Results for 'art history'

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  1.  32
    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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  2. 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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  3.  65
    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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  4.  73
    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. ‘The glare (...)
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  5. 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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  6. Radical History and the Politics of Art.Gabriel Rockhill - 2014 - 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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  7.  48
    Artistic Truth Through the Ages: A Lonerganian Theory of Art History.Ryan Miller - forthcoming - Proceedings of the American Catholic Philosophical Association 94 (2020).
    Classical authors were generally artistic realists. The predominant artistic theory was mimesis, which saw the truth of art as its successful representation of reality. High modernists rejected this theory of art 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 (...)
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  8. 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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  9. 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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  10. 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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  11.  23
    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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  12. 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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  13. 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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  14. 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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  15.  28
    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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  16. Arthur Danto’s Andy Warhol: The Embodiment of Theory in Art and the Pragmatic Turn.Stephen Snyder - 2010 - 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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  17.  78
    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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  18. An Artist's View of the History of Art From the Perspective of 'Analogic Representation'.Michael Joseph Winkler - 2017 - Published Online in Relation to the Henge Lab Component of the Artist's Starlight Ridge Project.
    This article is basically an artist's statement published in connection with a major interdisciplinary art project currently in development (completion date estimated to be 2020).
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  19. Thought Experiments: State of the Art.Michael T. Stuart, Yiftach Fehige & James R. Brown - 2018 - In Michael T. Stuart, Yiftach Fehige & James Robert Brown (eds.), The Routledge Companion to Thought Experiments. London, UK: Routledge. pp. 1-28.
    This is the introduction to the Routledge Companion to Thought Experiments.
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  20.  41
    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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  21. 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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  22.  24
    Understanding Modern Art: Exploring the Strange and the Disturbing.Jakob Zaaiman - 2020 - London, UK: HarfieldAcademic.
    This book is intended to be a simple & easy-to-read guide to everything you need to know to understand & appreciate MODERN CONTEMPORARY ART. The aim is to explain the key ideas underlying the principles of modern contemporary art, so that you can meaningfully evaluate and enjoy contemporary artworks on their own terms. Anyone with an interest in any of the arts can benefit from this book: you do not need to have specialist background knowledge or artistic training. We will (...)
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  23. Politicizing Art in Rancière and Deleuze : The Case of Postcolonial Literature.Raji Vallury - 2009 - In Gabriel Rockhill & Philip Watts (eds.), Jacques Rancière: History, Politics, Aesthetics. Duke University Press.
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  24.  45
    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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  25. 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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  26. 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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  27.  51
    Art and the "Real World".Derek Allan - manuscript
    A conference paper examining the relationship between art and what is loosely termed the “real world”.
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  28. Why Art Became Ugly.Stephen R. C. Hicks - 2004 - Navigator 6 (10).
    For a long time critics of modern and postmodern art have relied on the "Isn't that disgusting" strategy. By that I mean the strategy of pointing out that given works of art are ugly, trivial, or in bad taste, that "a five-year-old could have made them," and so on. And they have mostly left it at that. The points have often been true, but they have also been tiresome and unconvincing—and the art world has been entirely unmoved. -/- Of course, (...)
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  29. Internal History Versus External History.Bence Nanay - 2017 - Philosophy 92 (2):207-230.
    The aim of this paper is to generalize a pair of concepts that are widely used in the history of science, in art history and in historical linguistics – the concept of internal and external history – and to replace the often very vague talk of ‘historical narratives’ with this conceptual framework of internal versus external history. I argue that this way of framing the problem allows us to see the possible alternatives more clearly – as (...)
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  30. THE END OF ART AND PATOČKA's PHILOSOPHY OF ART.Josl Jan - 2016 - HORIZON. Studies in Phenomenology 1 (1):232-246.
    In this essay I consider the end-of-art thesis in its metaphysical and empirical versions. I show that both use the correspondence theory of truth as the basis for their conception of the history of art. As a counterpart to these theories I have chosen Patočka’s conception of the history of art. His theory is based also on the relationship between art and truth, but he conceives truth in the phenomenological sense of manifestation. In the rest of the essay (...)
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  31. 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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  32. L'art Désœuvré, Modes D'Emploi. Entre Esthétique Et Théorie de la Restauration.Filippo Fimiani - 2011 - Aisthesis: Pratiche, Linguaggi E Saperi Dell’Estetico 4 (1):52-72.
    In the ontology of the artwork and its regimes of existence, Gérard Genette gives but little room to the theory and practice of restoration. However, restoration is seen in relation to the identity of the work itself and to its material and pragmatic temporality and anachronism. In the wake of Nelson Goodman, it is also understood as a form of actuation and implementaion of the aesthetic experience. Starting from these premises, the present essay intends to examine the relationship between Genette’s (...)
