review of “Gaiety is the Most Outstanding Feature of the Soviet Union: New Art from Russia,” Saatchi Gallery, London, England, and “Calder After the War,” Pace Gallery, London, England, April 2013. A version of this essay appeared in the Appendices of Gavin Keeney, Not-I/Thou: The Other Subject of Art and Architecture (CSP, 2014), pp. 157-60.
    Remove from this list   Download  
     
    Export citation  
     
    Bookmark  
  2. Imagining Dinosaurs.Michel-Antoine Xhignesse - forthcoming - Journal of Aesthetics and Art Criticism.
    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 (...)
    Remove from this list   Download  
     
    Export citation  
     
    Bookmark  
  3. Conservation and Restoration.Rafael De Clercq - 2023 - In Noël Carroll & Jonathan Gilmore (eds.), The Routledge Companion to the Philosophies of Painting and Sculpture. New York: Routledge. pp. 452-459.
    This chapter surveys the ethical and metaphysical issues raised by the restoration of paintings and sculptures.
    Remove from this list   Download  
     
    Export citation  
     
    Bookmark  
  4. How Statues Speak.David Friedell & Shen-yi Liao - 2022 - The Journal of Aesthetics and Art Criticism 80 (4):444-452.
    We apply a familiar distinction from philosophy of language to a class of material artifacts that are sometimes said to “speak”: statues. By distinguishing how statues speak at the locutionary level versus at the illocutionary level, or what they say versus what they do, we obtain the resource for addressing two topics. First, we can explain what makes statues distinct from street art. Second, we can explain why it is mistaken to criticize—or to defend—the continuing presence of statues based only (...)
    Remove from this list   Download  
     
    Export citation  
     
    Bookmark   4 citations  
  5. Arrest: the Politics and Transcendence of Aesthetic Arrest Qua Protest.Ekin Erkan - 2020 - AEQAI.
    Recently, given the fomenting protests following the murders of George Floyd, Breonna Taylor and Ahmaud Arbery (amongst countless others), much discussion has erupted amongst contemporary artist-activists about the proper place for art and the aestheticization of politics. This is, of course, by no means a novel conversation. Historically, the aestheticization of politics has been disparaged perhaps most vocally by those such as Adorno and Horkheimer, but this critique has its most well-known roots in Plato. Plato’s critique is levelled at the (...)
    Remove from this list   Download  
     
    Export citation  
     
    Bookmark  
  6. The Sculpted Image?Robert Hopkins - 2020 - In Fred Rush, Ingvild Torsen & Kristin Gjesdal (eds.), Philosophy of Sculpture: Historical Problems, Contemporary Approaches. Routledge. pp. 187-205.
    Representational pictures and sculptures both present their objects visually: to grasp what they represent is in some sense to see, not only the representation before one, but the object represented. But is the form of visual presentation the same? Or does a deep difference lie at the heart of our experience of these representations, a difference in how each presents us with its object? Almost all philosophical discussion of pictures and 3D representations has assumed or implied a negative answer to (...)
    Remove from this list   Download  
     
    Export citation  
     
    Bookmark  
  7. Materials and Meaning in Contemporary Sculpture.Sherri Irvin - 2020 - In Kristin Gjesdal, Fred Rush & Ingvild Torsen (eds.), Philosophy of Sculpture: Historical Problems, Contemporary Approaches. Routledge. pp. 165-186.
    An extensive literature about pictorial representation discusses what is involved when a two-dimensional image represents some specific object or type of object. A smaller literature addresses parallel issues in sculptural representation. But little has been said about the role played by the sculptural material itself in determining the meanings of the sculptural work. Appealing to Nelson Goodman and Catherine Elgin’s discussions of literal and metaphorical exemplification, I argue that the material of which a sculpture is constituted plays key roles in (...)
    Remove from this list   Download  
     
    Export citation  
     
    Bookmark   1 citation  
  8. Décoloniser l'imaginaire esthétique : vers une écriture de nouveaux paradigmes caribéens.Lefrançois Frédéric & Catherine Kirchner-Blanchard - 2018 - Minorit'art. Revue de Recherches Décoloniales 2 (1):22-33.
    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.
    Remove from this list   Download  
     
