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Added by: Clotilde Torregrossa, Contributed by: Christy Mag Uidhir
Publisher's Note: This book examines six modern art trials covering a wide range of legal and artistic considerations ... the first in-depth examination of the art trial from every intriguing point of view.Battersby, Christine. Gender and Genius: Towards a Feminist Aesthetics1989, Indiana University Press.-
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Added by: Chris Blake-Turner, Contributed by: Christy Mag Uidhir
Publisher's Note: During the Middle Ages and the Renaissance, women were blamed for having too much passion, imagination and sexual appetite. By the late eighteenth century, however, these qualities had been revalued and appropriated for male artists. The virtues attributed to the Romantic"genius" made him like a woman but not a woman. He belonged to a third, supermale sex. As new and old concepts of woman and genius clashed, there evolved a rhetoric of sexual apartheid which today still affects our perceptions of cultural achievement. Genius from the time of the Greeks has been defined as male. In this study, Christine Battersby traces the history of the concept of genius from ancient Rome to the present day, showing how pagan myths linking divinity with male procreativity have survived into our own time. The author explores the dilemma faced by female creators who have resisted the idea that Art requires "feminine" qualities of mind but male sexual energies. GENDER AND GENIUS argues, against those currently seeking to establish an aesthetics of the "feminine," that a feminist aesthetics must look to the achievements of women artists in the past as well as in the present.Comment:
Bauer, Nancy. How to Do Things With Pornography2015, Harvard Univeristy Press.-
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Added by: Andrea Blomqvist, Contributed by: Rosa Vince
Publisher's Note: Feminist philosophers have made important strides in altering the overwhelmingly male-centric discipline of philosophy. Yet, in Nancy Bauer’s view, most are still content to work within theoretical frameworks that are fundamentally false to human beings’ everyday experiences. This is particularly intolerable for a species of philosophy whose central aspiration is to make the world a less sexist place. How to Do Things with Pornography models a new way to write philosophically about pornography, women’s self-objectification, hook-up culture, and other contemporary phenomena. Unafraid to ask what philosophy contributes to our lives, Bauer argues that the profession’s lack of interest in this question threatens to make its enterprise irrelevant. Bauer criticizes two paradigmatic models of Western philosophizing: the Great Man model, according to which philosophy is the product of rare genius; and the scientistic model, according to which a community of researchers works together to discover once-and-for-all truths. The philosopher’s job is neither to perpetuate the inevitably sexist trope of the philosopher-genius nor to “get things right.” Rather, it is to compete with the Zeitgeist and attract people to the endeavor of reflecting on their settled ways of perceiving and understanding the world. How to Do Things with Pornography boldly enlists J. L. Austin’s How to Do Things with Words, showing that it should be read not as a theory of speech acts but as a revolutionary conception of what philosophers can do in the world with their words.Comment: This book has chapters that will be useful for feminism modules, including critiques of the pornography and silencing literature, and on objectification, and self-objectification. It also contains plenty of witty critiques of white male dominated western philosophy.
Bell, Macalester. Against Simple Removal: A Defence of Defacement as a Response to Racist Monuments, Journal of Applied Philosophy-
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Added by: Ten-Herng LaiAbstract:
In recent years, protesters around the world have been calling for the removal of commemorations honouring those who are, by contemporary standards, generally regarded as seriously morally compromised by their racism. According to one line of thought, leaving racist memorials in place is profoundly disrespectful, and doing so tacitly condones, and perhaps even celebrates, the racism of those honoured and memorialized. The best response is to remove the monuments altogether. In this article, I first argue against a prominent offense-based account of the wrong of simply leaving memorials in place, unaltered, before offering my own account of this wrong. In at least some cases, these memorials wrong insofar as they express and exemplify a morally objectionable attitude of race-based contempt. I go on to argue that the best way of answering this disrespect is through a process of expressively “dehonouring” the subject. Removal of these commemorations is ultimately misguided, in many cases, because removal, by itself, cannot adequately dishonour, and simple removal does not fully answer the ways in which these memorials wrong. I defend a more nuanced approach to answering the wrong posed by these monuments, and I argue that public expressions of contempt through defacement have an ineliminable role to play in an apt dishonouring process.Comment (from this Blueprint): Two things should be noted in this paper. First, many have discussed the importance of stopping or blocking the harm of objectionable commemorations. This paper goes a step further and discusses the importance of “answering” the wrong done by these monuments. Second, the paper engages with a “negative” emotion, namely, contempt, that is present at both racist monuments and the effort to confront them. It allows us to see the legitimate role this negative emotion may play in the struggle for equality: contempt can be apt towards inapt contempt expressed through racist monuments. It also nicely spells out the potential practical implications of taking this negative emotion seriously.
