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Brand, Peg Zeglin. Revising the Aesthetic-Nonaesthetic Distinction: The Aesthetic Value of Activist Art
2010, In Peg Zeglin Brand & Carolyn Korsmeyer (eds.), Feminism and Tradition in Aesthetics. Penn State Press.
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Added by: Clotilde Torregrossa, Contributed by: Christy Mag Uidhir
Introduction: This essay will explore the role that the aesthetic-nonaesthetic distinction plays in assessing activist art by women and artists of color. First, I shall review one traditional line of philosophical thought and show how it serves as the foundation for three types of reasons typically given for artworks reputed to lack aesthetic value. I develop two of the three reasons by examining the recent writings opposed to the aesthetic value of activist art by well-known art critic Donald Kuspit, pointing out his aberrant use of 'obscene'. Kuspit's examples of activist art - the work of Jenny Holzer, Barbara Kruger, and Adrian Piper - are presented in light of his charges. I then explore Piper's art in depth in order to outline ways of expanding the notion of aesthetic value beyond its traditional confines. Finally, I suggest moving beyond entrenched, traditional patterns of assessment and invite underrepresented voices to contribute to the emerging discussion of the multiplicity of aesthetic values.

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Chakrabarti, Arindam. Ownerless Emotions in Rasa-Aesthetics
2011, In Ken-ichi Sasaki (ed.). Asian Aesthetics. National Univeristy of Singapore Press.
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Added by: Meilin Chinn
Summary: Chakrabarti explores the possibilities of rasa theory via the question of whose emotion is experienced when an audience relishes a work of art. Chakrabarti argues for the existence of a “centerless non-singular subjectivity” according to which the special emotions savored in aesthetic experience do not have specific owners. These personless sentiments indicate an ethical relationship between aesthetic imagination and moral unselfishness.

Comment: This text could serve as both an overview of rasa theory in Indian aesthetics, as a basis for comparative work in cross-cultural aesthetics, as well as comparative philosophy.

Related reading:

  • Abhinavabhāratī. Abhinavagupta. In Nāṭyaśāstra of Bharatamuni: Text, Commentary of Abhinava Bharati by Abhinavaguptacarya and English Translation. M.M. Ghosh (ed.). Delhi: New Bharatiya Book Corporation, 2006.
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Cooper, Leonie. Joe Corré, Son of Malcolm McLaren and Vivienne Westwood, On Why He’s Burning His £5 Million Punk Collection
2016, NME, 18th March 2016
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Added by: Quentin Pharr and Clotilde Torregrossa
Abstract: This week [18th March 2016], Joe Corré, son of punk provocateurs Malcolm McLaren and Vivienne Westwood proved that rebellion runs in the family. In response to the ongoing Punk London year of events, gigs, films, talks, exhibits, celebrating 40 years of punk – which Joe claims has been endorsed by the Queen – has announced his plans to burn his £5 million collection of punk memorabilia this November 26, on the 40th anniversary of the release of the Sex Pistols’ ‘Anarchy In The UK’. NME visited Joe at his London HQ to find out more.

Comment (from this Blueprint): This news item is an interview with Joe Corré, son of British fashion designer Vivienne Westwood and Malcolm McLaren, former manager of the Sex Pistols. In response to the 2016 events celebrating '40 years of Punk' in London, Corré announced he would burn his collection of punk artefacts, estimated to be worth £5 million (he did end up burning it on a barge on the Thames). In this interview, Corré discusses how the punk aesthetic has been appropriated by the very people and institutions that the punk movement was against - the establishment. For Corré, his collection is only worth £5 million because of the mainstream appropriation that punk has undergone - for him these items are worthless, they barely even have sentimental value. But equally, Corré, a very wealthy man himself (he co-founded the lingerie brand Agent Provocateur and sold it to private equity for £60 million), has come under fire for his decision to burn the items rather than give them to charity. As such, this piece is an interesting case study that illustrates the mechanics of class appropriation of fashion as discussed by Crane. But it can also be discussed in reference to the People's History Museum virtual exhibition from week 6, as perhaps Corré's judgement that these items are not worthy of preservation and display is itself clouded by class privilege.

