Results for 'contemporary art'

999 found
Order:
  1. The Sublime, Ugliness and Contemporary Art: A Kantian Perspective.Mojca Kuplen - 2015 - Con-Textos Kantianos 1:114-141.
    The aim of this paper is twofold. First, to explain the distinction between Kant’s notions of the sublime and ugliness, and to answer an important question that has been left unnoticed in contemporary studies, namely why it is the case that even though both sublime and ugliness are contrapurposive for the power of judgment, occasioning the feeling of displeasure, yet that after all we should feel pleasure in the former, while not in the latter. Second, to apply my interpretation (...)
    Download  
     
    Export citation  
     
    Bookmark   1 citation  
  2. How to Understand Modern Contemporary Art, Enjoy It, and Not Be Fooled.Jakob Zaaiman - 2016 - Alldaynight. Info.
    Modern contemporary art remains a mystery because most people – including art critics and even artists themselves – are unable to see beyond the imprisoning confines of classical fine art. Everything is judged in terms of beauty and technical skill, when it should be viewed from a quite different perspective, namely that of the imaginative world that the modern artwork is a part of. Successful and authentic modern art is about creating worlds of the imagination - like a film, (...)
    Download  
     
    Export citation  
     
    Bookmark   2 citations  
  3.  15
    Deterritorialising Death: Queerfeminist Biophilosophy and Ecologies of the Non/Living in Contemporary Art.Marietta Radomska - 2020 - Australian Feminist Studies 35 (104).
    In the contemporary context of environmental crises and the degradation of resources, certain habitats become unliveable, leading to the death of individuals and species extinction. Whilst bioscience emphasises interdependency and relationality as crucial characteristics of life shared by all organisms, Western cultural imaginaries tend to draw a thick dividing line between humans and nonhumans, particularly evident in the context of death. On the one hand, death appears as a process common to all forms of life; on the other, as (...)
    Download  
     
    Export citation  
     
    Bookmark   2 citations  
  4.  52
    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.
    Download  
     
    Export citation  
     
    Bookmark   1 citation  
  5. Extended Aesthetic Experience in Contemporary Art.Gizela Horváth - 2014 - Pragmatism Today 5 (2):67-72.
    Download  
     
    Export citation  
     
    Bookmark  
  6.  43
    Sonic Obstacles and Conceptual Nostalgia: Preliminary Considerations on Musical Conceptualism and Contemporary Art.Iain Campbell - 2021 - Philosophical Inquiries 9 (2):111-132.
    This paper is concerned with the aesthetic and discursive gap between music and contemporary art, and the recent attempts to remedy this in the field of New Music through a notion of “New Conceptualism.” It examines why, despite musical sources being central to the emergence of conceptual artistic strategies in the 1950s and ’60s, the worlds of an increasingly transmedial “generic art” and music have remained largely distinct. While it takes New Music’s New Conceptualism as its focus, it argues (...)
    Download  
     
    Export citation  
     
    Bookmark  
  7. WHAT IS ART (Classificatory Disputes, Aesthetic Judgements, Contemporary Art.Ulrich De Balbian - 2017 - Philosophy and Art.
    WHAT is art? Classificatory disputes.. Classificatory disputes about what is art Art historians and philosophers of art have long had classificatory disputes about art regarding whether a particular cultural form or piece of work should be classified as art. Disputes about what does and does not count as art continue to occur today -/- Defining art is difficult if not impossible. Aestheticians and art philosophers often engage in disputes about how to define art. By its original and broadest definition, art (...)
    Download  
    Translate
     
     
    Export citation  
     
    Bookmark  
  8.  22
    From Central Europe to the Baltics Before and After 1989: The State of Contemporary Art Canons.Karolina Rybačiauskaitė & Marcel Tomášek - 2019 - Acta Academiae Artium Vilnensis 94:60-82.
    Three concrete instances of modern and contemporary art development in the former Soviet bloc are addressed in the study. Comparing three particular cases of post-socialist countries (Czechoslovakia, Poland and Lithuania), three distinctive situations are identified in order to establish a link between modern and contemporary art and the emergence of canonized stories of their development. Although these concrete cases turned out to represent a certain range of situations-models that have taken place, the study indicates a variety of omissions (...)
    Download  
     
