Schellekens Dammann, Elisabeth. The aesthetic value of ideas
2007, In Peter Goldie & Elisabeth Schellekens (eds.), Philosophy and Conceptual Art. Oxford University Press.
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Added by: Chris Blake-Turner, Contributed by: Christy Mag UidhirIntroduction: One of the least controversial aspects of the highly provocative project that was early conceptual art was its wholesale rejection of the modernist paradigm. For artists adhering to the conceptual approach, modernism's loyalty to the notions of beauty, aesthetic sensation, and pleasing form, represented a commitment to obsolete artistic axioms.' Art, it was argued, should be purged of expressivist or emotivist aims; it was to '[free] itself of aesthetic parameters' and embrace an altogether different ontological platform. On this line, a conceptual artwork was taken to be 'a piece: and a piece need not be an aesthetic object, or even an object at all' (Binkley 1977: 265). In contrast to modernism, then, conceptual art set itself, from its very beginning, a distinctively analytic agenda by proposing to revise the kind of thing an artwork can be in order to qualify as such, and pronouncing aesthetics 'conceptually irrelevant to art' (Kosuth 1969). It is in view of this that conceptual art, to use the words of some of its most prominent exponents, can be understood as 'Modernism's nervous breakdown' (Art - Language 1997).Comment: This is a stub entry. Please add your comments below to help us expand it
Shapshay, Sandra. Schopenhauer’s Aesthetics and Philosophy of Art
2012, Philosophy Compass 7 (1):11-22.
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Added by: Chris Blake-Turner, Contributed by: Christy Mag UidhirAbstract: This essay focuses on Schopenhauer's aesthetics and philosophy of art, areas of his philosophy which have attracted the most philosophical attention in recent years. After discussing the subjective and objective aspects of aesthetic experience on his account, I shall offer interpretations of Schopenhauer's theory of the sublime and solution to the problem of tragedy. In addition, I shall touch upon the liveliest interpretive debates concerning his aesthetic theory: the intelligibility of the 'Platonic Ideas' as the objects of aesthetic experience and the very possibility of aesthetic experience within Schopenhauer's system. Another aim of this essay is to suggest how some of Schopenhauer's aesthetic doctrines may be interpreted in a less metaphysically extravagant way. When understood in this manner, contemporary aestheticians might be inclined to take a closer look at Schopenhauer's aesthetic theory and philosophy of art, for it is distinctive in the tradition of Western philosophical aesthetics in its attempt to highlight and balance the hedonic and cognitive importance of aesthetic experiences; in its sensitivity both to the aesthetic experience of nature as well as of art; in the high value placed on the experience of music ; and in the innovative solution to the problem of tragedy it offers
Shapshay, Sandra. What Is the Monumental?
2021, Journal of Aesthetics and Art Criticism, 79(2): 145-160
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Added by: Ten-Herng Lai & Chong-Ming LimAbstract:
The aesthetic category of the sublime has been theorized (especially in the Kantian tradition) as integrally intertwined with the moral. Paradigmatic experiences of the sublime, such as gazing up at the starry night sky, or out at a storm-whipped sea, lead in a moral or religious direction depending on the cognitive stock brought to the experience, since they typically involve a feeling of awe and reflection on the peculiar situation of the human being in nature. The monumental is a similar aesthetic category, integrally intertwined with the political, but, by contrast, has garnered almost no attention from aestheticians. My main goal in this paper is to sketch a theory of ‘the monumental’ as an aesthetic category—one that is a species of the sublime but differs qualitatively from the natural/environmental sublime in significant ways, and thus merits a distinctive label. In doing so, I aim to shed light on the nature and power of monuments specifically, and to begin to address a lacuna in our understanding of a long-standing and culturally important form of public art.Comment (from this Blueprint): This paper can be used for discussions of whether the 'monumental' is a unique aesthetic category, especially in relation to the sublime.
Sigman, Jill. Self-Mutilation, Interpretation and Controversial Art
2003, Midwest Studies in Philosophy 27(1): 88–114.
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Added by: Rossen VentzislavovSummary: Sigman studies outrage and offense in the art context. The first important observation she makes is that, often enough, the public's recoiling from a piece of art comes with the assumption that the object of offense is interpretatively transparent. This is because in the absence of art-historical or theoretical wherewithal, we default to pre-conceptual reactions - fear of otherness, loss of our ethical bearings, low self-esteem etc. Since most historical offense-based arguments against art have made a claim that the particular work is demeaning to the public, Sigman carefully lays out the features of demeaning treatment - a mostly intentional act that treats persons as less than persons, usually in an abusive manner. On this description, very few artworks could be considered demeaning. Furthermore, as Sigman shows in her art-historical contextualization of artist Stelarc's performance work Street Suspension, public outrage could be tempered and/or extinguished through attentive engagement with problematic artworks.Comment: This is a thought-provoking text which can provide good background for a debate on controversial art. It is quite easy to read and features examples which make it accessible for beginners classes on aesthetics, art interpretation, the value of art, and modern art in general.