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Devereaux, Mary. Protected space: Politics, censorship, and the arts
1993, Journal of Aesthetics and Art Criticism 51 (2):207-215.
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Added by: Chris Blake-Turner, Contributed by: Christy Mag Uidhir
Abstract: Anniversaries are appropriate times for reflection. On this, the 50th anniversary of the Ameri can Society for Aesthetics, I want to explore a complicated and confusing situation currently facing Anglo-American aesthetics. Works of art were once esteemed as objects of beauty. I In the past several years, however, artists have been accused of encouraging teenage suicide, urban rage, violence against women, and poisoning American culture. Museum directors have been indicted on obscenity charges, and artists and organizations receiving federal grants have been required to sign pledges that they will not pro mote, disseminate, or produce materials that may be considered obscene. Today in America, as in other times and places, artists face de mands for their art to conform to religious and moral criteria. These demands are not new, but they challenge the view that artistic expression falls under the protection of speech guaranteed by the First Amendment.2

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Du Bois, W.E.B.. Criteria of Negro Art
1926, The Crisis, 32: 290-297
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Added by: Quentin Pharr and Clotilde Torregrossa
Abstract: Published in The Crisis of October 1926, DuBois initially spoke these words at a celebration for the recipient of the Twelfth Spingarn Medal, Carter Godwin Woodson. The celebration was part of the NAACP's annual conference and was held in June 1926.

Comment (from this Blueprint): In this selection, Du Bois discusses the nature of aesthetic value, how black artists have been historically excluded from creating it for false and racist reasons, and what role black artists actually have to play in creating beauty. Firstly, he establishes an expansive conception of aesthetic value. Secondly, he sets out various examples of how black artists have been historically excluded from producing art in general and art which portrays "blackness" more specifically. And lastly, he sets out a vision for the arts which not only includes black artists, but also recognizes the aesthetic and political value of their work for creating fair and equal societies where beauty is ever present and sought. It will help readers to understand the costs and wrongs that come with exclusionary practices in the production of aesthetic objects.

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Eaton, A. W.. Robust Immoralism
2012, Journal of Aesthetics and Art Criticism 70 (3):281-292.
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Added by: Chris Blake-Turner, Contributed by: Christy Mag Uidhir
Introduction: Several years after the end of the HBO series The Sopranos , I still miss the characters. In particu lar, I miss the protagonist, Tony, who feels like an old friend. This affection of mine for the fictional mob boss gives me pause. After all, Tony Soprano is a murderer, a liar, a thief, an extortionist, and a womanizer; he is pathologically callous, selfish, bigoted, racist, homophobic, and self-centered. So why do I sympathize with him? Why do I admire him? What makes me like him so much?

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Eaton, A.W.. A Lady in the Street But a Freak in the Bed: On the Distinction Between Erotic Art And Pornography
2018, British Journal of Aesthetics, 58 (4): 469-488
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Added by: Quentin Pharr and Clotilde Torregrossa
Abstract: How, if at all, are we to distinguish between the works that we call ‘art’ and those that we call ‘pornography’? This question gets a grip because from classical Greek vases and the frescoes of Pompeii to Renaissance mythological painting and sculpture to Modernist prints, the European artistic tradition is chock-full of art that looks a lot like pornography. In this paper I propose a way of thinking about the distinction that is grounded in art historical considerations regarding the function of erotic images in 16 th -century Italy. This exploration suggests that the root of the erotic art/pornography distinction was—at least in this context—class: in particular, the need for a special category of unsanctioned illicit images arose at the very time when print culture was beginning to threaten elite privilege. What made an erotic representation exceed the boundaries of acceptability, I suggest, was not its extreme libidinosity but, rather, its widespread availability and, thereby, its threat to one of the mechanisms of sustaining class privilege.