    Export citation  
     
    Bookmark  
  9.  53
    The Human Body: From its Instrumentality to its Axiological Precedence in the Contemporary Art of Design.Elżbieta Staniszewska - 2015 - Argument: Biannual Philosophical Journal 5 (1):79-86.
    Heidegger’s notion of ‘handiness’ combines two meanings, which in my view should be separated. They both refer to ways of characterizing tools in a given culture. Every culture uses tools, and they are all used so they are ‘handy’. The question is: Handy with regard to what? Two answers come to mind. The first one suggests that handiness is typical of the aims achieved in a given culture, which are linked with that culture’s system of values. Having been fulfilled, the (...)
    Download  
     
    Export citation  
     
    Bookmark  
  10.  53
    ART(S) OF BECOMING: PERFORMATIVE ENCOUNTERS IN CONTEMPORARY POLITICAL ART.İbrahim Okan Akkin - 2017 - Dissertation, Middle East Technical University
    This thesis analyses Deleuze & Guattari’s notion of becoming through certain performative encounters in contemporary political art, and re-conceptualizes them as “art(s) of becoming”. Art(s) of becoming are actualizations of a non-representational –minoritarian– mode of becoming and creation as well as the political actions of fleeing quanta. The theoretical aim of the study is, on the one hand, to explain how Platonic Idealism is overturned by Deleuze’s reading of Nietzsche and Leibniz, and on the other hand, how Cartesian dualism (...)
    Download  
     
    Export citation  
     
    Bookmark  
  11. The Ancient Quarrel Between Art and Philosophy in Contemporary Exhibitions of Visual Art.Jennifer A. McMahon - 2019 - Curator: The Museum Journal 62 (1):7-17.
    At a time when professional art criticism is on the wane, the ancient quarrel between art and philosophy demands fresh answers. Professional art criticism provided a basis upon which to distinguish apt experiences of art from the idiosyncratic. However, currently the kind of narratives from which critics once drew are underplayed or discarded in contemporary exhibition design where the visual arts are concerned. This leaves open the possibility that art operates either as mere stimulant to private reverie or, in (...)
    Download  
     
    Export citation  
     
    Bookmark  
  12.  34
    Feminism and Aesthetics in Contemporary American Art.Peg Brand Weiser - 1997 - American Studies 15:133-146.
    What is feminist art? Can an ordinary viewer experience it in a neutral, detached, and objective way? These two questions are the focus of this essay which attempts to bridge a gap between philosophical aesthetics and feminist theorizing about women's art. The first question is purely historical, easily answered by means of a brief overview of the past twenty-five years of feminist art in America. The second question raises philosophical issues squarely within the realm of aesthetics, contingent upon who counts (...)
    Download  
     
    Export citation  
     
    Bookmark  
  13. Art, Metaphysics, & the Paradox of Standards.Christy Mag Uidhir - 2013 - In Art & Abstract Objects. Oxford University Press.
    I consider the field of aesthetics to be at its most productive and engaging when adopting a broadly philosophically informative approach to its core issues (e.g., shaping and testing putative art theoretic commitments against the relevant standard models employed in philosophy of language, metaphysics, and philosophy of mind) and to be at its most impotent and bewildering when cultivating a philosophically insular character (e.g., selecting interpretative, ontological, or conceptual models solely for fit with pre-fixed art theoretic commitments). For example, when (...)
    Download  
    Translate
     
     
    Export citation  
     
    Bookmark   1 citation  
  14. 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 of (...)
    Download  
    Translate
     
