There is broad agreement in aesthetics that some artworks are greater than others despite bearing equivalent (or lesser) aesthetic value. One explanation of this difference in artistic value is that creation of the greater artwork represents a greater achievement. The aim of this article is to refine this explanation and to defend it against recent criticisms. First, I present a prima facie case in favor of the achievement explanation. Second, I draw on the history of photography to motivate three objections (...) to it: namely, that it wrongly excludes (1) lucky, (2) easy, and (3) failed creations from being artistically great. Third, I present my refined version of the achievement explanation and show how it avoids these objections. On my view, an artistic achievement consists in creating a work it would have been especially hard for comparable artists to create. Finally, I raise and address several additional objections. In responding to these objections, I argue, among other things, that my explanation of artistic value enhances our understanding of good-bad art: specifically, it allows us to see how good-bad art is artistically great despite being aesthetically flawed. (shrink)

According to Roy Sorensen [Philosophical Studies 100 (2000) 175–191] an object cannot differ aesthetically from its mirror image. On his view, mirror-reversing an object – changing its left/right orientation – cannot bring about any aesthetic change. However, in arguing for this thesis Sorensen assumes that aesthetic properties supervene on intrinsic properties alone. This is a highly controversial assumption and nothing is offered in its support. Moreover, a plausible weakening of the assumption does not improve the argument. Finally, Sorensen’s second argument (...) is shown to be formally flawed. As a result, the case for the aesthetic irrelevancy of orientation seems still open. (shrink)