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Elan, Priya. Beyoncé and Jay-Z’s Tiffany Advert Criticized by Friends of Basquiat
2021, The Guardian, 7th September 2021
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Added by: Quentin Pharr and Clotilde Torregrossa
Abstract: Close friends of artist Jean-Michel Basquiat have spoken out against the advert from jewellers Tiffany which features Beyoncé and Jay-Z posing in front of one of his paintings saying it was “not really what he was about”. Basquiat’s 1982 work Equals Pi sits behind the couple in the campaign as Beyoncé wears a 128.54-carat yellow diamond, the first black woman to have done so.

Comment (from this Blueprint): This news item discusses the controversy surrounding a 2021 advert for the high-end jewelry brand Tiffany, featuring Beyoncé and Jay-Z, and, in the background, a rarely seen painting by Basquiat owned by Tiffany. This controversy serves to illustrate both the disappointment that hooks and others feel in how Basquiat's work has been consumed in a emotionally superficial and Eurocentric manner, as well as how his work has come to be a luxury object to be conspicuously consumed primarily by the elite and used for the sake of propagating such consumption of other luxury items to the elite (in this particular instance, a 128.54-carat yellow diamond previously worn by Audrey Hepburn and Lady Gaga). The aesthetic appreciation of the painting, when used as a prop for elite interests, is under scrutiny - and, equally, whether Basquiat's intentions and what he is trying to express through his work are respected in such use and whether should be. Moreover, many of Basquiat's works are privately owned and are not displayed to the public, only to elites. So, using this ad as a case study, we should note that aspects of specific class and status affiliations and interests can affect how appropriately or inappropriately an aesthetic object is consumed, if at all.

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Ellen Dissanayake. Art and Intimacy
2000, University of Washington Press
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Added by: Simon Fokt, Contributed by: Christy Mag Uidhir
Publisher's Note: To Ellen Dissanayake, the arts are biologically evolved propensities of human nature: their fundamental features helped early humans adapt to their environment and reproduce themselves successfully over generations. In Art and Intimacy she argues for the joint evolutionary origin of art and intimacy, what we commonly call love.It all begins with the human trait of birthing immature and helpless infants. To ensure that mothers find their demanding babies worth caring for, humans evolved to be lovable and to attune themselves to others from the moment of birth. The ways in which mother and infant respond to each other are rhythmically patterned vocalizations and exaggerated face and body movements that Dissanayake calls rhythms and sensory modes. Rhythms and modes also give rise to the arts. Because humans are born predisposed to respond to and use rhythmic-modal signals, societies everywhere have elaborated them further as music, mime, dance, and display, in rituals which instill and reinforce valued cultural beliefs. Just as rhythms and modes coordinate and unify the mother-infant pair, in ceremonies they coordinate and unify members of a group. Today we humans live in environments very different from those of our ancestors. They used ceremonies (the arts) to address matters of serious concern, such as health, prosperity, and fecundity, that affected their survival. Now we tend to dismiss the arts, to see them as superfluous, only for an elite. But if we are biologically predisposed to participate in artlike behavior, then we actually need the arts. Even -- or perhaps especially -- in our fast-paced, sophisticated modern lives, the arts encourage us to show that we care about important things.

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Eva Kit Wah Man. Issues of Contemporary Art and Aesthetics in Chinese Context
2015, Berlin, Heidelberg: Springer Berlin Heidelberg.
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Added by: Meilin Chinn
Publisher's Note: This book discusses how China’s transformations in the last century have shaped its arts and its philosophical aesthetics. For instance, how have political, economic and cultural changes shaped its aesthetic developments? Further, how have its long-standing beliefs and traditions clashed with modernizing desires and forces, and how have these changes materialized in artistic manifestations? In addition to answering these questions, this book also brings Chinese philosophical concepts on aesthetics into dialogue with those of the West, making an important contribution to the fields of art, comparative aesthetics and philosophy.

Comment: A timely discussion of the influence of the last century’s political, economic, and cultural changes in China upon its philosophical aesthetics. Man’s book addresses a number of key neglected topics of comparative aesthetics between China and the West, contemporary aesthetics and art in Hong Kong, the relation of gender and art in the politics of identity, and the role of tradition in new creative practices. Chapter 4 introduces the leaders of the major schools of aesthetics in new China, including Li Zehou. This text is best used in a comparative aesthetics context, especially in discussions of contemporary aesthetic mediums.

Related reading:

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Fabre, Cécile. Cosmopolitan peace
2016, Oxford University Press UK
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Added by: Ten-Herng Lai
Abstract: This chapter explores why, from a cosmopolitan point of view, we should remember some wars, and furthermore how we should remember them. It contrasts itself with remembering war for partial and/or nationalist purposes, and also deals with the particularity problem, on why people of certain countries should remember their past wars.

