Results for 'Art history writing'

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  1.  92
    Review of Elkins Our Beautiful Dry and Distant Texts: Art History as Writing[REVIEW]Jennifer A. McMahon - 2001 - Australasian Journal of Philosophy 79 (1):142-143.
    In order to say what one means, and be understood, one needs to know to whom one wishes to communicate, the particular mindset one addresses. Expressing oneself clearly and naturally requires some art. Style, then, is an important component of the message received, or so it is in art history writing according to James Elkins. He attempts to demonstrate that what constitutes art history writing is consequently unanalysable; that art history under analysis becomes something else. (...)
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  2.  80
    Art Historical Explanation Of Paintings And The Need For An Aesthetics Of Agency.Daniel Davies - 2004 - Postgraduate Journal of Aesthetics 1 (3):86-98.
    Why should a person, and in the context of this conference particularly an art historian, take seriously the notion of the aesthetic, its discovery and/or rediscovery? Aesthetics might after all be considered at best something of a distraction from bread and butter historical and sociological analysis, and at worst entirely incompatible with it. Pursuing the line further it might be urged that, since on the one hand aesthetics is about 'how things appear'—i.e. is subject to individual predilection, taste and feeling—and (...)
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  3.  26
    Art and Form: From Roger Fry to Global Modernism.Sam Rose - 2019 - University Park, PA: Pennsylvania State University Press.
    From the publisher: -/- This important new study reevaluates British art writing and the rise of formalism in the visual arts from 1900 to 1939. Taking Roger Fry as his starting point, Sam Rose rethinks how ideas about form influenced modernist culture and the movement’s significance to art history today. -/- In the context of modernism, formalist critics are often thought to be interested in art rather than life, a stance exemplified in their support for abstract works that (...)
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  4. Art Anthology.Fee-Alexandra Haase - manuscript
    This is an anthology of writings about art, art history, esthetics, and art theory from the 18th to 20th century.
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  5. Art as Self-Origination in Winckelmann and Hegel.Donovan Miyasaki - 2006 - Graduate Faculty Philosophy Journal 27 (1):129-150.
    Eighteenth-century art historian Johann Joachim Winckelmann (1717-1768) shared with Hegel a profound admiration for the art and culture of ancient Greece. Both viewed ancient Greece as, in some sense, an ideal to which the modern world might aspire—a pinnacle of spiritual perfection and originality that contemporary civilization might, through an understanding of ancient Greek culture, one day equal or surpass. This rather competitive form of nostalgia suggests a paradoxical demand to produce an original and higher state of culture through the (...)
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  6.  44
    Interpreting Art.Sam Rose - 2022 - London, UK: University College London Press.
    Art interpretation in practice, not theory. -/- How do people make sense of works of art? And how do they write to make others see the same way? There are many guides to looking at art, histories of art history and art criticism, and accounts of various ‘theories’ and ‘methods’, but this book offers something very unlike the normal search for difference and division: it examines the general and largely unspoken norms shared by interpreters of many kinds. -/- Ranging (...)
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  7. Arthur Danto’s Andy Warhol: The Embodiment of Theory in Art and the Pragmatic Turn.Stephen Snyder - forthcoming - Leitmotiv:135-151.
    Arthur Danto’s recent book, Andy Warhol, leads the reader through the story of the iconic American’s artistic life highlighted by a philosophical commentary, a commentary that merges Danto’s aesthetic theory with the artist himself. Inspired by Warhol’s Brillo Box installation, art that in Danto’s eyes was indiscernible from the everyday boxes it represented, Danto developed a theory that is able to differentiate art from non-art by employing the body of conceptual art theory manifest in what he termed the ‘artworld’. The (...)
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  8. The End of Art: Hegel’s Appropriation of Artistotle’s Nous.Stephen Snyder - 2006 - Modern Schoolman 83 (4):301-316.
    This article investigates a tension that arises in Hegel’s aesthetic theory between theoretical and practical forms of reason. This tension, I argue, stems from Hegel’s appropriation of an Aristotelian framework for a historically unfolding social teleology which puts practical reason to work for the aims of theoretical reason. Recognizing that this aspect of Hegel’s dialectic is essential in overcoming problems left in Kant’s transcendental idealism, the appearance of incongruence does not lessen. Grouped together with absolute spirit, Hegel positions art as (...)
