1 Arte d’avanguardia e teorie estetiche dell’arte L’arte d’avanguardia ha una particolare rilevanza per la filosofia dell’arte? Naturalmente una parte dell’arte d’avanguardia può essere intrinsecamente interessante. Forse i filosofi possono riflettere sul significato e il valore di queste opere; alcune possono addirittura sollevare delle questioni filosofiche; tuttavia, molti filosofi, sulla scorta di Arthur Danto, hanno ritenuto che da esse si possano trarre degli insegnamenti di portata piu...

The definition of art is controversial in contemporary philosophy. Whether art can be defined has also been a matter of controversy. The philosophical usefulness of a definition of art has also been debated. -/- Contemporary definitions can be classified with respect to the dimensions of art they emphasize. One distinctively modern, conventionalist, sort of definition focuses on art’s institutional features, emphasizing the way art changes over time, modern works that appear to break radically with all traditional art, the relational properties (...) of artworks that depend on works’ relations to art history, art genres, etc. – more broadly, on the undeniable heterogeneity of the class of artworks. The more traditional, less conventionalist sort of definition defended in contemporary philosophy makes use of a broader, more traditional concept of aesthetic properties that includes more than art-relational ones, and puts more emphasis on art’s pan-cultural and trans-historical characteristics – in sum, on commonalities across the class of artworks. Hybrid definitions aim to do justice to both the traditional aesthetic dimension as well as to the institutional and art-historical dimensions of art, while privileging neither. (shrink)

This thesis argues that the aesthetic character of some conceptual works of art can be determined by the possession of essential aesthetic properties. By discussing Peter Lamarque’s account of individual aesthetic essentialism one can suggest that conceptual works can be aesthetically investigated. Chapter I introduces the concept of the aesthetic and discusses Frank Sibley’s account of aesthetic concepts. Chapter II analyses in detail Sibley’s two fold relational character of aesthetic properties. Chapter III introduces Lamarque’s concept of aesthetic properties and it (...) also insists on a distinction between artistic and aesthetic properties. Chapter IV introduces a general account of essentialism and then discusses Lamarque’s new object theory. Chapter V investigates Lamarque’s weaker version of individual aesthetic essentialism and analyses the distinction between essential and inessential aesthetic properties. Finally, Chapter VI considers the aesthetics of conceptual art and argues that some conceptual pieces have essential aesthetic properties. The philosophical discussions are supported by appeal to many different works of art, from traditional works to contemporary works. I conclude that all conceptual works have aesthetic properties but mostly there are inessential properties. My suggestion at the end of this thesis is more radical. A close analysis identified essential aesthetic properties in some conceptual works of art and this contribute to the aesthetic character and value of these works. (shrink)

Through an analysis of critical reviews and other commentaries on the annual Turner Prize shortlist exhibitions, I examine a philosophical problem which has put into question the rational basis for evaluation in art criticism: the lack of any agreed criteria for the evaluation of artworks. This problem has been most often addressed within philosophical aesthetics through two contrasting approaches: the attempt to formulate evaluative criteria, and the denial that such criteria are either possible or necessary. My response to this meta-critical (...) issue is an interdisciplinary study, in the form of an analysis of published commentaries on the Turner Prize, that examines theories of critical evaluation against an empirical investigation of actual critical practice. The Turner Prize has a number of advantages as a case study. Extensive media coverage of the competition means that it is possible to study a wide range of sources intended for the art-going public, that contain a large body of examples of comparative critical evaluation, and as an annual event it offers the opportunity for both synchronic and diachronic analyses. Moreover, the regular presence of artists whose work has been characterised as ‘conceptual, ensures that many of the commentaries focus on an area of art that presents a particular challenge to aesthetic theory and critical practice. In order to develop a critique of criteria based approaches, the contrasting approaches to art criticism taken by Noel Carroll and Frank Sibley are explored within an analysis of the critical reasons given to justify evaluations of Turner Prize exhibits. Suggestions are offered for ways of developing alternative approaches, drawing upon theories of the aesthetic developed by Suzanne Langer and Kendall Walton. (shrink)