Comment (from this Blueprint): Eaton argues that what really matters in the distinction between pornography and erotic art, has little to do with artistic or aesthetic features, value, or function. Instead, the distinction follows social power structures along the class line: the priviledged reserve art status (and positive value) to works available only in an exclusive ‘private iconic circuit’ but are otherwise no different from those available in the ‘public iconic circuit’ and labelled pornography (and evaluated negatively). Eaton likens the distinction to that between two kinds of prostitute: a ‘courtesan’ and a ‘whore’, suggesting that in both cases the distinctions originate in class divisions and serve to reinforce them. Eaton’s text can serve as a great case study in the debate surrounding the distinction between low and high art, as well as a sceptical argument against the classificatory project altogether: could all our attempts to distinguish art from non-art be just expressions of discrimination along various lines of priviledge?

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Eaton, Marcia Muelder. Merit, Aesthetic and Ethical
2001, Oxford University Press.
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Added by: Chris Blake-Turner, Contributed by: Christy Mag Uidhir
Publisher's Note: To "look good" and to "be good" have traditionally been considered two very different notions. Indeed, philosophers have seen aesthetic and ethical values as fundamentally separate. Now, at the crossroads of a new wave of aesthetic theory, Marcia Muelder Eaton introduces this groundbreaking work, in which a bold new concept of merit where being good and looking good are integrated into one.

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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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Higgins, Kathleen Marie. The Music of Our Lives
1991, Temple University Press.
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Added by: Chris Blake-Turner, Contributed by: Christy Mag Uidhir
Publisher's Note: Kathleen Higgins argues that the arguments that Plato used to defend the ethical value of music are still applicable today. Music encourages ethically valuable attitudes and behavior, provides practice in skills that are valuable in ethical life, and symbolizes ethical ideals

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hooks, bell. Art on My Mind: Visual Politics
1995, The New Press
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Added by: Quentin Pharr and Clotilde Torregrossa
Publisher’s Note: In Art on My Mind, bell hooks, a leading cultural critic, responds to the ongoing dialogues about producing, exhibiting, and criticizing art and aesthetics in an art world increasingly concerned with identity politics. Always concerned with the liberatory black struggle, hooks positions her writings on visual politics within the ever-present question of how art can be an empowering and revolutionary force within the black community.

Comment (from this Blueprint): How we "consume" and why we "consume" certain aesthetic objects, as well as value them, is under critical scrutiny in this selection from hooks. She is particularly worried about conceptions and the consumption of what is beautiful when both are heavily influenced by negative social environments, such as pre-established standards based on classist, sexist, or racist power structures. She is also concerned with pointing out that, when we abide by certain power structures in what we consider beautiful objects and worthy of consumption, we often miss out on a great deal of beautiful things which are right before our eyes in everyday circumstances. In light of her discussion, we would do well to think about what might be influencing our conceptions of what is beautiful and how and why we consume beauty as we do.

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Irvin, Sherri. Appropriation and authorship in contemporary art
2005, British Journal of Aesthetics 45 (2):123-137.
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Added by: Chris Blake-Turner, Contributed by: Christy Mag Uidhir
Abstract: Appropriation art has often been thought to support the view that authorship in art is an outmoded or misguided notion. Through a thought experiment comparing appropriation art to a unique case of artistic forgery, I examine and reject a number of candidates for the distinction that makes artists the authors of their work while forgers are not. The crucial difference is seen to lie in the fact that artists bear ultimate responsibility for whatever objectives they choose to pursue through their work, whereas the forger's central objectives are determined by the nature of the activity of forgery. Appropriation artists, by revealing that no aspect of the objectives an artist pursues are in fact built in to the concept of art, demonstrate artists' responsibility for all aspects of their objectives and, hence, of their products. This responsibility is constitutive of authorship and accounts for the interpretability of artworks. Far from undermining the concept of authorship in art, then, the appropriation artists in fact reaffirm and strengthen it.