    Export citation  
     
    Bookmark  
  9. Kant, Co-production, Actuality and Pedestrian Space: On the Philosophical Writings of Fred Sandback.Juliette Kennedy - 2017 - In Roman Kossak & Philip Ording (eds.), Simplicity: Ideals of Practice in Mathematics and the Arts. Springer.
    Remove from this list   Download  
     
    Export citation  
     
    Bookmark  
  10. Ready-Mades: Ontology and Aesthetics.Simon J. Evnine - 2013 - British Journal of Aesthetics 53 (4):407-423.
    I explore the interrelations between the ontological and aesthetic issues raised by ready-mades such as Duchamp’s Fountain. I outline a hylomorphic metaphysics which has two central features. First, hylomorphically complex objects have matter to which they are not identical. Secondly, when such objects are artefacts (including artworks), it is essential to them that they are the products of creative work on their matter. Against this background, I suggest that ready-mades are of aesthetic interest because they pose a dilemma. Is there (...)
    Remove from this list   Download  
     
    Export citation  
     
    Bookmark   17 citations  
  11. Installation Art and Performance: A Shared Ontology.Sherri Irvin - 2013 - In Christy Mag Uidhir (ed.), Art and Abstract Objects. Oxford University Press. pp. 242-262.
    This paper has three objectives. First, I argue that apprehending an installation artwork is similar to apprehending an artwork for performance: in each case, audiences must recognize a relationship between the performance or display one encounters and the parameters expressed in the underlying work. Second, I consider whether realizations are also artworks in their own right. I argue that, in both installation art and performance, a particular realization is sometimes an artwork in its own right (even as it realizes another (...)
    Remove from this list   Download  
     
    Export citation  
     
    Bookmark   8 citations  
  12. Sculpture.Sherri Irvin - 2013 - In Berys Gaut & Dominic McIver Lopes (eds.), Routledge Companion to Aesthetics, 3rd ed. Routledge. pp. 606-615.
    This reference essay addresses how sculpture may be defined, the nature of sculptural representation and content, the distinctive forms of tactile and bodily experience to which sculpture can give rise, and the ontology of sculpture. It addresses both sculptures whose form is largely fixed and contemporary sculptural practices incorporating found objects and variable presentation.
    Remove from this list   Download  
     
    Export citation  
     
    Bookmark   1 citation  
  13. A Cognitive Approach to the Earliest Art.Johan de Smedt & Helen de Cruz - 2011 - Journal of Aesthetics and Art Criticism 69 (4):379-389.
    This paper takes a cognitive perspective to assess the significance of some Late Palaeolithic artefacts (sculptures and engraved objects) for philosophicalconcepts of art. We examine cognitive capacities that are necessary to produceand recognize objects that are denoted as art. These include the ability toattribute and infer design (design stance), the ability to distinguish between themateriality of an object and its meaning (symbol-mindedness), and an aesthetic sensitivity to some perceptual stimuli. We investigate to what extent thesecognitive processes played a role in (...)
    Remove from this list   Download  
     
    Export citation  
     
    Bookmark   11 citations  
  14. Sculpture.Robert Hopkins - 2003 - In Jerrold Levinson (ed.), The Oxford Handbook of Aesthetics. Oxford University Press. pp. 572-582.
    What, if anything, is aesthetically distinctive about sculpture? Some think that sculpture differs from painting in being a specially tactile art. Different things might be meant by this, but it is anyway unhelpful to focus on our means of access to sculpture’s aesthetic properties, rather than those properties themselves. A more promising idea is that, while painting provides its own space, sculpture exists in the space of the gallery. To pursue this thought, I expound and develop the views of Susanne (...)
    Remove from this list   Download  
     
    Export citation  
     
    Bookmark  
  15. Sculpture and Space.Robert Hopkins - 2003 - In Matthew Kieran & Dominic Lopes (eds.), Imagination, Philosophy, and the Arts. Routledge. pp. 272-290.
    What is distinctive about sculpture as an artform? I argue that it is related to the space around it as painting and the other pictorial arts are not. I expound and develop Langer's suggestive comments on this issue, before asking what the major strengths and weaknesses of that position might be.
    Remove from this list   Download  
     
    Export citation  
     
    Bookmark   2 citations