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Added by: Hans Maes
Summary: As 'always already' racialized object of the white patriarchal look African-Americans have enduringly suffered from having to negotiate notions of the self from a crisis position. The act of self-portraiture for the African-American artist has the value of bestowing upon the self-portraitist a sense of empowerment.Sontag, Susan. Against Interpretation2009, Penguin Modern Classics-
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Added by: Rossen Ventzislavov, Contributed by: Christy Mag Uidhir
Summary: Sontag mines the history of philosophical aesthetics and art criticism for the reasons why interpretation has held us under its spell for the last two millennia. One such reason is our insistence on the form/content dichotomy and the vestigial prioritizing of content in the way we talk about art. Another reason is the discursive, and thus political, control that interpretation enables. A third reason is our willingness to sacrifice our unmediated experience of an artwork, and our sensitivity to an artist's intentions, for the sake of interpretative success. To counter these "reactionary, impertinent, cowardly, stifling" tendencies, Sontag proposes an "erotics of art" - a new emphasis on transparence, which favors description and appreciation over interpretation. This critical ethos does not only change the terms of conceptual engagement; it also opens the gates for creative approaches to art which explicitly challenge vestigial modes of meaning-making and meaning extraction. Even though Sontag does not specifically single any of these approaches out, performance art is arguably the most extreme of the potential candidates.Comment: This text offers a seminal critique of art interpretation and should be included in any course discussing interpretation and criticism.
Starr, Ellen Gates. Art and Labour2010, In The Craft Reader, Glenn Adamson (ed.). Berg Publishers-
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Added by: Quentin Pharr and Clotilde TorregrossaAbstract:
From the canonical texts of the Arts and Crafts Movement to the radical thinking of today's “DIY” movement, from theoretical writings on the position of craft in distinction to Art and Design to how-to texts from renowned practitioners, from feminist histories of textiles to descriptions of the innovation born of necessity in Soviet factories and African auto-repair shops, The Craft Reader presents the first comprehensive anthology of writings on modern craft. Covering the period from the Industrial Revolution to today, the Reader draws on craft practice and theory from America, Europe, Asia and Africa. The world of craft is considered in its full breadth -- from pottery and weaving, to couture and chocolate-making, to contemporary art, architecture and curation. The writings are themed into sections and all extracts are individually introduced, placing each in its historical, cultural and artistic context. Bringing together an astonishing range of both classic and contemporary texts, The Craft Reader will be invaluable to any student or practitioner of Craft and also to readers in Art and Design.Comment (from this Blueprint): Starr highlights in this selection that art and the entirety of humanity go hand-in-hand. Firstly, she notes that art (at least, the best art) has always been, in great part, an expression of humanity's "common life" and not just an expression of its elite's interests. But, secondly and more importantly, she also argues that humans, regardless of their social status or class, cannot live without beauty in their lives. Striving for art has always been essential to joy in humanity's productive capacities, and those products have always been essential to the retention of humanity's hope in itself through our consumption of it. This selection, in conjunction with Du Bois's, makes salient that, although things are often produced by many of us without art in mind and art is often consumed by relatively few of us, such a state of affairs is ultimately not amenable to producing good societies and happy peoples. Art, as she claims, can and must be by all for all, regardless of social status or class.
Steinbock, Eliza. Generative Negatives: Del LaGrace Volcano’s Herm Body Photographs2014, Transgender Studies Quarterly 1(4): 539-551.-
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Added by: Hans Maes
Summary: In conventional film photography, negatives are used in the darkroom to produce positive images, but in the outmoded medium Polaroid 665 the positive image is used to make a unique negative that can then be employed to make positive prints in the future. This generativity of the Polaroid 665 negative is used by the artist to mirror the complexity of feelings regarding intersex bodies. The series shows how negative affect can be productive and political, even when it appears to suspend agency.Comment: Useful in discussing portraiture and depiction, as well as empowerment and art's role in power relations in general.
Artworks to use with this text:
Del LaGrace Volcano, Herm Body (2011- )
Self-portraits which clearly reference the work of John Coplans and reflect on Volcano’s midlife embodiment changed by hormones, age, and weight. The title draws attention to the materiality of its subject, insisting that we receive the body as ‘herm’ – a word Volcano uses to name intersex history and claim trans embodiment. Useful in discussing portraiture and depiction, as well as empowerment and art's role in power relations in general.
