Hovey, Jaime. Picturing Yourself: Portraits, Self-Consciousness, and Modernist Style
2006, in: A Thousand Words. Portraiture, Style, and Queer Modernism, Columbus: Ohio State University Press.
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Added by: Hans Maes
Summary: Focuses on the modernist literary portrait in general and on Wilde's novel in particular. Also contains multiple references to painted portraits. Argues that queer modernist portraits concentrate on dynamic aspects of style and personality, presenting both the sitter's style and personality and the personality of the artist who renders her. Explores how style becomes another vehicle where a dangerous homosociality can be reduced into a manifestation of the merely particular (and vice versa).Irvin, Sherri. Scratching an itch2008, Journal of Aesthetics and Art Criticism 66 (1):25-35.-
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Added by: Chris Blake-Turner, Contributed by: Christy Mag Uidhir
Introduction: In recent years, momentum has been gathering in defense of the appropriateness of aesthetic discourse in relation to a number of domains other than art and nature. Philosophers have argued that food, sports, and sex can be viewed aesthetically. It has been claimed that the "lower senses" of smell, taste, and touch may play legitimate or even exclusive roles in some aesthetic judgments. And there has been sustained criticism of the view that aesthetic judgments must be disinterested or must transport us out of the concerns of everyday life. Can this extension of the realm of the aesthetic be taken even further, so as to accommodate the idea that even the most mundane incidents of everyday life have an aesthetic character, or that there can be aesthetic experiences of such incidents? With attention to two especially hard cases, itches and scratches, I will argue that it is appropriate and worthwhile to think of even the simplest moments of everyday life in aesthetic terms. It is appropriate, because on the most plausible accounts of aesthetic experience there can be legitimate aesthetic experiences of itching and scratching; and it is worthwhile, because aesthetic attention to this domain offers the prospect of unique and significant satisfaction.Comment:
Irvin, Sherri. The artist’s sanction in contemporary art2005, Journal of Aesthetics and Art Criticism 63 (4):315-326.-
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Added by: Chris Blake-Turner, Contributed by: Christy Mag Uidhir
Introduction: Contemporary artworks raise a variety of ontological, epistemological, and interpretative questions that have not yet been adequately dealt with in aesthetics. Whereas traditional visual artworks have typically had a set of privi leged and (ideally) unchanging properties fixed at a particular moment early in their histories, a contemporary installation artwork may be installed differently each time it is taken out of storage, or even constituted out of different objects at each exhibition site. The resulting variation in its configuration and visual properties may simply be a function of the changing features of galleries or available materials, or it may be essential to the work's meaning. Or both: many contemporary works are site specific, essentially responsive to their environments in such a way that context is incorporated into the work's meaningComment:
Jones, Amelia. Art History / Art Criticism: Performing Meaning1999, In: Performing the Body / Performing the Text. Ed. Amelia Jones and Andrew Stephenson. New York: Routledge. 39-55.-
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Added by: Rossen Ventzislavov
Summary: Jones' essay offers a critique of philosophical and art-historical interpretation. Her main contention is that attributions of meaning in philosophical aesthetics and art criticism are traditionally a manner of top-down bestowal - i.e. artworks are rendered intelligible by certain pre-established and often institutionalized conceptual paradigms. In this, the often unstable meanings of art works themselves are not only inadvertently lost but often even intentionally stifled. To rehabilitate such meanings, and destabilize the homogenous discourses that try to contain them, Jones proposes a "feminist phenomenological approach… deeply invested in performing meaning." What this amounts to is a newfound sensitivity to all aspects of art - the performative, physical, contingent, messy, gendered, theatrical, emotional etc. - that have been systematically marginalized by philosophers and art critics since Kant. There is, according to Jones, an intractable economy of desire that absorbs artistic creation into the cumulative enterprise of human interaction and, instead of sweeping it under the rug for the sake of stability, philosophers and art critics should engage this economy on its own tentative terms.Comment: Useful in classes on art interpretation. Can inspire great discussions when read together with (parts of) Kant's Critique of Judgment.
Karlström, Anna. Authenticity2015, In Heritage Keywords, edited by Kathryn Lafrenz Samuels and Trinidad Rico. USA: University Press of Colorado.-
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Added by: Erich Hatala Matthes
Summary: This text offers a brief overview of some approaches to the concept of authenticity in international heritage management. Focusing on a case study of Buddhist sites in Laos, Karlström then argues that culturally specific understandings of authenticity pose problems for the universal application of a preservationist approach to heritage management. It concludes with some open-ended questions about how we should pursue alternative approaches.Comment: This is a good text for instructors who want to discuses authenticity in the context of a reasonably in-depth look at a particular non-Western cultural context. While the article itself is light on conceptual/ philosophical work, if offers useful material for philosophical analysis and discussion. It would pair well with the theoretical framework provided in Yuriko Saito's "Why Restore Works of Art?", or the alternative approach to authenticity captured in Carolyn Korsmeyer's "Real Old Things."
King, Alex. High Art, Low Art, and the Status of Aesthetics2014, Aesthetics for Birds, November 18, 2014 [Blog]-
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Added by: Quentin Pharr and Clotilde TorregrossaAbstract:
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).
