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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.Dissanayake, Ellen. Becoming Homo Aestheticus: Sources of Aesthetic Imagination in Mother-Infant Interactions2001, Substance 30 (1/2):85.-
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Added by: Chris Blake-Turner, Contributed by: Christy Mag Uidhir
Introduction: Along with the vital abilities to cry and to suckle, human neonates are born with remarkable capacities that predispose them for social interaction with others. For example, newborns prefer human faces and human voices to any other sight or sound (Johnson et al. 1991, 11). They can imitate face, mouth, and hand movements and respond appropriately to another person's emotional expressions of sadness, fear, and surprise. It is perhaps less well known that at birth, infants can also estimate and anticipate intervals of time and temporal sequences (DeCasper and Carstens 1980). They can remember these temporal patterns and categorize them in both time and space, and in terms of affect and arousal (Beebe, Lachman and Jaffe 1997). By six weeks of age, these innate perceptual and cognitive abilities permit normal infants to engage in complex communicative interchanges with adult partners--the playful behavior that is commonly or colloquially called "babytalk."Comment:
Doyle, Jennifer. Thinking Feeling: Criticism and Emotion2013, In: Hold It Against Me: Difficulty and Emotion in Contemporary Art. Durham: Duke University Press. 69-89.-
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Added by: Rossen Ventzislavov
Summary: Doyle investigates the emotional dimensions of aesthetic experience in the context of controversial performance art practices. She focuses on sentimentality because it sits at the extreme end not only of the emotional spectrum but also, as a negative, on the art critical radar. Critics' charge against the sentimental is twofold - it enables vicarious experience at the expense of its direct counterpart and it gives a platform to the inauthentic. Furthermore, the overwhelming critical consensus is that the personal itself, manifested in sentimentality or otherwise, is inherently suspect. Emotion is thus framed as detrimental to "serious" art. It is also, and even more damagingly, feminized and drained of its political charge. To counter these assumptions, Doyle uses specific art-historical examples which reveal the richness and importance of emotional interest in the way art is made and experienced.Comment: This text can be used in discussions of emotion and affectivity. While much of its focus is on art, it can be used in more general classes on emotions as well.
Du Bois, W.E.B.. Criteria of Negro Art1926, The Crisis, 32: 290-297-
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Added by: Quentin Pharr and Clotilde TorregrossaAbstract:
Published in The Crisis of October 1926, DuBois initially spoke these words at a celebration for the recipient of the Twelfth Spingarn Medal, Carter Godwin Woodson. The celebration was part of the NAACP's annual conference and was held in June 1926.Comment (from this Blueprint): In this selection, Du Bois discusses the nature of aesthetic value, how black artists have been historically excluded from creating it for false and racist reasons, and what role black artists actually have to play in creating beauty. Firstly, he establishes an expansive conception of aesthetic value. Secondly, he sets out various examples of how black artists have been historically excluded from producing art in general and art which portrays "blackness" more specifically. And lastly, he sets out a vision for the arts which not only includes black artists, but also recognizes the aesthetic and political value of their work for creating fair and equal societies where beauty is ever present and sought. It will help readers to understand the costs and wrongs that come with exclusionary practices in the production of aesthetic objects.
Eaton, A. W.. Feminist philosophy of art2008, Philosophy Compass 3 (5):873-893.-
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Added by: Chris Blake-Turner, Contributed by: Christy Mag Uidhir
Abstract: This article outlines the issues addressed by feminist philosophy of art, critically surveys major developments in the field, and concludes by considering directions in which the field is moving.Comment:
Eaton, A. W., I. Gaskell. Do Subaltern Artifacts Belong in Art Museums?2009, In James O. Young & Conrad Brunk (eds.), The Ethics of Cultural Appropriation. Wiley-
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Added by: Erich Hatala Matthes
Summary: Eaton and Gaskell argue that museums are "instruments of power," and then ask whether it is permissible for them to display the cultural heritage of peoples who have been subordinated. Ultimately, they argue that despite a series of arguments to the contrary, the display of "subaltern" artifacts is not just permissible, "but advantageous to all interested parties." They make the argument by posing and responding to four central objections to this position.Comment: This is a careful and comprehensive look at ethical questions surrounding the display of "subaltern" cultural heritage in museums. If you plan to assign a single reading on this topic, use this one.
Eaton, A. W.. ‘A Lady on the Street but a Freak in the Bed’: On the Distinction Between Erotic Art and Pornography2018, British Journal of Aesthetics 58 (4): 469-488-
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Added by: Simon Fokt
Abstract: How, if at all, are we to distinguish between the works that we call ‘art’ and those that we call ‘pornography’? This question gets a grip because from classical Greek vases and the frescoes of Pompeii to Renaissance mythological painting and sculpture to Modernist prints, the European artistic tradition is chock-full of art that looks a lot like pornography. In this paper I propose a way of thinking about the distinction that is grounded in art historical considerations regarding the function of erotic images in 16 th -century Italy. This exploration suggests that the root of the erotic art/pornography distinction was—at least in this context—class: in particular, the need for a special category of unsanctioned illicit images arose at the very time when print culture was beginning to threaten elite privilege. What made an erotic representation exceed the boundaries of acceptability, I suggest, was not its extreme libidinosity but, rather, its widespread availability and, thereby, its threat to one of the mechanisms of sustaining class privilege.