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  9.  63
    The Development of the Sense of 'the End of Art’ in Arthur Danto.Raquel Cascales - 2018 - Rivista di Estetica 68 (2):131-148.
    The striking title The End of Art managed to draw attention to the philosophical work of Arthur Danto. However, the lack of a systematic development which could support this thesis made him face harsh criticism. However, strong foundations for his statements can be deduced from his writings. In this paper, I analyse how to understand the thesis of the ‘end of art’. It should be approached not as a monolitical notion but as a complex concept that combines three different senses: (...)
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  10. Hilmi Omar Budda’s Contribution to the History of Religions / Hi̇lmi̇ ömer budda’nin di̇nler tari̇hi̇ di̇si̇pli̇ni̇ne katkisi.Cemil Kutluturk - 2017 - Sakarya Üniversitesi İlahiyat Fakültesi Dergisi 19 (36):139-167.
    Hilmi Omar Budda (1894-1952) has played a significant role in the process of institutionalization of History of Religions in Turkey. He, who was the first academician in the field of History of Religions in Turkey, lectured for many years in Dâru’l-Funûn (Ottoman University) Faculty of Divinity, which was found in 1924. Then he worked in department of Institute of Islamic Sciences, which was a branch of Istanbul University Faculty of Arts, by pursuing his same position and career. After (...)
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  11. Uneven Development and Weltanschauung. Remarks on Lukács’ Late Writings on Marxism.Matteo Gargani - 2018 - Lexicon Philosophicum. International Journal for the History of Texts and Ideas 6:177-198.
    From 1930 onwards, György Lukács considers ‘uneven development’ the typical relational form between economic progress and the corresponding evolution of other fields of human activity. In the early thirties Lukács focuses on the problem of elaborating an independent Marxist aesthetics, but then necessarily find himself having to deal with the general configuration of Marx’s alleged philosophy. The general theory illustrated in The Ontology of Social Being is where this philosophy, considered as a Weltanschauung, is given its final framework. His reflection (...)
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  12. Review of A Brief History of Everything by Ken Wilber (1996).Michael Starks - 2017 - Philosophy, Human Nature and the Collapse of Civilization Michael Starks 3rd Ed. (2017).
    The Einstein of the New Age holds forth in his unique and brilliant style on the history of world views and how to put spirit back in our life. If you have the patience to learn his jargon and read slowly there is alot of serious brainfood here. I read this and his Sex, Ecology and Spirituality(1995) with Hofstadter´s famous Godel, Escher, Bach(GEB) written in 1980(both of which I have reviewed here). Wilber´s work has many parallels with GEB, both (...)
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  13.  43
    Action, Art, History: Engagements with Arthur C. Danto: Book Reviews. [REVIEW]Michalle Gal - 2008 - British Journal of Aesthetics 48 (1):105-107.
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  14. Principles of Art History: The Problem of the Development of Style in Early Modern Art.Bence Nanay - 2017 - British Journal of Aesthetics 57 (1):106-109.
    Principles of Art History: The Problem of the Development of Style in Early Modern Art Heinrich Wölfflingetty research institute. 2015. pp. 356. £20.00.
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  15.  90
    Art History for Filmmakers. The Art of Visual Storytelling. [REVIEW]Maria Irene Aparicio - 2018 - Cinema Journal of Philosophy and the Moving Image (10):193-197.
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  16. What Does Peirce's Sign System Have to Say to Art History?James Elkins - 2003 - Culture, Theory, and Critique 44 (1):5-22.
    Peirce is far too strange for the uses to which he is put in art history. This is a plea to art historians for a moratorium on Peirce citations.
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  17. Aesthetic Truth Through the Ages: A Lonerganian Theory of Art History.Ryan Miller - 2020 - Proceedings of the American Catholic Philosophical Association 94.