Silvers, Anita. Has her(oine’s) time now come?
1990, Journal of Aesthetics and Art Criticism 48 (4):365-379.
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Added by: Chris Blake-Turner, Contributed by: Christy Mag UidhirAbstract: Following suggestions drawn from both analytic and postmodernist sources, I shall advise revisionist artwriters to follow Fou- cault's caution against conceiving of the artists whose stories are related in arts scholarship as historical persons who originated (that is, were the origins of) their art, and who, consequently, are prior to and separate from it. From this perspective, it is problematic how references to properties external to works of art-properties like gender-function in the kind of artwriting crucial to canonical reform.
Silvers, Anita. From the Crooked Timber of Humanity, Beautiful Things Can Be Made
2000, in: Brand, Peg Zeglin (ed.), Beauty Matters, Bloomington: Indiana University Press, pp. 197-221.
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Added by: Hans MaesSummary: Starting from our appreciation of cubist portraits, asks why it to commonplace for us to contemplate distorted depictions of faces with eagerness and enjoyment but to be repelled by real people whose physiognomies resemble the depicted ones. Argues that the aesthetic process that permits our attraction to portrayed human anomalies can be expanded so as to offset the devalued social positioning of real people whose physiognomic features are anomalous. Presenting an anomaly as originality rather than deviance is crucial.Comment: Useful in discussing portraiture and depiction, beauty, as well as the links between aesthetics and ethics.
Artworks to use with this text:
Pablo Picasso, Maya with a Doll (1938)
Cubist portrait of a child. Silvers interestingly compares this to a photo of a child with osteogenesis imperfecta. Useful in discussing portraiture and depiction, beauty, as well as the links between aesthetics and ethics.
Artworks to use with this text:
Pablo Picasso, Maya with a Doll (1938)
Cubist portrait of a child. Silvers interestingly compares this to a photo of a child with osteogenesis imperfecta.
Silvers, Anita. From the Crooked Timber of Humanity, Beautiful Things Should Be Made!
2011, APA Newsletter, 10(2): 1-5.
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Added by: Hans Maes, Contributed by: Christy Mag UidhirSummary: Follow-up essay on her 'From the Crooked Timber of Humanity, Beautiful Things Can Be Made' (note the one-word difference in the title). Adds the idea that medical professionals have at least a mild duty to cultivate aesthetic judgment of individuals with biological differences. Also makes the case that beauty is not the same thing as attractiveness or normalcy.Comment: Useful in discussing portraiture and depiction, beauty, as well as the links between aesthetics and ethics.
Artworks to use with this text:
Riva Lehrer, Susan Nussbaum (1998)
This portrait of disability activist Nussbaum invokes Picasso's famous portrait of Gertrude Stein (1906). It is discussed in Garland-Thomson. Useful in discussing portraiture and depiction, beauty, as well as the links between aesthetics and ethics.
Artworks to use with this text:
Riva Lehrer, Susan Nussbaum (1998)
This portrait of disability activist Nussbaum invokes Picasso's famous portrait of Gertrude Stein (1906). It is discussed in Garland-Thomson.
Smalls, James. African-American Self-Portraiture
2001, Third Text, pp. 47-62.
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Added by: Hans MaesSummary: 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.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.
Sontag, Susan. Against Interpretation
2009, Penguin Modern Classics
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Added by: Rossen Ventzislavov, Contributed by: Christy Mag UidhirSummary: 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.
Spaulding, Shannon. Imagination, Desire, and Rationality
2015, Journal of Philosophy 112 (9):457-476 (2015)
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Added by: Andrea BlomqvistAbstract: We often have affective responses to fictional events. We feel afraid for Desdemona when Othello approaches her in a murderous rage. We feel disgust toward Iago for orchestrating this tragic event. What mental architecture could explain these affective responses? In this paper I consider the claim that the best explanation of our affective responses to fiction involves imaginative desires. Some theorists argue that accounts that do not invoke imaginative desires imply that consumers of fiction have irrational desires. I argue that there are serious worries about imaginative desires that warrant skepticism about the adequacy of the account. Moreover, it is quite difficult to articulate general principles of rationality for desires, and even according to the most plausible of these possible principles, desires about fiction are not irrational.Comment: This would function well as a required reading in a week on why we have emotional reactions to fiction, probably in a course for senior undergraduate students. It is suitable for a philosophy of fiction module.
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