Comment (from this Blueprint): There are several articles on why some commemorations are unacceptable. Remembering war appropriately could shed some light on what good commemorations consist in. Moreover, this paper also discusses why some of our war remembrances are suboptimal.

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Feagin, Susan L.. The pleasures of Tragedy
1983, American Philosophical Quarterly 20 (1): 95-104.
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Added by: Laura Jimenez, Contributed by: Christy Mag Uidhir
Summary: This article addresses a paradox that has puzzled philosophers of art since Aristotle: tragedies produce, and are designed to produce, pleasure for the audiences, without supposing any special callousness or insensitivity on their part. The author introduces a distinction which enables us to understand how we can feel pleasure in response to tragedy, and which also sheds some light on the complexity of such responses. The virtues of this approach lie in its straightforward solution to the paradox of tragedy as well as the bridges the approach builds between this and some other traditional problems in aesthetics, and the promising ways in which we are helped to see their relationships. In particular, we are helped to understand the feeling many have had about the greatness of tragedy in comparison to comedy, and provided a new perspective from which to view the relationship between art and morality.

Comment: Really clear introduction to the nature of the relationship between aesthetic and moral value, and specifically to the topic of meta-responses to art. The last section of the paper also throws some light upon the differences between responses and meta-responses to real situations and to art. The reading is not very difficult so in principle, it could be used by undergraduate students. On the other hand, the paper contains some very specialised detail, so it might be recommendable to use it for postgraduate courses in both ethics and aesthetics.

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Freeland, Cynthia. Animals
2010, in: Portraits & Persons, Oxford: Oxford University Press, pp. 4-41.
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Added by: Hans Maes, Contributed by: Christy Mag Uidhir
Summary: Defines a portrait as a representation of a living being as a unique individual possessing (1) a recognizable physical body along with (2) an inner life. A third condition is that the subject consciously presents a self to be conveyed in the resulting artwork. Pictures of animals can meet the first two criteria, but not the third.

Comment: Freeland lays ground for a definition of portraits, offering a great introduction to the topic of portraiture, and representation in general. The text can inspire interesting discussions on the possible differences in depicting humans, animals and objects.

Artworks to use with this text:

George Stubbs, Whistlejacket (1761-2)

Freeland disputes the image's status as a portrait partly because of how formulaic it appears.

Jill Greenberg, Monkey Portraits (2006)

The artist anthropomorphizes the animals, as is evident in the titles she chose for some of the works ('The Misanthrope', 'Oy Veh'). So, do they qualify as portraits?

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Freeland, Cynthia. But is it Art?: An Introduction to Art Theory
2001, Oxford: Oxford University Press.
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Added by: Simon Fokt
Publisher's note: From Andy Warhol's Brillo boxes to provocative dung-splattered madonnas, in today's art world many strange, even shocking, things are put on display. This often leads exasperated viewers to exclaim--is this really art? In this invaluable primer on aesthetics, Freeland explains why innovation and controversy are so highly valued in art, weaving together philosophy and art theory with many engrossing examples. Writing clearly and perceptively, she explores the cultural meanings of art in different contexts, and highlights the continuities of tradition that stretch from modern often sensational works, back to the ancient halls of the Parthenon, to the medieval cathedral of Chartres, and to African nkisi nkondi fetish statues. She explores the difficulties of interpretation, examines recent scientific research into the ways the brain perceives art, and looks to the still-emerging worlds of art on the web, video art, art museum CD-ROMS, and much more. She also guides us through the various theorists of art, from Aristotle and Kant to Baudrillard. Throughout this nuanced account of theories, artists, and works, Freeland provides us with a rich understanding of how cultural significance is captured in a physical medium, and why challenging our perceptions is, and always has been, central to the whole endeavor. It is instructive to recall that Henri Matisse himself was originally derided as a "wild beast." To horrified critics, his bold colors and distorted forms were outrageous. A century later, what was once shocking is now considered beautiful. And that, writes Freeland, is art.

Comment: Chapters 2,3 and 5 of But is it art? can serve as a good basic introduction to art theory. The book is written in a light, narrative style and does not focus on the details of particular theories; instead, it is arranged in a useful historical narrative which presents theories in their contexts, showing the types of art they were inspired by. This text is best used in introductory teaching, as a background reading, or as a pre-read for higher level courses where it should be followed by more focused and specialised texts.