    Classical authors were generally artistic realists. The predominant aesthetic theory was mimesis, which saw the truth of art as its successful representation of reality. High modernists rejected this aesthetic theory as lifeless, seeing the truth of art as its subjective expression. This impasse has serious consequences for both the Church and the public square. Moving forward requires both, first, an appreciation of the strengths and weaknesses of the high modernist critique of classical mimetic theory, and, second, a theory of truth (...)
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  18.  38
    Writing Conversationalists Into History.James Pearson - 2022 - Journal for the History of Analytical Philosophy 10 (6).
    Burton Dreben taught a generation of scholars the value of closely attending to the recent philosophical past. But the few papers he authored do little to capture his philosophical voice. In this article, I turn instead to an unpublished transcript of Dreben in conversation with his contemporaries. In addition to yielding insights into a transitional period in W.V. Quine’s and Donald Davidson’s thought, I argue that this document showcases Dreben in his element, revealing the way that he shaped the views (...)
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  19.  28
    Art Writing in the Presence of the Collector Prince.Leman Berdeli - 2022 - İstanbul: Kutlu Yayınevi.
    Since Plato and Aristotle the concept of imitation that is mimesis, has often alluded to the re-presentation of nature, in another sense, the artist is the interpreter of ''the nature'' of the ''appearances'' of the visible at the same time ''invisible'' objects. The Romantic objective for authenticity preserving in everything its own national character and taste, altered the concept of imitation in painting, which during the Renaissance was seen as a way to achieve one's personal style. Since its invention, (...) found its place first in stone then on paper and apart from the long-distance communication required by trade, has also served as a non-verbal communication tool to complete the linear distance between ideas. From here on the wheel paradox, the quest of how could be possible to evoke deepest emotions in the viewer, found itself in the philosophical approach and remarks of the artist on the practice of the common sense to the aesthetic perception. The common sense applied to the expressive features e.g., manifested in the marbles of Michelangelo and Puget having full of feeling and all the means of life, and this to some extent compensated for their lack of flawless appearances. (shrink)
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  20. Review of Out of Order, Out of Sight. [REVIEW]Peggy Zeglin Brand - 1998 - Journal of Aesthetics and Art Criticism 56 (4):405-406.
    There has been an important artist in our midst. Her work is about gender, race, and the internal structures of the artworld, and it predated the current popularity of those topics in theoretical circles by three decades.... Piper's volumes serve two functions. Volume I, Selected writings in Meta-Art, 1968-1992, provides an intimate history of the development of her own creative art making, while Volume 2, Selected writings in Art Criticism, 1967-1992, chronicles her more public responses to art-critical writings. Together (...)
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  21. ‘After Auschwitz’: Writing history after injustice in Adorno and Lyotard.Javier Burdman - 2021 - Contemporary Political Theory 20 (4):815-835.
    Political philosophy in the last decades has turned away from universal narratives of progress, on grounds that these narratives produce exclusion and justify domination. However, the universal values that underlie emancipatory political projects seem to presuppose universal history, which explains its persistence in some contemporary political philosophers committed to such projects. In order to find a response to the paradox according to which universal history is inherently exclusionary and yet necessary to uphold universal values, I examine the contrast (...)
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  22. Art: A Brief History of Absence.Davor Dzalto - 2015 - Filozofija I Društvo 26 (3):652-676.
    This essay focuses on the logic of the aesthetic argument used in the eighteenth century as a conceptual tool for formulating the modern concept of “(fine) art(s).” The essay also examines the main developments in the history of the art of modernity which were initiated from the way the “nature” of art was conceived in early modern aesthetics. The author claims that the formulation of the “aesthetic nature” of art led to the process of the gradual disappearance of all (...)
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  23. Radical History and the Politics of Art.Gabriel Rockhill - 2011 - Columbia University Press.
    The primary objective of this book is to open space for rethinking the relationship between art and politics. It seeks to combat one of the fundamental assumptions that has plagued many of the previous debates on this issue: that art and politics are distinct entities definable in terms of common properties, and that they have privileged points of intersection, which can be determined once and for all in terms of an established formula. This common sense assumption is rooted in a (...)
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  24. On the Ways of Writing the History of the State.Eli B. Lichtenstein - 2020 - Foucault Studies 1 (28):71-95.