     
    Export citation  
     
    Bookmark   1 citation  
  15.  33
    Art and the Body: The Tatsuno Art Project.Akiko Kasuya - 2015 - Argument: Biannual Philosophical Journal 5 (1):267-274.
    The author discusses the relationship between art and the body, as exemplified by the similarities and differences in the works of: two Japanese artists, Matsui Chie (b. 1960) and Higashikage Tomohiro (b. 1978); and the Polish artist, Mirosław Bałka (b. 1958). These examples are referred to in the context of a unique project recently conducted in Japan — the Tatsuno Art Project 2013. Held with the support of the Agency for Cultural Affairs of Japan, the project aims to present (...) art to people from across Japan and around the globe, and to capitalize on the region’s unique cultural heritage, creating opportunities for people to communicate with local residents and making Tatsuno a more dynamic and popular place to visit. This paper considers various connections between art and the body by focusing on a selection of works included in the Tatsuno Art Project 2013: Arts and Memories. Known in past centuries as the ‘little Kyoto’ of Harima Province, Tatsuno is an atmospheric old castle town. It is mild and relatively warm all year round, with the climate of the nearby Seto Inland Sea region, said to be similar to that of the Mediterranean. Thanks to the support of numerous people, the organizers were able to hold the 2013 event which represented the culmination of their efforts over the past few years, being the largest ever in terms of scale with nine invited artists, eleven other participating artists, and one contemporary musician, for a total of 21 creators contributing works. With new spaces added to create a total of 16 venues, the community‑wide project truly achieved its goal of presenting the ‘historic castle town as a museum’. The project curators were also able to strengthen Tatsuno’s international ties by inviting artists from France and Poland to take part, as well as Japanese artists residing in the UK and Spain. (shrink)
    Download  
     
    Export citation  
     
    Bookmark  
  16.  95
    'Art' in Nancy's 'First Philosophy': The Artwork and the Praxis of Sense Making.Alison Ross - 2008 - Research in Phenomenology 38 (1):18-40.
    For the purposes of analytical clarity it is possible to distinguish two ways in which Nancy's ontology of sense appeals to art. First, he uses 'art' as a metaphorical operator to give features to his ontology (such as surprise and wonder); second, the practice of the contemporary arts instruct the terms of his ontological project because, in his view, this practice catches up with the fragmentation of existence and thus informs ontology about the structure of existence today. These two (...)
    Download  
     
    Export citation  
     
    Bookmark  
  17.  41
    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 (...)
    Download  
     
    Export citation  
     
    Bookmark  
  18. Why We Need the Arts: John Macmurray on Education and the Emotions.Esther McIntosh - 2015 - Educational Philosophy and Theory 47 (1):47-60.
    This article argues that Macmurray’s work on education is deserving of serious consideration, because it offers an account of the person that highlights the significance of the emotions and the arts. In particular, the article examines and teases out the areas of Macmurray’s concept of the person that are pertinent to the philosophy of education, which includes the contention that the emotions can and should be educated. Furthermore, on the basis of Macmurray’s work, this article argues that emotional competency is (...)
    Download  
     
    Export citation  
     
    Bookmark   1 citation  
  19.  26
    The "Work" of Art: Stanisław Brzozowski and Bernard Stiegler.Adrian Mróz - 2021 - Humanities and Social Sciences 28 (3):39-48.
    This article relates the ideas of Stanisław Brzozowski (1878-1911) with those of Bernard Stiegler (1952-2020), both of whom problematize the "work" of art understood as a labor practice. Through the conceptual analysis of epigenetics and epiphylogenetics for aesthetic theory, I claim that both thinkers develop practical concepts relevant to contemporary art philosophy. First, I present an overview of Brzozowski's aesthetics, for whom literature and the arts are linked with ethics, and aesthetic form is tied with moral judgment. Then, I (...)
    Download  
     
    Export citation  
     
    Bookmark  
  20. 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 of (...)
    Download  
     