Artworks to use with this text:
Del LaGrace Volcano, Herm Body (2011- )
Self-portraits which clearly reference the work of John Coplans and reflect on Volcano’s midlife embodiment changed by hormones, age, and weight. The title draws attention to the materiality of its subject, insisting that we receive the body as ‘herm’ – a word Volcano uses to name intersex history and claim trans embodiment.
Thompson, Janna. Cultural Property, Restitution and Value2003, Journal of Applied Philosphy 20(3): 251-262-
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Added by: Erich Hatala Matthes
Summary: In this paper, Thompson approaches questions about the repatriation of art and artifacts through the lens of cultural property. She briefly discusses the nature of cultural property itself, and then moves on to exploring how her preferred conception of cultural property (roughly, culturally significant objects that are legitimately acquired by a collectivity) can facilitate or hinder claims for repatriation. In particular, she discusses the relationship between cultural property-based claims and potentially countervailing considerations, such as the purported universal value (or "value for humanity") of cultural heritage.Comment: This text offers a helpful introduction to cultural property and repatriation that is clear, readable, and concise. It is a good choice if you only have time for a single reading on this topic, but it also pairs well with most other readings in this module.
Thompson, Janna. Art, Property Rights, and the Interests of Humanity2004, Journal of Value Inquiry 38(4): 545-560.-
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Added by: Erich Hatala Matthes
Summary: In this paper, Thompson sets up a potential tension between two kinds of cases. On the one hand, we might think it is wrong for a wealthy collector to destroy great works of Western art that have value for all of humanity. On the other hand, we might think it is acceptable for indigenous peoples to rebury or ritually destroy artifacts from their culture, even though these works might also have value for all of humanity. How do we reconcile these intuitions? After discussing and dismissing attempts to resolve the problem by appeal to the value of the property for its possessors or the desires of non-owners, Thompsons suggests that by looking at the value of art in the context of different cultural traditions we can see why a certain universalism about the value of art will tell against allowing the destruction of artwork by the wealthy collector, but allow for the reburial or destruction of artifacts by certain indigenous communities.Comment: This paper pairs well with Kwame Anthony Appiah's 'Whose Culture Is It, Anyway?' or Peter Lindsay's "Can We Own the Past? Cultural Artifacts as Public Goods." It is particularly good at engaging questions about the universal value of art and its implications for ownership introduced in those texts.
Todd, Loretta. Notes on Appropriation1990, Parallelogramme 16(1): 24-33.-
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Added by: Erich Hatala Matthes
Summary: Todd (Métis) situates contemporary acts of cultural appropriation in the colonial appropriation of indigenous land. She offers a normative definition of cultural appropriation according to which it is understood as the opposite of cultural autonomy. In the course of her discussion, she responds to a number of defenses of cultural appropriation that, she argues, fail to recognize the asymmetries of power in which appropriation from indigenous communities is embedded.Comment: This is an excellent text to use in order to present students with a conception of the wrong of cultural appropriation that is firmly rooted in the context of colonial power dynamics. It is short, and can be usefully compared and contrasted with the arguments presented by James O. Young in "Profound Offense and Cultural Appropriation.".
Tsai, George. The morality of state symbolic power2016, Social Theory and Practice, 42(2):318–342-
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Added by: Ten-Herng LaiAbstract:
Philosophical interest in state power has tended to focus on the state’s coercive powers rather than its expressive powers. I consider an underexplored aspect of the state’s expressive capacity: its capacity to use symbols (such as monuments, memorials, and street names) to promote political ends. In particular, I argue that the liberal state’s deployment of symbols to promote its members’ commitment to liberal ideals is in need of special justification. This is because the state’s exercise of its capacity to use symbols may be in tension with respecting individual autonomy, particularly in cases in which the symbols exert influence without engaging citizens’ rational capacities. But despite the fact that the state’s deployment of symbols may circumvent citizens’ rational capacities, I argue that it may nonetheless be permissible when surrounded by certain liberal institutions and brought about via democratic procedures.Comment (from this Blueprint): This paper is not about objectionable commemorations in particular, but sets out to explore how any political symbols can be justified at all in a liberal democratic state. This should be a preliminary to any discussion we have about statues and monuments. A particular point of interest is that, according to Tsai, the state ought to engage with its citizens through rational persuasion. This will be relevant to latter discussions regarding the nature of moral education, and the role emotions play in it.
