This article criticizes what I call "Raunchy" feminist art by employing discussions of pornography and objectification from Eaton and Nussbaum. Artists considered include Carolee Schneeman, Cindy Sherman, Lisa Yuskavage, and Jenny Saville. The article includes by citing examples of feminist art dealing with erotic material in a more productive manner: Eija-Liisa Ahtila, Kiki Smith, and Marlene Dumas.

This book is a collection of all the papers published in the special issue “Philosophy and Meaning in Life Vol.4: Selected Papers from the Pretoria Conference,” Journal of Philosophy of Life, Vol.12, No.1, 2022, pp.1-115. -/- Theorizing About Meaning in Life Cheshire Calhoun -/- Is It Possible to Say ‘Yes’ to Traumatic Experiences?: A Philosophical Approach to Human Suffering Masahiro Morioka -/- Why Beauvoir Is Not a Subjectivist about Meaning in Life Kiki Berk -/- Axiological Values Grounded in Basic (...) Motivational Dispositions: How to Be a Subjectivist about Meaning in Life Frank Martela -/- Pessimism, Political Critique, and the Contingently Bad Life Patrick O’Donnell -/- Reason, Luck, and Meaning: A Critique of the Moralist View of Meaning in Life Kazuki Watanabe. (shrink)

Most artworks—or at least most among those standardly subject to philosophical scrutiny—appear to be singular, stand-alone works. However, some artworks (indeed, perhaps a good many) are by contrast best viewed in terms of some larger grouping or ordering of artworks. i.e., as a series. The operative art-theoretic notion of series in which I am interested here is that of an individual and distinct artwork that is itself non-trivially composed of a non-trivial sequence of artworks (e.g., Walter de Maria’s Statement Series, (...) Krzysztof Kieslowski’s Three Colors)—as opposed to an art-historically informative or art critically productive thematically, stylistically, or formally unified ordering or grouping of individual and distinct artworks within an artist’s larger body of work (e.g., Kiki Smith’s Blue Print series, Dan Flavin’s Monuments to V. Tatlin series, Jeff Koons’ Made in Heaven series, Robert Rauschenberg’s Tribute 21 series). Given this, my aim is simply to sketch a minimal descriptive and classificatory framework for serial art within which certain informative distinctions may be made and further philosophical enquiry may productively take place. (shrink)