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Freeland, Cynthia. Expression
2010, in: Portraits & Persons, Oxford: Oxford University Press, pp. 119-153.
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Added by: Hans Maes
Summary: Sketches how art and science have interacted in the development of portraiture since the 17thc and how both fields have contributed to the study of facial expression. Discusses Descartes, Le Brun, Lavater, Charles Bell, Duchenne, Darwin, Ekman.

Comment: Useful in discussing portraiture, as well as depiction and representation in general.

Artworks to use with this text:

William Blake, Democritus (1798)

Johann Kaspar Lavater included portraits of many famous people in his Essays on Physiognomy. William Blake was one of the artists who helped illustrate the English edition.

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Freeland, Cynthia. Intimacy
2010, in: Portraits & Persons, Oxford: Oxford University Press, pp. 195-241.
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Added by: Hans Maes, Contributed by: Christy Mag Uidhir
Abstract: Sumary: Begins with a discussion of objectification, first at the cultural and social level, as investigated by Catharine MacKinnon, then at the personal level, as investigated by Martha Nussbaum. Freeland also considers what 'subjectification' might amount to and how portraits can either be objectifying or subjectifying.

Comment: Useful in discussing portraiture and depiction, as well as the links between aesthetics and ethics, and objectification in general.

Artworks to use with this text:

Lucian Freud, Naked portrait (1972-3)

he people in Freud's 'naked portraits' are not shown as active or autonomous, but rather as inert material things. Their boundaries are violated, says Freeland.

Mary Cassatt, Children Playing on a Beach (1886)

Portraying children as autonomous, distinct individuals with inner lives.

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Freeland, Cynthia. Portraits in Painting and Photography
2007, Philosophical Studies 135(1): 95-109.
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Added by: Hans Maes, Contributed by: Christy Mag Uidhir
Abstract: This article addresses the portrait as a philosophical form of art. Portraits seek to render the subjective objectively visible. In portraiture two fundamental aims come into conflict: the revelatory aim of faithfulness to the subject, and the creative aim of artistic expression. In the first part of my paper, studying works by Rembrandt, I develop a typology of four different things that can be meant when speaking of an image's power to show a person: accuracy, testimony of presence, emotional characterization, or revelation of the essential "air" (to use Roland Barthes' term). In the second half of my paper this typology is applied to examples from painting and photography to explore how the two media might differ. I argue that, despite photography's alleged 'realism' and 'transparency,' it allows for artistic portraiture and presents the same basic conflict between portraiture's two aims, the revelatory and the expressive.

Comment: Considers two fundamental but conflicting aims of portraiture: the revelatory aim of faithfulness to the subject, and the creative aim of artistic expression. Explores how the two media of painting and photography might differ. Argues that despite photography's alleged 'realism' and 'transparency,' it allows for artistic portraiture and presents the same basic conflict between portraiture's two aims, the revelatory and the expressive.

Artworks to use with this text:

Richard Avedon, Jacob Israel Avedon (1969-1973)

Photographs of the artist's dying father. These frank portraits succeed at both artistic expression and the subtle rendering of the sitter's inner psychological states or character.

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Friend, Stacie. Believing in Stories
2014, in Greg Currie, Matthew Kieran, Aaron Meskin, and Jon Robson (eds), Aesthetics and the Sciences of the Mind, Oxford University Press: 227-48.
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Added by: Andrea Blomqvist
Summary:  There is a widespread assumption that we can learn facts from fiction: ordinary empirical facts about history, geography, society, biology, and so on. Although nothing about the nature of fiction precludes the acquisition of empirical knowledge, learning facts from fiction is far from straightforward. Fictional texts usually contain a mix of truths and falsehoods and are rarely vetted for accuracy. Readers should tread carefully in forming beliefs from fiction. Do they? According to various psychological studies, they do not. The evidence indicates that for some information, readers are at least as likely to believe what they read in fiction as in non-fiction. Friend claims that these results cast greater doubt on the possibility of empirical knowledge from fiction than standard objections in the literature. Drawing on work by Williamson and Sosa, she proposes that we meet this challenge by appeal to the competences exercised in reading fiction.

Comment: This paper concerns how we can learn from fiction, and it would be suitable as a required reading in a module on that topic.

