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Now available in a fully revised and updated second edition, this accessible and insightful introduction outlines the central theories and ongoing debates in the philosophy of art. Covers a wide range of topics, including the definition and interpretation of art, the connections between artistic and ethical judgment, and the expression and ...
- Introduction
- Representational Theories of Art
- Formalism
- Expression
- The Aesthetic Attitude
- The Institutional Theory of Art
- Anti-Essentialism
- Conclusion
- References
- Further Reading
George Dickie’s (1974) “What is Art? An Institutional Analysis” begins by surveying historical attempts to define art according to necessary and sufficient conditions. As such, it would seem to serve as a useful point of departure to the subject of this chapter. However, reading this essay today, with knowledge of the various challenges to classifi...
The words “representation” or “imitation” generally signify philosophical theories of art which, if not directly, can be traced back to the work of Plato (424/423–348/347 BCE) and Aristotle (384-322 BCE). Following Plato, such theories suggest art is essentially mimetic, meaning its primary objective is to represent an exterior and more authentic r...
Throughout modernism, critics have consistently correlated form with aesthetic value mediated by judgments of taste. Clement Greenberg considered the aesthetic to be a test of whether a given practice qualified as art. His early text “Avant-Garde and Kitsch” (1939) was a defence of taste (high culture) against kitsch, or culture generated out of ma...
If we define art according to its expressivity, we immediately have to contend with the diversity of practices people have considered expressive. For example, the colour harmonies of Wassily Kandinsky’s abstract compositions and Stuart Brisley’s visceral performances are obviously very different types of art practice, but both artists describe thei...
Theories of “aesthetic attitude” are less concerned with isolating essential characteristics of artworks, than with describing a certain state of receptivity or the conditions of spectatorship which make the experience of art possible. According to these theories, to attend to art properly we must enact a special kind of distancing, or “disinterest...
This chapter opened by discussing Dickie’s (1974) “What is Art? An Institutional Theory of Art.” Alongside Arthur Danto’s “The Artworld” (1964), these two texts outline an “institutional theory of art.” For Danto, “The Artworld” describes an enclosed and self-reproducing system of institutions, discourses, critics, publishers, and artists, all of w...
Representation, formalism, expression, aesthetic attitude, and institutionality each constitute dimensions of art practice, but they do violence to the heterogeneity of art practice when we make them function as art’s necessary and sufficient conditions. To traverse the impasse, we might address the question differently, by asking what variable con...
From narrow definitions of art based on representation, form, expression, or residing in a specific aesthetic attitude or institutional framework, we have developed a position that insists upon such criteria as mutable and historically contingent. This contingency is revealed by both careful philosophical reading and the agency of contemporary artw...
Aristotle. (335 BCE) 1996. Poetics. Translated by Malcolm Heath. London and New York: Penguin. Bell, Clive. (1914) 2002. “The Aesthetic Hypothesis.” In Art in Theory 1900–2000: An Anthology of Changing Ideas, edited by Charles Harrison and Paul Wood, 107–110. Oxford: Blackwell. Barthes, Roland. (1971) 1977. Image, Music, Text. New York: Hill and Wa...
Brunette, Peter, and David Wills, eds. 1994. Deconstruction and the Visual Arts. Cambridge: Cambridge University Press. Cazeaux, Clive, ed. 2000. The Continental Aesthetics Reader. London: Routledge. Foster, Hal, Rosalind Krauss, Yve-Alain Bois, and Benjamin H.D Buchloh. 2004. Art Since 1900: Modernism, Antimodernism and Postmodernism. London: Tham...
1 de oct. de 2017 · 9781350006904. Introducing Aesthetics and the Philosophy of Art, 2nd Edition. Darren Hudson Hick. Bloomsbury. 2017. 288 pages. $26.95. BH201. Hick provides a variety of examples to help raise, illustrate, and sometimes complicate issues regarding the meaning of art and aesthetics.
The authenticity of provenance establishes the material existence of the work of art; the identity of the artist; and when and where the artist created the work of art. Cultural authenticity — genre and artistic style — concerns whether or not a work of art is a genuine expression of artistic tradition.
Definition. A work of art in the visual arts is a physical two- or three- dimensional object that is professionally determined or otherwise considered to fulfill a primarily independent aesthetic function. A singular art object is often seen in the context of a larger art movement or artistic era, such as: a genre, aesthetic convention, culture ...
New to the eighth edition, seven thematic chapters help students better identify and understand major themes of art—such as “the cycle of life” and “the body, gender, and identity”—that transcend different eras and regions. Enhance learning with MyArtsLab. MyArtsLab for the Art Appreciation course extends learning online to engage ...