Korsmeyer, Carolyn. Making Sense of Taste: Food and Philosophy1999, Cornell University Press.-
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Added by: Chris Blake-Turner, Contributed by: Christy Mag Uidhir
Publisher's Note: Taste, perhaps the most intimate of the five senses, has traditionally been considered beneath the concern of philosophy, too bound to the body, too personal and idiosyncratic. Yet, in addition to providing physical pleasure, eating and drinking bear symbolic and aesthetic value in human experience, and they continually inspire writers and artists.In Making Sense of Taste, Carolyn Korsmeyer explains how taste came to occupy so low a place in the hierarchy of senses and why it is deserving of greater philosophical respect and attention. Korsmeyer begins with the Greek thinkers who classified taste as an inferior, bodily sense; she then traces the parallels between notions of aesthetic and gustatory taste that were explored in the formation of modern aesthetic theories. She presents scientific views of how taste actually works and identifies multiple components of taste experiences. Turning to taste's objects?food and drink?she looks at the different meanings they convey in art and literature as well as in ordinary human life and proposes an approach to the aesthetic value of taste that recognizes the representational and expressive roles of food. Korsmeyer's consideration of art encompasses works that employ food in contexts sacred and profane, that seek to whet the appetite and to keep it at bay; her selection of literary vignettes ranges from narratives of macabre devouring to stories of communities forged by shared eating.Comment:
Locke, Alain LeRoy. The Philosophy of Alain Locke: Harlem Renaissance and Beyond1989, Temple University Press.-
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Added by: Chris Blake-Turner, Contributed by: Lydia Patton
Publisher's Note: This collection of essays by American philosopher Alain Locke (1885-1954) makes readily available for the first time his important writings on cultural pluralism, value relativism, and critical relativism. As a black philosopher early in this century, Locke was a pioneer: having earned both undergraduate and doctoral degrees at Harvard, he was a Rhodes scholar at Oxford, studied at the University of Berlin, and chaired the Philosophy Department at Howard University for almost four decades. He was perhaps best known as a leading figure in the Harlem Renaissance.
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Lopes, Dominic McIver. Sight and Sensibility: Evaluating Pictures2005, Clarendon Press.-
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Added by: Chris Blake-Turner, Contributed by: Christy Mag Uidhir
Publisher's Note: Images have power - for good or ill. They may challenge us to see things anew and, in widening our experience, profoundly change who we are. The change can be ugly, as with propaganda, or enriching, as with many works of art. Sight and Sensibility explores the impact of images on what we know, how we see, and the moral assessments we make. Dominic Lopes shows how these are part of, not separate from, the aesthetic appeal of images. His book will be essential reading for anyone working in aesthetics and art theory, and for all those intrigued by the power of images to affect our lives. '...tightly focused and carefully argued... an exceptionally interesting contribution to the philosophy of art: it contains subtle, concise, and convincing discussions of a number of difficult concepts and contentious doctrines... lucid and meticulous'Comment:
Macdonald, Margaret. The Language of Fiction1954, Aristotelian Society Supplementary Volume 28 (1):165-196.-
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Added by: Chris Blake-Turner, Contributed by: Christy Mag Uidhir
Abstract: The opening sentence of Jane Austen's novel Emma is a sentence from fiction. Emma is a work in which the author tells a story of characters, places and incidents almost all of which she has invented. I shall mean by " fiction " any similar work. For unless a work is largely, if not wholly, composed of what is invented, it will not correctly be called " fiction ". One which contains nothing imaginary may be history, science, detection, biography, but not fiction. I want to ask some questions about how an author uses words and sentences in fiction. But my interest is logical, not literary. I shall not discuss the style or artistic skill of any storyteller. Mine is the duller task of trying to understand some of the logic of fictional language; to determine the logical character of its expressions. How do they resemble and differ from those in other contexts? What are they understood to convey? Are they, e.g., true or false statements? If so, of or about what are they true or false? If not, what other function do they perform? How are they connected? These are the questions I shall chiefly discuss.Comment:
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Comment: Useful in discussing portraiture, as well as depiction and representation in general.
Artworks to use with this text:
Oscar Wilde, The Picture of Dorian Gray (1890)
Cleverly framed as a story about a portrait within a portrait, and written by Wilde in part to demonstrate to his artistic nemesis James McNeil Whistler the superiority of writing to painting, Dorian serves to illustrate the central thesis of Hovey's study. Interweaves reflections on Wilde's personal style, his style as an author, the style of the painter and of the painting, the style of the characters in the book, and queer modernist style in general. Useful in discussing portraiture, as well as depiction and representation in general.
Artworks to use with this text:
Oscar Wilde, The Picture of Dorian Gray (1890)
Cleverly framed as a story about a portrait within a portrait, and written by Wilde in part to demonstrate to his artistic nemesis James McNeil Whistler the superiority of writing to painting, Dorian serves to illustrate the central thesis of Hovey's study. Interweaves reflections on Wilde's personal style, his style as an author, the style of the painter and of the painting, the style of the characters in the book, and queer modernist style in general.