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)

Aestheticians generally agree that the aesthetic features of an object depend upon the non-aesthetic features of an object, and that this dependence can be captured by some formulation of the supervenience relation. I argue that the aesthetic depends upon the non-aesthetic in various and importantly different ways; that these dependence relations cannot be explained by supervenience; that appeals to supervenience create puzzles that aestheticians have neither fully appreciated nor resolved; and that appealing to various realization relations avoids these puzzles and (...) allows for a richer description of how the aesthetic depends upon the non-aesthetic. (shrink)

In this paper, I consider the import of the metaphysics of statues to the decolonizing statues debate. On the one hand, this may seem an odd starting point: after all, the issues surrounding decolonizing statues are political, moral and, perhaps, aesthetic. I agree; however, presuppositions about the nature of statues may well be shaping the political imaginary about decolonizing statues. Indeed, when expressing political and moral claims such as ‘decolonizing statues erases history’, or that ‘decolonizing statues destroys objects that help (...) us to remember a (bygone) past’, I suggest that, from a metaphysical point of view, this relies on a notion of statues as singular objects. Drawing upon material constitution debates in metaphysics, I suggest that thinking about statues as multiple, co-locating objects, might deepen our theoretical understanding of decolonial activism because it allows us to think about the relationship of statues to history and culture in a much more critical way. As such, my analysis is intended to extend our metaphysical understanding of decolonial activism. Furthermore, it stands as a challenge to anyone who thinks that certain effects to history and culture follow, metaphysically speaking, from decolonial activism. (shrink)

It is widely agreed that an artwork having certain non-aesthetic properties explains its having a certain aesthetic property. One interesting feature of such an explanation is its selectivity—it cites only some of the non-aesthetic properties on which the presence of the aesthetic property depends. Hence a question arises as to what distinguishes the selected non-aesthetic properties from the unselected ones. I answer this question by proposing a selection principle modeled on Laura Franklin-Hall’s selection principle for causal explanation, according to which (...) an explanation selects a package of factors that maximizes the ratio of delivery to cost. (shrink)

This article outlines a realist theory of aesthetic properties as higher-order manifest properties and defends it from several objections, including a possible conflict with contextualist approaches to the aesthetic properties of works of art.