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  33. Definitions of Art, by Stephen Davies. [REVIEW]Peg Brand - 1994 - Philosophy and Phenomenological Research 54 (2):492-494.
    Davies presents the reader with a sterling review of the literature on the definition of "art" and a stimulating discussion of the role of conventions in the making and appreciating of contemporary art. Definitions of Art is essential reading for anyone interested in the history of aesthetics and as it informs the current dialectic on art.
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  34.  75
    The End Of Art: A Real Problem Or Not Really A Problem?Hans Maes - 2004 - Postgraduate Journal of Aesthetics 1 (2):59-68.
    In 1984, Arthur Danto wrote an article with the telling title ‘The End of Art.’ Just a few years earlier, Richard Rorty had declared the end of philosophy and Michel Foucault, the end of politics. A few years later, Francis Fukuyama was to declare the end of history. So, on the face of it, Danto’s thesis fits in nicely with the ‘endism’ that was popular in the 1980s. In important ways, however, I believe it also stands out.
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  35. The Art of Dialectic Between Dialogue and Rhetoric: The Aristotelian Tradition. [REVIEW]Mehmet Karabela - 2014 - Journal of the History of Philosophy 52 (4):841-42.
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  36.  80
    Je Est Un Autre. Mimicries in Nature, Art and Society.Filippo Fimiani, Paolo Conte & Michel Weemans - 2016 - Aisthesis: Pratiche, Linguaggi E Saperi Dell’Estetico 9 (2):3-6.
    Mimicry, camouflage, transvestism, chance or cryptic anamorphism, fascination – all ways of changing clothes, habits and habitats in nature as well as in culture, in any symbolic field created by human beings during their history. Art and artification, aestheticization, stylization and beautification are all practices reflecting the need and desire for biological as well as social adaptation, all performances producing functional and fictional frames, boundaries or hierarchies in ordinary life, including the artworld. They can persuade and convince by creating (...)
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  37.  47
    Review of Feminism and Contemporary Art: The Revolutionary Power of Women's Laughter and The Emptiness of the Image: Psychoanalysis and Sexual Differences. [REVIEW]Peg Brand Weiser, Jo Anna Isaak & Parveen Adams - 1998 - Journal of Aesthetics and Art Criticism 56 (3):299.
    Both books published in 1996 explore the role that gender plays in the psychology of art (dealing with both making and viewing), complicating current philosophical distinctions between the aesthetic and the cognitive, and providing new insights into basic topics in the history and psychology of perception, representation, and disinterestedness.
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  38.  34
    The End Of Art Revisited: A Response To Kalle Puolakka.Hans Maes - 2005 - Postgraduate Journal of Aesthetics 2 (3).
    In ‘The End of Art: A Real Problem or Not Really a Problem?’ I raised some questions about Arthur Danto’s famous ‘end of art’ thesis. A largely polemical paper, it was intended as an invitation to further discussion, and Kalle Puolakka has now taken up this invitation in ‘Playing The Game After The End of Art’. I thank him for his many insightful remarks. Critical comments are typically more interesting and helpful than simple praise, and Puolakka’s comments are no exception. (...)
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  39. Memories of Art.William Hirstein - 2013 - Behavioral and Brain Sciences 36 (2):146 - 147.
    [This is a response to a target article in BBS]. Although the art-historical context of a work of art is important to our appreciation of it, it is our knowledge of that history that plays causal roles in producing the experience itself. This knowledge is in the form of memories, both semantic memories about the historical circumstances, but also episodic memories concerning our personal connections with an artwork. We also create representations of minds in order to understand the emotions (...)
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  40.  29
    Glaring Omissions in Traditional Theories of Art.Peg Zeglin Brand - 1999 - The Proceedings of the Twentieth World Congress of Philosophy 4:177-186.
    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 (...)
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  41. Mirrors of the Soul and Mirrors of the Brain? The Expression of Emotions as the Subject of Art and Science.Machiel Keestra - 2014 - In Gary Schwartz (ed.), Emotions. Pain and pleasure in Dutch painting of the Golden Age. nai010 publishers. pp. 81-92.
    Is it not surprising that we look with so much pleasure and emotion at works of art that were made thousands of years ago? Works depicting people we do not know, people whose backgrounds are usually a mystery to us, who lived in a very different society and time and who, moreover, have been ‘frozen’ by the artist in a very deliberate pose. It was the Classical Greek philosopher Aristotle who observed in his Poetics that people could apparently be moved (...)
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  42. Painting the Difference: Sex and Spectator in Modern Art.Peg Brand - 2007 - Journal of Aesthetics and Art Criticism 65 (2):244-246.
