Abstract: My invited comment on Steven Connor’s essay, “Doing Without Art,” proposes that a fuller understanding of the implications of my notion of “making special”—referred to by Connor in his essay as somewhat relevant to his own position—would expand his view of the human art impulse and allay some of his disaffections. Rather than contributing to aesthetic theory, the ideology of art, my work proposes an ethology of art: it suggests why members of the human species, in all times and places, made and otherwise engaged with the arts (plural). An ethology of art requires a new way of regarding its subject, not philosophically as an entity or essential quality but as a behavior, something that people everywhere “do.” What characterizes all instances of “doing with art,” from prehistory to the present, is making something (a rock surface, face or body, implement, sound, space, place, movement, utterance) special. A summary of the development and ramifications of the concept of “making special”—called “artifying” in my most recent work—answers Connor’s three questions and suggests that placing our modern ideology or ideologies of art in the wider and deeper context of artification enables an understanding of the arts as intrinsic and even necessary to human lives everywhere.
Gender and Aesthetics: An Introduction
Publisher’s note: Feminist approaches to art are extremely influential and widely studied across a variety of disciplines, including art theory, cultural and visual studies, and philosophy. Gender and Aesthetics is an introduction to the major theories and thinkers within art and aesthetics from a philosophical perspective, carefully introducing and examining the role that gender plays in forming ideas about art. It is ideal for anyone coming to the topic for the first time.
Organized thematically, the book introduces in clear language the most important topics within feminist aesthetics:
- Why were there so few women painters?
- Art, pleasure and beauty
- Music, literature and painting
- The role of gender in taste and food
- What is art and who is an artist?
- Disgust and the sublime.
Each chapter discusses important topics and thinkers within art and examines the role gender plays in our understanding of them. These topics include creativity, genius and the appreciation of art, and thinkers from Plato, Kant, and Hume to Luce Irigaray and Julia Kristeva. Also included in the book are illustrations from Gaugin and Hogarth to Cindy Sherman and Nancy Spero to clarify and help introduce often difficult concepts. Each chapter concludes with a summary and further reading and there is an extensive annotated bibliography.
Carolyn Korsmeyer’s style is refreshing and accessible, making the book suitable for students of philosophy, gender studies, visual studies and art theory, as well as anyone interested in the impact of gender on theories of art.
Nobody Needs a Theory of Art
Abstract: The question “what is art?” is often said to be venerable and vexing. In fact, the following answer to the question should be obvious: (R) item x is a work of art if and only if x is a work in practice P and P is one of the arts. Yet (R) has appeared so far from obvious that nobody has given it a moment’s thought. The trouble is not that anyone might seriously deny the truth of (R), but rather that they will find it uninformative. After all, the vexing question is pressed upon us by radical changes in art of the avant-garde, and (R) offers no resources to address these changes. With that in mind, here is the case for (R). The challenges posed by the avant-garde are real enough and they need to be addressed, but the vexing question is the wrong question to ask to address them. It does not follow that the question has no good answer. On the contrary, (R) is all the answer we need, if we do not need an answer that addresses the challenges posed by the avant-garde. Moreover, (R) points to a question that we do need answered. So, not only is it true but, in addition, (R) is as informative as we need.
The Romantic Manifesto: A Philosophy of Literature
Publisher’s note: In this beautifully written and brilliantly reasoned book, Ayn Rand throws a new light on the nature of art and its purpose in human life. Once again Miss Rand eloquently demonstrates her refusal to let popular catchwords and conventional ideas stand between her and the truth as she has discovered it. The Romantic Manifesto takes its place beside The Fountainhead as one of the most important achievements of our time.
Feeling and Form; a Theory of Art Developed From Philosophy in a New Key
Content: Langer offers a theory of art according to which artworks are purely perceptible forms which embody some sort of feeling. Objects are art if they have ‘significant form’ which is understood as a form symbolic of human feeling or clearly expressing our internal lives. A discussion of different types of symbols and ways to symbolise follows to explain how art can symbolise feeling. The book discusses different arts, where they create different ‘primary illusions’, e.g. ‘virtual time’ is characteristic of music, while ‘virtual space’ – of visual arts. Thus arts are alike in that they all create forms symbolic of human feeling, but differ in what kind of illusions they create.
Art, Artifacts, and Intentions
Content: The paper is written in support of the claim that artworks have to be artefacts. In a series of thought experiments involving driftwood and poems typed by monkeys, Eaton argues that linguistic objects such as warnings or poems have to result from intentional actions. She supports this argument by distinguishing linguistic objects from linguistic actions. To understand an utterance, it is necessary to not only explicate the meaning of the words used, but also to interpret the linguistic action which resulted in it. Literary works require interpretation, and interpretation requires reference to the linguistic actions of the work’s creator – their intentions. So literary works need to result from intentional actions, i.e. be artefacts. Similarly, artworks are objects of interpretation and thus must be artefacts.
A Sustainable Definition of “Art”
Content: Eaton begins with some remarks on the practical need for classification of art and proceeds to present and improve her definition. Her focus is not on specific properties of artworks, but on the fact that they possess properties which within a given culture are considered worth attending to. The modifications made to the theory follow a realisation of Western-centric bias embedded in the original formulation, and the discussion explicitly aims to work towards a definition which acknowledges the cultural differences in art production and appreciation. Eaton moves on to discuss Danto’s and Cohen’s claims that art cannot be defined and points out some Western-centric aspects of their arguments. The paper ends with an overview of what it is for art and its definition to be sustainable.
Glaring Omissions in Traditional Theories of Art
Abstract: 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,” a future that unfortunately rests upon the same outdated foundation as the concept “art.”.
Beyond Art
Publisher’s note: This book offers a bold new approach to the philosophy of art. General theories of art don’t work: they can’t deal with problem cases. Instead of trying to define art, we should accept that a work of art is nothing but a work in one of the arts. Lopes’s buck passing theory works well for the avant garde, illuminating its radical provocations.
Art: What It Is and Why It Matters
Content: The first three sections of this paper offer a very useful overview of modern definitions of art. Most major types of definitions are introduced and explained in a succinct way, followed by a discussion of selected objections they face. First, Abell introduces functionalism and discusses its problems with extensional adequacy. Second, procedural theories including Dickie’s institutional and Levinson’s historical definitions are discussed, and criticized for their circularity and inability to account for art’s value. Next, Abell considers two mixed theories, formulated by Robert Stecker and David Davies. She shows how they can overcome the difficulties discussed above, but run into their own problems. Finally, Berys Gaut’s cluster account is introduced and criticized for its circularity and difficulties in determining all sufficiency conditions for being an artwork. In the remainder of the paper Abell focuses on developing her own version of the institutional theory.