Feminist analyses of the roles gender has played in art lead to an alternative theory that emphasizes art's complex interactions with culture(s) rather than the autonomy within culture claimed for it by formalism. Focusing on the visual arts, I extrapolate the new theory from feminist research and compare it with formalist precepts. Sharing Arthur Danto's concern that art has been disenfranchised in the twentieth century by its preoccupation with theory, I claim that feminist thought re-enfranchises art by revisioning its relationship (...) to its contexts. (shrink)

An examination of the philosophical, psychological, and aesthetic premises for avant-garde art.

On the 20th anniversary of its publication, this classic manifesto is updated with an important new preface by the author. Freire reflects on the impact his book has had, and on many of the issues it raises for readers in the 1990s. These include the fundamental question of liberation and inclusive language as it relates to Freire's own insights and approaches.

Kant's attempt to establish the principles behind the faculty of judgment remains one of the most important works on human reason.

I investigate the role of feminist theorizing in relation to traditionally-based aesthetics. Feminist artworks have arisen within the context of a patriarchal Artworld dominated for thousands of years by male artists, critics, theorists, and philosophers. I look at the history of that context as it impacts philosophical theorizing by pinpointing the narrow range of the paradigms used in defining “art.” I test the plausibility of Danto’s After the End of Art vision of a post-historical, pluralistic future in which “anything goes,” (...) a future that unfortunately rests upon the same outdated foundation as the concept “art.” This essay was originally published in The Proceedings of the Twentieth Century World Congress of Philosophy (1999) and reprinted in Noel Carroll, ed., Theories of Art Today (The University of Wisconsin Press, 2000). (shrink)

In this paper I shall develop further my view that we need to go "beyond feminist aesthetics" by examining some of the difficulties of such a concept, drawing specific examples from the areas of both literature and the fine arts. More controversially, perhaps, I shall suggest that although feminist criticism does not need an (autonomous) aesthetic, it cannot afford to ignore the realm of the aesthetic, because it is necessarily implicated within and influenced by its institutional and discursive logics.