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  1. added 2018-05-17
    Art: What It Is and Why It Matters.Catharine Abell - 2012 - Philosophy and Phenomenological Research 85 (3):671-691.
    In this paper, I provide a descriptive definition of art that is able to accommodate the existence of bad art, while illuminating the value of good art. This, I argue, is something that existing definitions of art fail to do. I approach this task by providing an account according to which what makes something an artwork is the institutional process by which it is made. I argue that Searle’s account of institutions and institutional facts shows that the existence of all (...)
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  2. added 2018-04-10
    A New Conception of 'Art'.Jakob Zaaiman - 2018
    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.
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  3. added 2018-03-13
    The Space of Reception: Framing Autonomy and Collaboration.Jennifer A. McMahon & Carol A. Gilchrist - 2017 - In Brad Buckley & John Conomos (eds.), Who Runs the Artworld: Money, Power and Ethics. Faringdon, UK: Libri Publishing. pp. 201-212.
    In this paper we analyse the ideas implicit in the style of exhibition favoured by contemporary galleries and museums, and argue that unless the audience is empowered to ascribe meaning and significance to artwork through critical dialogue, the power not only of the audience is undermined but also of art. We argue that galleries and museums preside over an experience economy devoid of art, unless (i) indeterminacy is understood, (ii) the critical rather than coercive nature of art is facilitated, and (...)
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  4. added 2018-03-13
    Between Philosophy and Art.Jennifer A. McMahon, Elizabeth B. Coleman, David Macarthur, James Phillips & Daniel von Sturmer - 2016 - Australasian Journal of Popular Culture 5 (2/3):135-150.
    Similarity and difference, patterns of variation, consistency and coherence: these are the reference points of the philosopher. Understanding experience, exploring ideas through particular instantiations, novel and innovative thinking: these are the reference points of the artist. However, at certain points in the proceedings of our Symposium titled, Next to Nothing: Art as Performance, this characterisation of philosopher and artist respectively might have been construed the other way around. The commentator/philosophers referenced their philosophical interests through the particular examples/instantiations created by the (...)
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  5. added 2018-01-10
    Yosman Botero y Postcolombino.Carlos Vanegas - 2016 - Co-herencia:301-303.
    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 (...)
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  6. added 2018-01-10
    Ante la fragilidad de la memoria.Carlos Vanegas, Javier Domínguez, Carlos Arturo Fernández & Daniel Tobón - 2014 - In Carlos Vanegas, Javier Domínguez, Carlos Arturo Fernández & Daniel Tobón (eds.), El arte y la Fragilidad de la memoria. Medellín, Colombia: Sílaba Editores. pp. 259-275.
    Si no me falla la memoria, fue el dibujante Álvaro Barrios quien afirmó que el trabajo del artista contemporáneo colombiano se desarrolla según una agenda de trabajo. Si miramos algunos fenómenos del arte último en Colombia, podemos señalar que su agenda está determinada por el intento de comprensión de los procesos de la violencia en el país, a partir de una amplia gama de aproximaciones al concepto de memoria que ha tenido resonancia en las disciplinas humanísticas, las investigaciones académicas, el (...)
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  7. added 2018-01-10
    La esfera pública y El bar de las Folies Bergère de Edouard Manet.Carlos Vanegas - 2014 - Revista Colombiana de Pensamiento Estético E Historia Del Arte:121-137.
    The main discourses on art during the nineteenth century defined the artist as a spirit that should express their unbridled creativity, and overall that had the strength to express its total personal autonomy from institutional processes of culture. Thus, Manet’s work A bar at the Folies—Bergere contains substantial elements that express and help us to understand both the role of the artist, as the crisis of meaning in the work of modern art and problematic public sphere, treated by Haberma's as (...)
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  8. added 2017-06-02
    Why Do We Need to Define ‘Art’ ? Because It Greatly Enhances the Encounter with Art Itself.Jakob Zaaiman - 2017 - Alldaynight.Info.