Berninger, Anja. Commemorating Public Figures–In Favour of a Fictionalist Position2020, Journal of Applied Philosophy-
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Added by: Ten-Herng LaiAbstract:
In this article, I discuss the commemoration of public figures such as Nelson Mandela and Yitzhak Rabin. In many cases, our commemoration of such figures is based on the admiration we feel for them. However, closer inspection reveals that most (if not all) of those we currently honour do not qualify as fitting objects of admiration. Yet, we may still have the strong intuition that we ought to continue commemorating them in this way. I highlight two problems that arise here: the problem that the expressed admiration does not seem appropriate with respect to the object and the problem that continued commemorative practices lead to rationality issues. In response to these issues, I suggest taking a fictionalist position with respect to commemoration. This crucially involves sharply distinguishing between commemorative and other discourses, as well as understanding the objects of our commemorative practices as fictional objects.Comment (from this Blueprint): This is a persuasive article arguing for a somewhat counter-intutive conclusion. The fictionalist approach, that what we honour is not the historical figure, but some idealised version of them, seems to capture what we actually do in the real world, even if we think we are not doing this. Do compare the position on eliminativism with Frowe's paper.
Bishop, Claire. Antagonism and Relational Aesthetics2004, October 110: 51-79.-
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Added by: Rossen Ventzislavov
Summary: Bishop offers a critique of "relational aesthetics" - an approach to installation art that originated in the 1990's and whose main proponent and interpreter was Nicolas Bourriaud. Bourriaud's chief claim is that the art movement in question promotes intersubjective relationships (between artist and audience members and among audience members alike) and privileges social and political cohesion over other possible aspects of the aesthetic experience. While Bishop finds this ethos applicable to the work of the artists Bourriaud chooses to discuss (Rikrit Tiravanija, Liam Gillick etc.), she finds it difficult to reconcile relational aesthetics with the realities and concerns of the larger artworld. Antagonism is for Bishop just as viable a driving force in the making and appreciation of art as are social cohesion and intersubjective togetherness. Furthermore, as the history of early performance art and its reception shows, what makes art difficult, and thus politically important, is precisely the tensions that the makers and theorists of relational aesthetics attempt to quell.Comment: This text offers a good introduction to relational aesthetics. Best if read together with (some of) Nicolas Bourriaud's work on relational aesthetics.
Brand, Peg Zeglin. Revising the Aesthetic-Nonaesthetic Distinction: The Aesthetic Value of Activist Art2010, 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.Comment:
Burch-Brown, Joanna. Is it Wrong to Topple Statues and Rename Schools?2017, Journal of Political Theory and Philosophy 1(1):59-88-
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Added by: Ten-Herng LaiAbstract:
In recent years, campaigns across the globe have called for the removal of objects symbolic of white supremacy. This paper examines the ethics of altering or removing such objects. Do these strategies sanitize history, destroy heritage and suppress freedom of speech? Or are they important steps towards justice? Does removing monuments and renaming schools reflect a lack of parity and unfairly erase local identities? Or can it sometimes be morally required, as an expression of respect for the memories of people who endured past injustices; a recognition of this history's ongoing legacies; and a repudiation of unjust social hierarchies?Comment (from this Blueprint): It is often thought that statues and monuments, even those of terrible people, are innocuous, that they cannot harm or affect us negatively. This paper helps to spell out the harms of preserving these commemorations. Among other important issues, this paper also engages with the “anachronism” problem, that we are judging people of the past with contemporary standards. This paper also gives a good introduction on the notion of “ideology” and its relation to objectionable commemorations.
Butler, Judith, Athena Athanasiou. The Political Promise of the Performative2013, In: Dispossession: The Performative in the Political. London: Polity. 140-148.-
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Added by: Rossen Ventzislavov
Summary: In this conversation Butler and Athanasiou explore the parameters of the public performance of political dissent. They discuss instances of political protest that link up to Butler and Athanasiou's shared sense of performativity. For the two of them, performativity is the aspect of our social life that manifests surprise, challenge and urgency through the human body. This makes the performative an especially effective instrument against the disparity, dispossession and desperation the better part of humanity is forced to endure.Comment: This text is best used as a further or specialised reading in classes on political dissent and subversion of social norms. It can inspire interesting discussions on ways to express dissent and protest, and can be very useful in discussions of politically involved art.
Campbell, Shelley. Myra: a Portrait of a Portrait2013, in: Hannah Priest (ed.), The Female of the Species: Cultural Constructions of Evil, Women and the Feminine, Oxford: Inter-disciplinary Press.-
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Added by: Hans Maes
Summary: Considers philosophical problems with representation, particularly in regard to the loss of particularity and individuality in instances when an identity takes on symbolic proportions. Hindley, the woman, has been totally merged with Hindley, the monster. Her particularity has been subsumed as a two-dimensional stereotype by having her photo treated with obsessive media attention by being repetitively linked to that same hated stereotype.Comment: Useful in classes focused on depiction and representation.
Artworks to use with this text:
Marcus Harvey, Myra (1995)
Despite Harvey's attack on reflex reactions to Hindley and his verbal protest to the contrary, his portrait has further incited public outrage and denied her a chance of fair treatment. There's a clear discrepancy between what the artist has said in interviews and what the painting appears to express. Useful in classes focused on depiction and representation.
Artworks to use with this text:
Marcus Harvey, Myra (1995)
Despite Harvey's attack on reflex reactions to Hindley and his verbal protest to the contrary, his portrait has further incited public outrage and denied her a chance of fair treatment. There's a clear discrepancy between what the artist has said in interviews and what the painting appears to express.
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Adams, Laurie. Art on Trial: From Whistler to Rothko
1976, New York: Walker & Co
Comment: Of particular interest is chapter 4: Traitor or forger? - Van Meegeren vs. Vermeer, dealing with issues of authenticity, forgery, and art ontology