    Foucault's governmentality lectures at the Collège de France analyze the history of the state through the lens of governmental reason. However, these lectures largely omit consideration of the relationship between discipline and the state, prioritizing instead raison d'État and liberalism as dominant state technologies. To remedy this omission, I turn to Foucault's early studies of discipline and argue that they provide materials for the reconstruction of a genealogy of the "disciplinary state." In reconstructing this genealogy, I demonstrate that the (...)
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  25. History of Writing and Record Keeping.Rochelle Marianne Forrester - 2016 - Online.
    The ultimate cause of much historical, social and cultural change is the gradual accumulation of human knowledge of the environment. Human beings use the materials in their environment to meet their needs and increased human knowledge of the environment enables human needs to be met in a more efficient manner. The human environment includes the human being itself and the human ability to communicate by means of language and to make symbolic representations of the sounds produced by language, allowed the (...)
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  26.  78
    W Kreatywnym Chaosie. O Zróżnicowaniu Starości Na Przykładzie Prac Społeczności deviantART.Com.Andrzej Klimczuk - 2009 - In Honorata Jakubowska, Alicja Raciniewska & Łukasz Rogowski (eds.), Patrz¸Ac Na Starość. Uam. pp. 165--211.
    Internet increasingly serves not only to communication between it’s users. The emergence of Web 2.0 platforms which are peculiar to publication of various content allowed to release of activity and commitment of millions of people worldwide. Study contains sociological analysis of already existing visual materials dealing with old age, which were made by users of the deviantART.com. It’s one of the longest established online community bringing together artists from around the world. Article draws attention to the multiplicity of contemporary forms (...)
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  27. The Double Life of Jeff Koon's Made in Heaven Glass Artworks.Max Ryynanen - 2004 - Nordic Journal of Aesthetics 16 (29-30).
    This article owes a lot to Arthur C. Danto's heuristic writings about the Artworld, which have shown us, that the ontological status of works of art is, at least when we discuss some current, maybe even dominating trends in contemporary art, dependent on our more or less philosophical interpretations of them. The effects of the Dantoan atmosphere of theory and art historical consciousness are, still, decisive for just some contemporary art. Danto's interest in the philosophical side of contemporary art makes (...)
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  28. Entitled Art: What Makes Titles Names?Michel-Antoine Xhignesse - 2019 - Australasian Journal of Philosophy 97 (3):437-450.
    Art historians and philosophers often talk about the interpretive significance of titles, but few have bothered with their historical origins. This omission has led to the assumption that an artwork's title is its proper name, since names and titles share the essential function of facilitating reference to their bearers. But a closer look at the development of our titling practices shows a significant point of divergence from standard analyses of proper names: the semantic content of a title is often crucial (...)
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  29. Practical Integration: The Art of Balancing Values, Institutions and Knowledge. Lessons From the History of British Public Health and Town Planning.Giovanni De Grandis - 2016 - Studies in History and Philosophy of Science Part C: Studies in History and Philosophy of Biological and Biomedical Sciences 56:92-105.
    The paper uses two historical examples, public health (1840-1880) and town planning (1945-1975) in Britain, to analyse the challenges faced by goal-driven research, an increasingly important trend in science policy, as exemplified by the prominence of calls for addressing Grand Challenges. Two key points are argued. (1) Given that the aim of research addressing social or global problems is to contribute to improving things, this research should include all the steps necessary to bring science and technology to fruition. This need (...)
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  30. History of Computer Art.Thomas Dreher - 2014 - IASLonline.
    A large text presents the history of Computer Art. The history of the artistic uses of computers and computing processes is reconstructed from its beginnings in the fifties to its present state. It points out hypertextual, modular and generative modes to use computing processes in Computer Art and features examples of early developments in media like cybernetic sculptures, video tools, computer graphics and animation (including music videos and demos), video and computer games, pervasive games, reactive installations, virtual reality, (...)
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  31. History of Computer Art, Second Edition.Thomas Dreher - 2020 - Morrisville, USA: Lulu Press.