    Export citation  
     
    Bookmark  
  21. Aesthetic Autonomy and Praxis: Art and Language in Adorno and Habermas.Jennifer A. McMahon - 2011 - International Journal of Philosophical Studies 19 (2):155 - 175.
    Abstract Aesthetic autonomy has been given a variety of interpretations, which in many cases involve a number of claims. Key among them are: (i) art eludes conventional conceptual frameworks and their inherent incompatibility with invention and creativity; and (ii) art can communicate aspects of experience too fine?grained for discursive language. To accommodate such claims one can adopt either a convention?based account or a natural?kind account. A natural?kind theory can explain the first but requires some special scaffolding in order to support (...)
    Download  
     
    Export citation  
     
    Bookmark   1 citation  
  22. Art, Terrorism and the Negative Sublime.Arnold Berleant - 2009 - Contemporary Aesthetics 7.
    The range of the aesthetic has expanded to cover not only a wider range of objects and situations of daily life but also to encompass the negative. This includes terrorism, whose aesthetic impact is central to its use as a political tactic. The complex of positive and negative aesthetic values in terrorism are explored, introducing the concept of the sublime as a negative category to illuminate the analysis and the distinctive aesthetic of terrorism.
    Download  
     
    Export citation  
     
    Bookmark   1 citation  
  23.  79
    Problematising the Problem of Participation in Art and Politics.İbrahim Akkın - 2016 - In Mehmet Ali Icbay, Hasan Arslan & Francesco Sidoti (eds.), Research on Cultural Studies. Frankfurt:
    After the collapse of the totalitarian regimes, participation into public matters has been an objective of democratic theory. Judging by a variety of instances from the sixties to today, it can be said that finding new means for encouraging audiences to participate in their works has become the major concern for contemporary art as well. Therefore, we can say that the problem of participation is the focal point of art and politics.
    Download  
     
    Export citation  
     
    Bookmark  
  24. Art-Matrix Theory and Cognitive Distance: Farago, Preziosi, and Gell on Art and Enchantment.Jakub Stejskal - 2015 - Journal of Art Historiography 13:1-18.
    Recent theories of art that subscribe to the view that art objects are agents enchanting their target audience, have tended to explain the operation of art objects as an agent–patient dynamic, a causal nexus of agency. They face a challenge, however, when they also aspire to embrace the idea – dominant in modernist and contemporary art theory – that the function of art is to unsettle its spectators’ habitual ways of perceiving and understanding, that is, to disenchant them: If (...)
    Download  
     
    Export citation  
     
    Bookmark  
  25. 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 (...)
    Download  
    Translate
     
     
    Export citation  
     
    Bookmark   1 citation  
  26. Pictorial Art and Epistemic Aims.Jochen Briesen - 2014 - In Harald Klinke (ed.), Art Theory as Visual Epistemology. Cambridge Scholars Press. pp. 11-28.
    The question whether art is of any epistemic value is an old question in the philosophy of art. Whereas many contemporary artists, art-critics, and art-historians answer this question affirmatively, many contemporary philosophers remain skeptical. If art is of epistemic significance, they maintain, then it has to contribute to our quest of achieving our most basic epistemic aim, namely knowledge.Unfortunately, recent and widely accepted analyses of knowledge make it very hard to see how art might significantly contribute to the (...)
    Download  
     
    Export citation  
     
    Bookmark  
  27. Gadamer on the Event of Art, the Other, and a Gesture Toward a Gadamerian Approach to Free Jazz".Cynthia R. Nielsen - 2016 - Journal of Applied Hermeneutics (1).
    Several prominent contemporary philosophers, including Jürgen Habermas, John Caputo, and Robert Bernasconi, have at times painted a somewhat negative picture of Gadamer as not only an uncritical traditionalist, but also as one whose philosophical project fails to appreciate difference. Against such claims, I argue that Gadamer’s reflections on art exhibit a genuine appreciation for alterity not unrelated to his hermeneutical approach to the other. Thus, by bringing Gadamer’s reflections on our experience of art into conversation with key aspects of (...)
    Download  
     