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King, Alex. High Art, Low Art, and the Status of Aesthetics
2014, Aesthetics for Birds, November 18, 2014 [Blog]
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Added by: Quentin Pharr and Clotilde Torregrossa
Abstract: In this blogpost, King introduces the distinction between high art/highbrow and low art/lowbrow things both in terms of historical and social underpinnings. However King suggests that the distinction need not be cashed out simply in terms of what kinds of objects we choose to experience (e.g. fine wines vs. beer), but should also be understood in terms of the mode of appreciation or engagement we choose or endorse when experiencing certain objects. For instance, we can have a higbrow mode of appreciation towards an object usually considered lowbrow (and vice versa).

Comment (from this Blueprint): A short and illuminating blog post on the distinction between low art/high art, as well as lowbrow/highbrow, which could serve as a helpful introduction or background to the general debate, but also as background on the mechanics of appropriation, as King shows that this distinction doesn't merely rests on a historical or social categorization of objects, but also on our own modes of appreciation: one object could be considered lowbrow by an audience, yet be appreciated (or appropriated) by another audience as highbrow (and vice versa).

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Lambert-Beatty, Claire. Twelve Miles: Boundaries of the New Art/Activism
2008, Signs: Journal of Women in Culture and Society 33(2): 309-327.
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Added by: Rossen Ventzislavov
Summary: Lambert-Beatty explores the limits of art activism through a detailed account of Rebecca Gomperts' Women on Waves project. Starting in 2001, Gomperts - a physician with a background in art - sailed a customized maritime gynecological clinic with a crew from the Netherlands to the coastal areas of countries where abortion had been outlawed. The clinic would dock far enough from the shore (twelve miles being the limit of states' naval jurisdictions) to offer healthcare to local women undisturbed. Lambert-Beatty notes that for all of its political import, the project retains a radical imagination of the poetic kind. Considering its enthusiastic reception by the international artworld, and inclusion in major art exhibitions, it is also clear that Gomperts intended the work at least partially as art. And, yet, Women on Waves challenges notions of the aesthetic as the "retreat from the real" that it is so often seen as. Lambert-Beatty sees the pragmatic aspect of the work as an integral part of its beauty, and vice versa. This symbiotic balance seems to resolve the tension Ranciere finds "between the logic of art that becomes life at the price of abolishing itself as art, and the logic of art that does politics on the explicit condition of not doing it at all."

Comment: This text is best used in discussions of the relationship between art and political activism. It can also be used as a case study in applied ethics classes on abortion.

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Nguyen, C. Thi, Strohl, Matthew. Cultural Appropriation and the Intimacy of Groups
2019, Philosophical Studies, 176: 981–1002
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Added by: Quentin Pharr and Clotilde Torregrossa
Abstract: What could ground normative restrictions concerning cultural appropriation which are not grounded by independent considerations such as property rights or harm? We propose that such restrictions can be grounded by considerations of intimacy. Consider the familiar phenomenon of interpersonal intimacy. Certain aspects of personal life and interpersonal relationships are afforded various protections in virtue of being intimate. We argue that an analogous phenomenon exists at the level of large groups. In many cases, members of a group engage in shared practices that contribute to a sense of common identity, such as wearing certain hair or clothing styles or performing a certain style of music. Participation in such practices can generate relations of group intimacy, which can ground certain prerogatives in much the same way that interpersonal intimacy can. One such prerogative is making what we call an appropriation claim. An appropriation claim is a request from a group member that non-members refrain from appropriating a given element of the group’s culture. Ignoring appropriation claims can constitute a breach of intimacy. But, we argue, just as for the prerogatives of interpersonal intimacy, in many cases there is no prior fact of the matter about whether the appropriation of a given cultural practice constitutes a breach of intimacy. It depends on what the group decides together.

Comment (from this Blueprint): This article presents a thorough discussion of the competing interests surrounding cultural appropriation and one promising explanation of why it amounts to a harm or wrong based on the notion of intimacy - in particular, breaches of group intimacy. Although this explanation is just one of many that might be given, the hope is that readers will find tools for thinking about the previous items from this week's selections and for developing their own views on cultural appropriation.

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