    The development of the use of computers and software in art from the Fifties to the present is explained. As general aspects of the history of computer art an interface model and three dominant modes to use computational processes (generative, modular, hypertextual) are presented. The "History of Computer Art" features examples of early developments in media like cybernetic sculptures, computer graphics and animation (including music videos and demos), video and computer games, reactive installations, virtual reality, evolutionary art and (...)
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  32. Practices of Form: Art – Philosophy – Life – History.Alison Ross - 2017 - Critical Horizons 18 (4):289-294.
    This article canvases some of the issues involved in the idea of form as a practice in Kant, Blumenberg and Foucault, and it also outlines the different contexts and approaches the individual papers collected in this Special Issue use to explore this idea.
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  33. Heinrich Heine. On the History of Religion and Philosophy in Germany and Other Writings. Ed. By Terry Pinkard, Transl. By Howard Pollack-Milgate. Cambridge University Press, 2007. [REVIEW]Veronika Wegener - 2012 - European Journal for Philosophy of Religion 4 (1):276--281.
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  34.  54
    Art in the Time of Disease.Srajana Kaikini - 2014 - Journal for Cancer Research and Therapeutics 10 (1):229 -231.
    An invited editorial on the depiction of disease in art history which would then become the symbol of this redemptive philosophy.
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  35. Games: Agency as Art.C. Thi Nguyen - 2020 - New York: Oxford University Press.
    Games occupy a unique and valuable place in our lives. Game designers do not simply create worlds; they design temporary selves. Game designers set what our motivations are in the game and what our abilities will be. Thus: games are the art form of agency. By working in the artistic medium of agency, games can offer a distinctive aesthetic value. They support aesthetic experiences of deciding and doing. -/- And the fact that we play games shows something remarkable about us. (...)
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  36. Letter to a Friend on Creative Thinking and Intuiiton (Art, Writing, Philosophy, Science).Ulrich de Balbian - manuscript
    -/- Letter to a friend : Creative Thinking and Intuition Letter to a friend about creative thinking and intuition (art, writing, philosophy, science, etc ) .
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  37. Core Experiments, Natural Histories and the Art of Experientia Literata: The Meaning of Baconian Experimentation.Dana Jalobeanu - 2011 - Society and Politics 5 (2).
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  38. The Life of a Style: Beginnings and Endings in the Narrative History of Art.Jonathan Gilmore - 2000 - Cornell University Press.
    In The Life of a Style, Jonathan Gilmore claims that such narrative developments inhere in the history of art itself.By exploring such topics as the discovery ...
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  39. From Art to Information System.Miro Brada - 2021 - AGI Laboratory.
    This insight to art came from chess composition concentrating art in a very dense form. To identify and mathematically assess the uniqueness is the key applicable to other areas eg. computer programming. Maximization of uniqueness is minimization of entropy that coincides as well as goes beyond Information Theory (Shannon, 1948). The reusage of logic as a universal principle to minimize entropy, requires simplified architecture and abstraction. Any structures (e.g. plugins) duplicating or dividing functionality increase entropy and so unreliability (eg. British (...)
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  40. Historische Konjunktive: Zur Geschichtsschreibung des Möglichen.Andreas Dorschel - 2008 - In Andreas Haug & Andreas Dorschel (eds.), Vom Preis des Fortschritts: Gewinn Und Verlust in der Musikgeschichte. Universal Edition. pp. 33-52.
    Reference to past possibilities is not an additional luxury in writing history, after all facts have been established. For even facts become such only within a field of alternative options. What it means that one path was taken depends in part on answers to the question which other paths once open were not taken. Historical potential unrealized can be conceived of in a number of ways: as unfulfilled intentions, as unresolved problems, as suppressed endeavours, as waived alternatives within (...)
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  41. Defining Art and its Future.Zachary Isrow - 2017 - Journal of Arts and Humanities 6 (6):84-94.
    Art is a creative phenomenon which changes constantly, not just insofar as it is being created continually, but also in the very meaning of ‘art.’ Finding a suitable definition of art is no easy task and it has been the subject of much inquiry throughout artistic expression. This paper suggests a crucial distinction between ‘art forms’ and ‘forms of art’ is necessary in order to better understand art. The latter of these corresponds to that which we would typically call art (...)