    Export citation  
     
    Bookmark   1 citation  
  28. Art, World, Artworld.Horvath Gizela - 2016 - Synthesis Philosophica 31 (1):117-127.
    Ancient Greek philosophers claimed that the particular task of art was mimesis. This kind of view about the relation between art and the world was dominant until the beginning of the 19th century. The theory of genius rethought this relation, and it did not presume that art needs to mirror the world. On the contrary, it expected originality, that is, the creation of a new world. Since the beginning of the 20th century, the artworld operates under a wider notion of (...)
    Download  
     
    Export citation  
     
    Bookmark  
  29. 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 (...)
    Download  
     
    Export citation  
     
    Bookmark  
  30. Beauty, Art and the Western Tradition.Derek Allan - manuscript
    From the Renaissance onwards, the Western tradition singled out the term beauty for a unique and highly prestigious role. As Christian belief began its gradual decline, Renaissance art invented a rival transcendence in the form of an exalted world of nobility, harmony and beauty – the world exemplified by the works of painters such as Raphael, Titian and Poussin. Beauty in this sense quickly became the ruling ideal of Western art, subsequently underpinning the explanations of the nature and function of (...)
    Download  
     
    Export citation  
     
    Bookmark  
  31.  61
    La fotografía y los desplazamientos en el arte contemporáneo colombiano. [REVIEW]Carlos Vanegas - 2013 - Cuadernos de Música, Artes Visuales y Artes Escénicas:137-140.
    PHOTOGRAPHY AND ITS DISPLACEMENTS IN COLOMBIAN CONTEMPORARY ART. BOOK REVIEW: THE LIMITS OF THE INDEX. THE PHOTOGRAPHIC IMAGE AND CONTEMPORARY ART IN COLOMBIA BY EFREN GIRALDO.
    Download  
    Translate
     
     
    Export citation  
     
    Bookmark  
  32. How Art Teaches: A Lesson From Goodman.Markus Lammenranta - 2019 - Paths From the Philosophy of Art to Everyday Aesthetics.
    In “How Art Teaches: A Lesson from Goodman”, Markus Lammenranta inquires if and how artworks can convey propositional knowledge about the world. Lammenranta argues that the cognitive role of art can be explained by revising Nelson Goodman’s theory of symbols. According to Lammenranta, the problem of Goodman’s theory is that, despite providing an account of art’s symbolic function, it denies art the possibility of mediating propositional knowledge. Lammenranta claims that Goodman’s theory can be augmented by enlarging it with an account (...)
    Download  
     
    Export citation  
     
    Bookmark  
  33.  52
    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.
    Download  
     
    Export citation  
     
    Bookmark  
  34. 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.
    Download  
     
    Export citation  
     
    Bookmark  
  35. Overcoming the Heisenberg Principle: Art Theory Arising Out of Wolfgang Pauli’s Collapsed Wave.Lisa Paul Streitfeld - unknown
    “Applying the Heisenberg Uncertainty Principle to 21st Century Art” was delivered to the 2009 Congress of the International Association of Art Critics (AICA) in Dublin as a guide to critical thinking through a paradigm shift. This new paper uncovers a new critical theory in the form of a formula that has been successfully applied to a universal appraisal of arts across all boundaries, whether they be gender, discipline or culture. The configuration predicted by Pauli as arising from under the collapsed (...)
    Download  
     
    Export citation  
     
    Bookmark  
  36. 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 I seek (...)
    Download  
     
    Export citation  
     
    Bookmark  
  37. Truly, Madly, Deeply. On What It is to Love a Work of Art.Hans Maes - 2017 - The Philosophers' Magazine 78:53-57.
    Download  
     