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Friend, Stacie. Imagining Fact and Fiction
2008, In Kathleen Stock & Katherine Thomsen-Jones (eds.), New Waves in Aesthetics. Palgrave-Macmillan. pp. 150-169.
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Added by: Andrea Blomqvist, Contributed by: Christy Mag Uidhir
Abstract: I argue that there is no interpretation of imagining or make-believe that designates a response distinctive to fiction as opposed to nonfiction. The class of works that invite makebelieve, however it is determined, is substantially broader than our ordinary concept of fiction would allow. The question is whether there is a way of understanding the sort of imagining involved in our engagement with fictions that would carve out a narrower category. I consider various possible interpretations and argue in each case that works of nonfiction may invite the same imaginative responses as fiction, just as works of fiction may invite the same cognitive responses as nonfiction. These considerations cast doubt on definitions of fiction that appeal to make-believe, and the attempt to save the theory by restricting it to individual statements rather than whole works is unsatisfactory. A different approach to classification is required if we wish to understand the significance of the distinction.

Comment: This text would be good as further reading for students who are interested in writing a coursework essay on the topic. It is suitable in a philosophy of fiction module.

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Friend, Stacie. The pleasures of documentary tragedy
2007, British Journal of Aesthetics 47 (2):184-198.
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Added by: Chris Blake-Turner, Contributed by: Christy Mag Uidhir
Abstract: Two assumptions are common in discussions of the paradox of tragedy: (1) that tragic pleasure requires that the work be fictional or, if non-fiction, then non-transparently represented; and (2) that tragic pleasure may be provoked by a wide variety of art forms. In opposition to (1) I argue that certain documentaries could produce tragic pleasure. This is not to say that any sad or painful documentary could do so. In considering which documentaries might be plausible candidates, I further argue, against (2), that the scope of tragic pleasure is limited to works that possess certain thematic and narrative features.

Comment: This is a clearly written paper that can be used in teaching a wide array of topics in aesthetics, especially the literatures on emotional engagement with art, and documentary film. Friend does not presuppose much background knowledge on these issues. As such, this paper would make for an excellent addition to an introduction to aesthetics module, perhaps being used as a main reading for units on emotion and art. A more focused upper-division module on a subject such as philosophy of film could also benefit from this paper's inclusion.

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Frowe, Helen. The Duty to Remove Statues of Wrongdoers
2019, Journal of Practical Ethics 7(3):1-31
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Added by: Ten-Herng Lai
Abstract: This paper argues that public statues of persons typically express a positive evaluative attitude towards the subject. It also argues that states have duties to repudiate their own historical wrongdoing, and to condemn other people’s serious wrongdoing. Both duties are incompatible with retaining public statues of people who perpetrated serious rights violations. Hence, a person’s being a serious rights violator is a sufficient condition for a state’s having a duty to remove a public statue of that person. I argue that this applies no less in the case of the ‘morally ambiguous’ wrongdoer, who both accomplishes significant goods and perpetrates serious rights violations. The duty to remove a statue is a defeasible duty: like most duties, it can be defeated by lesser-evil considerations. If removing a statue would, for example, spark a violent riot that would risk unjust harm to lots of people, the duty to remove could be outweighed by the duty not to foreseeably cause unjust harm. This would provide a lesser-evil justification for keeping the statue. But it matters that the duty to remove is outweighed, rather than negated, by these consequences. Unlike when a duty is negated, one still owes something in cases of outweighing. And it especially matters that it is outweighed by the predicted consequences of wrongful behaviour by others.

Comment (from this Blueprint): This paper highlights several important things. First, statues are blunt tools and express pro-attitudes to the persons they represent as a whole. Second, it sets out a clear standard for removal, and defends the conclusion that we should remove many or even most existing statues. Third, to the question “what if removal incites violence?” this paper provides a good answer. Fourth, a legitimate question is what we should do about statues of wrongdoers of the distant past? The discussion on this here is insightful.

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Fusco, Coco. The Other History of Intercultural Performance
1994, The Drama Review 38(1): 143-167.
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Added by: Rossen Ventzislavov
Summary: Fusco's text chronicles the preparation, performance, and public reception of an artwork - "Two Undiscovered Amerindians" - she created in collaboration with Guillermo Gómez-Peña in 1992. The performance was intended as a critique of the contemporary artworld, whose shallow redemptive multiculturalism often sidelined important issues of racial difference and racialized aesthetic perception. It consisted of the two artists spending three days in a golden cage presented, in the manner of live ethnographic spectacles of the not so distant colonial past, as members of an exotic and newly discovered island nation in the Gulf of Mexico. Fusco contends that otherness is always performative and, as such, has held the entire history of performance art - from the Dadaists to the present day - captive. The resulting frequent gestures of appropriation, condescension and erasure discredit the social and intercultural consciousness most performance artists see themselves as representing. Ironically, the strange journey the "Two Undiscovered Amerindians" project has travelled has plentifully confirmed the iniquities the two artists set out to expose.

Comment: While not a philosophical text per se, this article is very helpful in discussions of the political dimension of the contemporary artworld, and the race dynamics within it.

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