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  42. Minima Pedagogica: Education, Thinking and Experience in Adorno.Snir Itay - 2017 - Journal of Philosophy of Education (1):1-15.
    This article attempts to think of thinking as the essence of critical education. While contemporary education tends to stress the conveying of knowledge and skills needed to succeed in present-day information society, the present article turns to the work of Theodor W. Adorno to develop alternative thinking about education, thinking, and the political significance of education for thinking. Adorno touched upon educational questions throughout his writings, with growing interest in the last ten years of his life. Education, he argues following (...)
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  43. Failed-Art and Failed Art-Theory.Christy Mag Uidhir - 2010 - Australasian Journal of Philosophy 88 (3):381-400.
    An object being non-art appears only trivially informative. Some non-art objects, however, could be saliently 'almost' art, and therefore objects for which being non-art is non-trivially informative. I call these kinds of non-art objects 'failed-art' objects—non-art objects aetiologically similar to art-objects, diverging only in virtue of some relevant failure. I take failed-art to be the right sort of thing, to result from the right sort of action, and to have the right sort of history required to be art, but (...)
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  44.  71
    The Art of Medicine: From Small Beginnings: To Build an Anti-Eugenic Future.Benedict Ipgrave, Miroslava Chavez-Garcia, Marcy Darnovsky, Subhadra Das, Charlene Galarneau, Rosemarie Garland-Thomson, Nora Ellen Groce, Tony Platt, Milton Reynolds, Marius Turda & Robert A. Wilson - 2022 - The Lancet 10339 (399):1934-1935.
    Short overview of the From Small Beginnings Project and its relevance for resisting eugenics in contemporary society.
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  45. Christopher Rowe's Plato and the Art of Philosophical Writing.George Rudebusch - 2009 - Philosophical Books 50 (1):55-62.
    The review argues that Plato makes a valid distinction between inferior hypothetical and superior unhypothetical methods. Given the distinction, the book confuses the hypothetical for unhypothetical dialectic.
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  46.  61
    Benjamin's The Work of Art in the Age of Its Technological Reproducibility, and Other Writings on Media.Irfan Ajvazi - manuscript
    Benjamin's The Work of Art in the Age of Its Technological Reproducibility, and Other Writings on Media .
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  47. Walter Benjamin's Critique of the Category of Aesthetic Form: 'The Work of Art in the Age of its Technological Reproducibility' From the Perspective of Benjamin's Early Writing.Alison Ross - 2015 - In Nathan Ross (ed.), The Aesthetic Ground of Critical Theory : New Readings of Benjamin and Adorno. London: Roman and Littlefield. pp. 83-97.
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  48. The History of Vision.Bence Nanay - 2015 - Journal of Aesthetics and Art Criticism 73 (3):259-271.
    One of the most influential ideas of twentieth-century art history and aesthetics is that vision has a history and it is the task of art history to trace how vision has changed. This claim has recently been attacked for both empirical and conceptual reasons. My aim is to argue for a new version of the history of vision claim: if visual attention has a history, then vision also has a history. And we have some (...)
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  49. De la historia del arte como posibilidad actual del humanismo en Julius von Schlosser y Giulio Carlo Argan.Carlos Vanegas - 2014 - Co-herencia (20):79-98.
    The complex world of thought and sensitivity in the sphere of contemporary art has entailed the revision and exclusion of disciplines aimed at providing a model to explain and conceptualize reality. Art history, as one such discipline, has had many of its contributions questioned from Gombrich’s epistemological reformulation to the postmodern discourses, which extol the death of the author, the post-structuralist idea of tradition as a textual phenomenon, and the declaration of the death of history as a consequence (...)
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  50.  70
    Playing The Game After The End Of Art: Comments For Hans Maes.Kalle Puolakka - 2005 - Postgraduate Journal of Aesthetics 2 (1):12-19.
    In his philosophy of art history, Arthur C. Danto claims that in the 1960 ́s the master narrative of art had come to an end, and that we had reached the end of art. This conception has been widely considered, but also misunderstood. Hans Maes has recently discussed Danto's conception of the end of art in his article, where he clears some misconceptions about the thesis, but at the same time challenges Danto's analysis of contemporary art.
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