    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 (...)
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  9. added 2017-01-29
    Mundo del arte y ontología del arte.Paulo Velez Leon - 2015 - Analysis. Documentos de Investigación 18 (1):1-18.
    [ES] En este trabajo, ofreceré una reconstrucción sucinta de los argumentos sobre el significado de la noción de mundo del arte, así como de sus implicaciones en la ontología del arte. En primer lugar, describiré de manera esquemática los principios básicos de la noción de mundo del arte de Danto, y a partir de estos principios delinearé su influencia en la teoría institucional del arte de George Dickie. Sobre esta base, apoyado en la crítica al rol de la teoría en (...)
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  10. added 2017-01-26
    Conjeturas sobre la relación entre filosofía y mundo del arte.Paulo Velez Leon - 2014 - Analysis. Documentos de Investigación 17 (2):1-19.
    [ES] Este trabajo, realiza una sumarísima revisión histórica, a través de algunas conjeturas epistemológicas, sobre las reflexiones filosóficas acerca del mundo del arte, su estatuto, desarrollo y «funcionamiento» con el propósito de allanar el camino para una ulterior descripción de la problemática acerca de la noción del mundo del arte. [EN] This writing makes a brief historical review, through some epistemological assumptions, on the philosophical reflections on the art world, its status, development and «functioning» in order to pave the way (...)
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  11. added 2016-10-13
    In Monstrous Shallows: Pinpointing Where the Real Art of Jeff Koons Lies.Jakob Zaaiman - 2016 - Alldaynight.Info.
    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 (...)
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  12. added 2016-10-13
    Understanding Art: A Checklist of the Three Most Basic Categories of Crafted Material.Jakob Zaaiman - 2016 - Alldaynight.Info.
    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.
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  13. added 2016-09-28
    ‘But is It Art ?’ The Search for a Simple, Practical and Illuminating Answer.Jakob Zaaiman - 2016 - Alldaynight.Info.
    ‘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 (...)
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  14. added 2016-03-03
    Dal mondo dell'arte al regno delle ombre (e ritorno). Arthur Danto, Maya Lin e la bellezza interna.Filippo Fimiani - 2010 - Aisthesis: Pratiche, Linguaggi E Saperi Dell’Estetico 3 (2).
    Arthur Danto asserts that Maya Lin’s Vietnam Veterans Memorial in Washington embodies the rhetoric paradigm of internal beauty’s meaning. However, the relationship to the Kant’s pulchritudo adhaerens is not an easy one: Danto’s recalls against the self-referent formalism of Greenberg’s Modernism and his tacit issues about the environmental non-monumentality of Richard Serra’s Minimalism, are, most importantly, haunted by the unquestioned spectral logic of the image embodiment. The beholders’ reflecting shape on the funeral Wall is, finally, both a pathetic index and (...)
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  15. added 2016-01-14
    Facing Death; The Desperate at its Most Beautiful.Stefanie Rocknak - 2005 - Phenomenological Inquiry, A Review of Philosophical Ideas and Trends 29:71-101.
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  16. added 2016-01-03
    How to Understand Modern Contemporary Art, Enjoy It, and Not Be Fooled.Jakob Zaaiman - 2016 - Alldaynight.Info.
    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 (...)
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  17. added 2015-11-15
    For ‘Art’ to Be ‘Art’, It has to Be Strange and Disturbing.Jakob Zaaiman - 2015 - Alldaynight.Info.
    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 (...)
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  18. added 2015-11-10
    What is Art ? A Philosophical Definition.Jakob Zaaiman - 2012 - Alldaynight.Info.
    Abstract: For art to be art it has to present the viewer with a distinctly out-of-the-ordinary perspective on everyday reality. Art is to be clearly differentiated from all forms of decorative craft, which are essentially concerned only with aesthetic experiences. Art is essentially about finding ways, through the manipulation and orchestration of presentational media – such as painting, sculpture, literature, film, and performance – to bring to life strange and unusual perceptions. All these media are quasi-theatrical and poetic in nature, (...)