    British art historian Charles Harrison presumes the existence of a patriarchal world with power in the hands of men who dominate the representation of women and femininity. He applauds the ground-breaking work of feminist theorists who have questioned this imbalance of power since the 1970s. He stops short, however, of accepting their claims that all women have been represented by male artists as images of “utter passivity” (p. 4), routinely reduced by the male gaze to the status of exploited sexual (...)
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  43. Entheogens in Christian Art: Wasson, Allegro and the Psychedelic Gospels.Jerry Brown & Julie M. Brown - 2019 - Journal of Psychedelic Studies 3 (2):142-163.
    In light of new historical evidence regarding ethnomycologist R. Gordon Wasson’s correspondence with art historian Erwin Panofsky, this article provides an in-depth analysis of the presence of entheogenic mushroom images in Christian art within the context of the controversy between Wasson and philologist John Marco Allegro over the identification of a Garden of Eden fresco in the 12th century Chapel of Plaincourault in France. It reveals a compelling financial motive for Wasson’s refusal to acknowledge that this fresco represents Amanita muscaria, (...)
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  44. Glaring Omissions in Traditional Theories of Art.Peg Zeglin Brand Weiser - 2003 - In Steven Cahn (ed.), Philosophy for the 21st Century: A Comprehensive Reader. Oxford University Press. pp. 779-813.
    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 (...)
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  45.  60
    Historical and Trans-Historical Time of Art.Alexandra Mouriki - 2009 - Art and Time, IV Mediterranean Congress of Aesthetics.
    The relationship between art and time is one of pre-figuration–transfiguration, a continuous exchange between the art of the present and that of the past and it is in this sense that we can understand how the works of art are have almost their entire life before them. It is in this sense also that the real meaning of metamorphosis should be understood: The works of art are not permanent acquisitions. They offer themselves the ways through which they appear in another (...)
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  46. On the Fundamental Worldview of the Integral Culture: Integrating Science, Religion, and Art: Part Two.Attila Grandpierre - 2003 - World Futures 59 (7):535-556.
    In the present essay I suggest that the main reason why history failed to develop societies in harmony with Nature, including our internal nature as well, is that we failed to evaluate the exact basis of the factor ultimately governing our thoughts. We failed to realise that it is the worldview that ultimately governs our thoughts and through our thoughts, our actions. In this work I consider the ultimate foundations of philosophy, science, religion, and art, pointing out that they (...)
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  47. The Imperceptibility of Style in Danto's Theory of Art: Metaphor and the Artist's Knowledge.Stephen Snyder - 2015 - CounterText 1 (3).
    Arthur Danto’s analytic theory of art relies on a form of artistic interpretation that requires access to the art theoretical concepts of the artworld, ‘an atmosphere of artistic theory, a knowledge of the history of art: an artworld’. Art, in what Danto refers to as post-history, has become theoretical, yet it is here contended that his explanation of the artist’s creative style lacks a theoretical dimension. This article examines Danto’s account of style in light of the role the (...)
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  48. Review of Aesthetics and Rock Art. [REVIEW]Jennifer A. Mcmahon - 2006 - British Journal of Aesthetics 46 (2):208-210.
    The essays collected in this volume are written by scholars from a wide range of disciplines (anthropology, archaeology, art history, philosophy and psychology). The papers ostensibly address how to evaluate rock art, but can also be read in the context of offering support for the affirmative in the debate regarding whether aesthetics is a cross-cultural discipline. Two alternative conceptions of the aesthetic provide the underlying antithesis and thesis respectively to all papers. The antithesis holds that the aesthetic pertains to (...)
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  49.  42
    Review of Art and Form: From Roger Fry to Global Modernism by Sam Rose. [REVIEW]Michalle Gal - 2020 - Estetica European Journal of Aesthetics 57:183-188.
    In view of the current progress of what has been named the ‘visual turn’ or the ‘pictorial turn’,1 it is exciting to witness Sam Rose’s return to early aesthetic formalist-modernism, which was so passionate about the medium, its appearance, and visuality. Rose’s project shares a recent inclination to think anew the advent of aesthetic modernism.2 It is founded on the presumption that visual art ought to be – and actually has always been – theoretically subsumed under one meta-project. This meta-project (...)
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  50. Compendium of Documents for Supporting a Research Project on the Pictorial Art.Fidel Micó - manuscript
    Research projects on Art History use to be highly expensive, exhaustive, slow, and sometimes disappointing. As a consequence, careers of most relevant artists start and finish without being noticed, in absence of critical assessments that contribute to improve it. This compendium of documents is primarily intended to help serious researchers and writers find an appropriate standard to ask for regular updates to artists during their careers. The document is structured as a traditional publication, but as a sample of resources (...)
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  51. Nothing found.