    Export citation  
     
    Bookmark   1 citation  
  38. Nietzsche and Contemporary Metaethics.Alex Silk - 2018 - In Paul Katsafanas (ed.), Routledge Philosophical Minds: The Nietzschean Mind. Routledge.
    Recent decades have witnessed a flurry of interest in Nietzsche's metaethics — his views, if any, on metaphysical, epistemological, semantic, and psychological issues about normativity and normative language and judgment. Various authors have highlighted a tension between Nietzsche's metaethical views about value and his ardent endorsement of a particular evaluative perspective: Although Nietzsche makes apparently "antirealist" claims to the effect that there are no evaluative facts, he vehemently engages in evaluative discourse and enjoins the "free spirits" to create values. Nearly (...)
    Download  
     
    Export citation  
     
    Bookmark   1 citation  
  39.  86
    Du Bois, Foucault, and Self-Torsion: Criterion of Imprisoned Art.Joshua M. Hall - 2014 - In Joshua M. Hall & Sarah Tyson (eds.), Philosophy Imprisoned: The Love of Wisdom in the Age of Mass Incarceration. Lanham, MD 20706, USA: pp. 105-124.
    [First paragraphs: This essay takes its practical orientation from my experiences as a member of a philosophy reading group on death row at Riverbend Maximum Security Penitentiary in Nashville, Tennessee. Its theoretical orientation comes from W. E. B. Du Bois’ lecture-turned-essay, “Criteria of Negro Art,” which argues that the realm of aesthetics is vitally important in the war against racial discrimination in the United States. And since, according to Michele Alexander’s critically-acclaimed The New Jim Crow: Mass Incarceration in the Age (...)
    Download  
     
    Export citation  
     
    Bookmark   1 citation  
  40. Art and Bewilderment.Jakub Stejskal - 2016 - British Journal of Aesthetics 56 (2):131-147.
    In this paper, I seek to defend the proposition that bewilderment can contribute to the interest we take in artworks. Taking inspiration from Alois Riegl’s underdeveloped explanation of why his contemporaries valued some historically distant artworks higher than recent art, I interpret the historical case of the European audiences’ fascination with the Fayum mummy portraits as involving such a bewilderment. I distinguish the claim about effective bewilderment from the thesis that aesthetic meaning resists discursive understanding and seek to establish that (...)
    Download  
     
    Export citation  
     
    Bookmark  
  41. Art as "Night": An Art-Theological Treatise.Gavin Keeney - 2010 - Cambridge Scholars Press.
    Written over the course of two months in early 2008, Art as "Night" is a series of essays in part inspired by a January 2007 visit to the Velázquez exhibition at the National Gallery of Art, London, with subsequent forays into related themes and art-historical judgments for and against theories of meta-painting. Art as "Night" proposes a type of a-historical dark knowledge crossing painting since Velázquez, but reaching back to the Renaissance, especially Titian and Caravaggio. As a form of formalism, (...)
    Download  
     
    Export citation  
     
    Bookmark  
  42. Why Do We Need to Define ‘Art’ ? Because It Greatly Enhances the Encounter with Art Itself.Jakob Zaaiman - 2017 - Alldaynight.Info.
    Modern art has yet to be properly explained and given its own distinctive and authentic philosophy. It is almost always portrayed – openly or subliminally – as if it were somehow striving for much the same objectives as classical art, though perhaps by very different means. This has the effect of making modern artworks look slightly ridiculous in comparison with the grandeur of their classical counterparts, at the same time as making it an uphill struggle to try to argue the (...)
    Download  
     
    Export citation  
     
    Bookmark   1 citation  
  43. In Monstrous Shallows: Pinpointing Where the Real Art of Jeff Koons Lies.Jakob Zaaiman - 2016 - Alldaynight.Info.
    Art is about the exploration of the strange and disturbing; it is not about classical fine crafting. Artists use artworks to exteriorise their inner landscapes, thereby allowing others to experience their take on life, at least vicariously. It is this exteriorisation which is ‘art’, not the aesthetic features of the individual artworks themselves, which is properly the domain of crafting and design. Aesthetics cannot explain the work of many major modern contemporary artists, because it fails to locate the underlying (...)
    Download  
     