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  19. added 2015-08-30
    Immersion Into Noise.Joseph Nechvatal (ed.) - 2011 - Open Humanities Press in conjunction with the University of Michigan Library's Scholarly Publishing Office.
    The noise factor is the ratio of signal to noise of an input signal to that of the output signal. Noise can block or interfere with the meaning of a message in both human and electronic communication. But in Information Theory, noise is still considered to be information. By refining the definition of noise as that which addresses us outside of our preferred comfort zone, Joseph Nechvatal's Immersion Into Noise investigates multiple aspects of cultural noise by applying the audio understanding (...)
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  20. added 2015-08-25
    Editoriale–Etichettare/descrivere/mostrare.Filippo Fimiani & Pietro Kobau - 2011 - Aisthesis: Pratiche, Linguaggi E Saperi Dell’Estetico 4 (2):2-7.
    “Art”—what is it? What sort of entities are artworks? “Art”—when is it? Normally, when we visit an art exhibition, when we listen to a concert or when we look at a performing art in a setting, we use to read the titles, the tags or something textual, a threshold not crafted by the author, about the exposed or executed artworks in order to grasp their subject, style, history, and author. But: how does a title, a non-fiction depiction or a pointing, (...)
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  21. added 2015-08-25
    Cose debitrici. Credenze, atmosfere, arte.Filippo Fimiani - 2011 - Aisthesis: Pratiche, Linguaggi E Saperi Dell’Estetico 4 (2):137-174.
    What happens when painting emancipates itself from all physical mediums, the piece of art disappears from the exposition site and it becomes immaterial, indiscernible within its surrounding space? What type of esthetic experience and embodied understanding of art is possible under these programmed and produced conditions, maybe dissimulated, and finally enunciated and affirmed next to and in place of that which presents itself with the title of art masterpiece? What type of description, definition and interpretation is necessary? What type of (...)
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  22. added 2015-06-05
    Aesthetics in the Age of Austerity: Building the Creative Class.Christine James - 2015 - In Anthology of Philosophical Studies 9. Athens Institute for Education and Research. pp. 37-48.
    Aesthetic theorists often interpret and understand works of art through the social and political context that creates and inspires the work. The recent economic recessions, and the accompanying austerity measures in many European countries, provide an interesting test case for this contextual understanding. Economists debate whether or not spending on entertainment and arts drops during times of recession and austerity. Some economists assume that spending will decline in times of austerity, but others point to evidence that spending on creative arts (...)
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  23. added 2013-10-17
    Solving Wollheim's Dilemma: A Fix for the Institutional Definition of Art.Simon Fokt - 2013 - Metaphilosophy 44 (5):640-654.
    Richard Wollheim threatened George Dickie's institutional definition of art with a dilemma which entailed that the theory is either redundant or incomprehensible and useless. This article modifies the definition to avoid such criticism. First, it shows that the definition's concept of the artworld is not vague when understood as a conventional system of beliefs and practices. Then, based on Gaut's cluster theory, it provides an account of reasons artworld members have to confer the status of a candidate for appreciation. An (...)
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  24. added 2012-10-26
    9/11 as Schmaltz-Attractor: A Coda on the Significance of Kitsch.C. E. Emmer - 2013 - In Monica Kjellman-Chapin (ed.), Kitsch: History, Theory, Practice. Cambridge Scholars Press. pp. 184-224.
    "The concluding chapter, penned by C. E. Emmer, both revisits and greatly expands upon disputations within the contested territory of kitsch as term and tool in cultural turf-war arsenals. Focusing on debates surrounding two visual responses to the terrorist attacks on September 11, 2001, Dennis Madalone's 2003 music video for the patriotic anthem 'America We Stand As One' and Jenny Ryan's 'plushie' sculpture, 'Soft 9/11,' Emmer utilizes these debates to reveal the coexisting and competing attitudes towards ostensibly kitschy objects and (...)
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