van Brabant, Petra, Prinz, Jesse. Why Do Porn Films Suck?2012, in Art and Pornography: Philosophical Essays, ed. by Hans Maes and Jerrold Levinson (Oxford: Oxford University Press).-
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Added by: Simon Fokt
Content: The authors present ‘the paradox of porn’: pornography seems to score very highly on various evaluative criteria which make art good (e.g. ability to elicit strong emotions), and has features similar to great art (e.g. ‘Brechtian’ acting, idealisation of the human body), yet is rarely consider art. They proceed to discuss some arguments for the exclusivist thesis, suggesting that they ‘reflect a limited knowledge of or experience with pornography’ (168). A review of various types of non-mainstream porn leads them to claim that the division between pornography and art is a false dichotomy. Section 3 revisits the paradox, offering an analysis of various reasons which could lead to so little porn being (considered) art. After rejecting most of the common arguments, the authors suggest that a great majority of porn is not art for purely contingent reasons: very few pornographers even try to pursue that possibility. But pornography has the potential to be great art, and section 4 explores the ways in which it could.Comment: This text is a fairly easy and a very entertaining read, and is presented in a form of an intriguing and unexpected paradox. This makes it an excellent introductory reading which can really interest students in the subject. It also paints a very varied and diverse picture of pornography, reaching far beyond the mainstream images most often discussed in the literature, and likely best known to students.
Vergine, Lea. The Body as Language. Body Art and Like Stories2000, In: Body Art and Performance: The Body as Language. Trans. Henry Martin. Milan: Skira Editore S.p.A.. 7-27.-
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Added by: Rossen Ventzislavov
Summary: Vergine's account of the formative years of performance art takes stock of the many innovative strategies artists developed for re-engaging the human body. One of the crucial dimensions of this reengagement is the positioning of one's body in physical proximity with others. This happens in art through the bodily negotiation of basic dichotomies such as nature/artifice, ethos/pathos, agency/abandon, publicity/privacy, mortality/immortality etc. Vergine sees objects, and the body's undifferentiated objecthood, as active participants in the performative communication and communion between artist and audience. These forms of togetherness stand or fall on the intensity of all parties' affective investment, but they are also equally affected by the level of intellectual mutuality an art work occasions. According to Vergine, the demand for intelligent analysis and deep understanding that performance art places on its audience is balanced out by the artists' bodily presence. For her the artist's body does not serve merely as a mechanical expedient. It also "contributes to the life of consciousness and memory in a psycho-physical parallelism of processes that assume meaning and relief only when they are connected."Comment: This text offers a historical overview of our concept of the human body in the context of art. It can be useful in any class on body aesthetics, performance art, or dance.
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Smalls, James. African-American Self-Portraiture
2001, Third Text, pp. 47-62.
Comment: Useful in discussing portraiture and depiction, as well as empowerment and art's role in power relations in general.
Artworks to use with this text:
Lyle Ashton Harris, Construct #10 (collection of the artist, 1988)
Harris's self-portraits are redemptive and liberatory in their focus on the self. They challenge standard discourse on identity and subjectivity to present a new sign of black power and liberation. Because his photographs expose gender as constructed and performed, they also, in the process, subvert phallocentrism and compulsory heterosexuality. Useful in discussing portraiture and depiction, as well as empowerment and art's role in power relations in general.
Artworks to use with this text:
Lyle Ashton Harris, Construct #10 (collection of the artist, 1988)
Harris's self-portraits are redemptive and liberatory in their focus on the self. They challenge standard discourse on identity and subjectivity to present a new sign of black power and liberation. Because his photographs expose gender as constructed and performed, they also, in the process, subvert phallocentrism and compulsory heterosexuality.