    Export citation  
     
    Bookmark   2 citations  
  44.  39
    O Fim Da Arte Como Um Começo.Rachel Cecília de Oliveira - 2014 - Redescrições 5 (2).
    O artigo interpreta a teoria acerca do fim da arte de Arthur Danto, apontando, ao final, críticas à proposta do filósofo, sem esquecer de mostrar em que medida a teoria se mostra frutífera para pensar a arte contemporânea.The paper interprets the theory about the end of art Arthur Danto, pointing at the end, criticism of the proposal of the philosopher, not forgetting to show to what extent the theory proves fruitful for thinking about contemporary art.
    Download  
    Translate
     
     
    Export citation  
     
    Bookmark  
  45.  17
    Indiscretions of a Contemporary Artist: Reflections on Trevor Paglen's (Ab)Use of the JAFFE Dataset.Michael Lyons - manuscript
    Reflections on Trevor Paglen's (ab)use of the JAFFE dataset.
    Download  
     
    Export citation  
     
    Bookmark  
  46.  53
    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 goes,” (...)
    Download  
     
    Export citation  
     
    Bookmark   3 citations  
  47.  93
    The Sense of Art. [REVIEW]Peg Brand Weiser - 1990 - The Personalist Forum 6 (1):89-91.
    Review of 1989 text by Ralph A. Smith, noted art education scholar during the era of DBAE (Discipline Based Art Education), that criticizes the author's agenda to remedy the ills of the state of arts education, arts' secondary status to the sciences, pluralism, and popular ideologies of of contemporary culture as an agenda that is (below the surface) clearly conservative, male-centered, Eurocentric and elitist. My conclusion: "Educators, beware.".
    Download  
     
    Export citation  
     
    Bookmark  
  48.  31
    The Art of Telling the Truth: Language, Power and the Play of the Outside in Michel Foucault.Abhilash G. Nath - 2015 - Dissertation, Jawaharlal Nehru University, New Delhi
    In Foucault, thought is spatial, and unfolds within the density of becoming, in the void that separates the subject and the object. It is ontologically independent from the authority of the contemplating self, the ‘I’. Thought is a being of its own, and comes from the outside – the world of relationships. The present study poses to itself the following question: if thinking indeed comes from the outside, then under what condition thinking can encounter itself – its colour, texture and (...)
    Download  
     
    Export citation  
     
    Bookmark  
  49.  34
    The End of the Art, the Tedium and Misery of Everyday Life (Guy Debord’s Work: an Essential Place from the Critical Point of View of our Times).Carvalho Eurico - 2014 - Aufklärung 1 (1):191-202.
    Satisfying the demand of questioning the contemporary condition implies, first of all, a criticism of present times. From this point of view, it becomes clear that art and revolution whilst practices of creative disruption are undoubtedly in crisis. Hence, it is imperative to re-read Guy Debord, who not only refused the aestheticization of politics, but also the politicization of aesthetics. For the hermeneutics of contemporary, his work is, of course, essential. Proving it is, in short, the purpose of (...)
    Download  
    Translate
     
     
    Export citation  
     
    Bookmark  
  50. Introduction: The Place of Beauty in Contemporary Aesthetics.Ingrid Vendrell Ferran & Wolfgang Huemer - 2019 - In Wolfgang Huemer & Íngrid Vendrell Ferran (eds.), Beauty. New Essays in Aesthetics and the Philosophy of Art. München, Deutschland:
    The notion of beauty has endured a troublesome history over the last few decades. While for centuries beauty has been considered one of the central values of art, there have also been times when it seemed old-fashioned to even mention the term. The present volume aims to explore the nature of beauty and to shed light its place in contemporary philosphy and art practice.
    Download  
     
    Export citation  
     
    Bookmark   1 citation  
1 — 50 / 999