Comment: The paper has implications reaching far beyond the pornography debate. Could similar power relations not impact art classification elsewhere? It might be useful to discuss this in the context of Larry Shiner's 'The Invention of Art,' where the historical processes leading to the establishment of the modern Western system of the arts are analysed, including examples such as the exclusion of weaving as it became a female-dominated profession. Reaching even further, this can be applied to attitudes to art of other cultures, with (post)colonial power relations impacting on the way works are classified. Finally, Eaton’s text can serve as a sceptical argument against the classificatory project altogether: could all our attempts to distinguish art from non-art be just expressions of discrimination along various lines of priviledge? The paper has implications reaching far beyond the pornography debate. Could similar power relations not impact art classification elsewhere? It might be useful to discuss this in the context of Larry Shiner's 'The Invention of Art,' where the historical processes leading to the establishment of the modern Western system of the arts are analysed, including examples such as the exclusion of weaving as it became a female-dominated profession. Reaching even further, this can be applied to attitudes to art of other cultures, with (post)colonial power relations impacting on the way works are classified. Finally, Eaton’s text can serve as a sceptical argument against the classificatory project altogether: could all our attempts to distinguish art from non-art be just expressions of discrimination along various lines of priviledge?
Eaton, A.W.. A Lady in the Street But a Freak in the Bed: On the Distinction Between Erotic Art And Pornography2018, British Journal of Aesthetics, 58 (4): 469-488-
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Added by: Quentin Pharr and Clotilde TorregrossaAbstract:
How, if at all, are we to distinguish between the works that we call ‘art’ and those that we call ‘pornography’? This question gets a grip because from classical Greek vases and the frescoes of Pompeii to Renaissance mythological painting and sculpture to Modernist prints, the European artistic tradition is chock-full of art that looks a lot like pornography. In this paper I propose a way of thinking about the distinction that is grounded in art historical considerations regarding the function of erotic images in 16 th -century Italy. This exploration suggests that the root of the erotic art/pornography distinction was—at least in this context—class: in particular, the need for a special category of unsanctioned illicit images arose at the very time when print culture was beginning to threaten elite privilege. What made an erotic representation exceed the boundaries of acceptability, I suggest, was not its extreme libidinosity but, rather, its widespread availability and, thereby, its threat to one of the mechanisms of sustaining class privilege.Comment (from this Blueprint): Eaton argues that what really matters in the distinction between pornography and erotic art, has little to do with artistic or aesthetic features, value, or function. Instead, the distinction follows social power structures along the class line: the priviledged reserve art status (and positive value) to works available only in an exclusive ‘private iconic circuit’ but are otherwise no different from those available in the ‘public iconic circuit’ and labelled pornography (and evaluated negatively). Eaton likens the distinction to that between two kinds of prostitute: a ‘courtesan’ and a ‘whore’, suggesting that in both cases the distinctions originate in class divisions and serve to reinforce them. Eaton’s text can serve as a great case study in the debate surrounding the distinction between low and high art, as well as a sceptical argument against the classificatory project altogether: could all our attempts to distinguish art from non-art be just expressions of discrimination along various lines of priviledge?
Eaton, Marcia Muelder. A strange kind of sadness1982, Journal of Aesthetics and Art Criticism 41 (1):51-63.-
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Added by: Chris Blake-Turner, Contributed by: Christy Mag Uidhir
Abstract: HERE IS a Steve McQueen, Jackie Gleason, Tuesday Weld movie called Soldier in the Rain that I watch whenever it comes on the TV late show. I have seen it at least half a dozen times. The first time I saw it, I cried at the end. The next time I saw it I began crying just before the end. Now I choke up when it starts and cry more or less steadily through the whole thing. My husband and son find this exasperating. "Why are you going to watch that if it is just going to make you unhappy?" they ask. What they do not understand is that very few things bring me greater pleasure than watching this movie, crying all the way through. Or perhaps my son does understand when he disdainfully concludes, "You're crazy".Comment:
Eaton, Marcia Muelder. Kantian and contextual beauty1999, Journal of Aesthetics and Art Criticism 57 (1):11-15.-
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Added by: Chris Blake-Turner, Contributed by: Christy Mag Uidhir
Introduction: Two conflicting but strongly entrenched intu itions about beauty hold sway in the hearts and minds of many. On the one hand, many people believe that attributions of beauty to objects or events are unmediated-that all that matters is one's direct, personal response. If something is beautiful, one just sees it; cognitive or ethical concerns matter little. On the other hand, many people are drawn to the view that the beautiful is not independent of other human values and atti tudes-that our attributions of beauty are related to beliefs or moral judgments. At the end of the eighteenth century, Immanuel Kant represented the former view with such cleverness that his ar guments continue to disturb even those who re main unconvinced by them. At the end of the nineteenth century, partly as a result of the influ ence of Kant's theory of beauty, Leo Tolstoy felt forced to downplay the importance of beauty's role in explaining the value of art-a trend that continued for several decades. At the end of the twentieth century, increasing numbers of aes thetic theorists and practitioners are persuaded that beauty does matter in art, and although many, including me, believe that beauty is a con textual property deeply connected to factual be liefs and moral attitudes, the tug of Kant's arguments remains strong.Comment:
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Dissanayake, Ellen. Doing Without the Ideology of Art
2011, New Literary History 42: 71–79.
Comment: Dissenayake makes her points clear and brief, and uses the opportunity to present the main elements of her evolutionary theory. This makes this paper not only an interesting voice in the scepticism about the definition of art debate, but also an excellent introduction to her wider work. The main question worth discussing in class is: should we replace definitions of art with an ethology of art? It might also be worth asking whether Dissenayake is right to claim that even the assumption that a theory of art is needed at all is elitist.