Aesthetic and Artistic Autonomy (Bloomsbury Studies in

Author note: Owen Hulatt (Editor)

Whether artwork may be completely self reliant has been again and again challenged within the glossy heritage of aesthetics. during this selection of specially-commissioned chapters, a crew of specialists speak about the level to which paintings will be defined only by way of aesthetic categories.

Covering examples from Philosophy, song and artwork background and drawing on continental and analytic assets, this quantity clarifies the connection among artistic endeavors and extra-aesthetic issues, together with ancient, cultural or fiscal components. It provides a complete evaluate of the query of aesthetic autonomy, exploring its relevance to either philosophy and the comprehension of particular artistic endeavors themselves. by means of heavily interpreting how the construction of artistic endeavors, and our decisions of those works of art, relate to society and historical past, Aesthetic and creative Autonomy offers an insightful and sustained dialogue of an incredible query in aesthetic philosophy.

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Additional resources for Aesthetic and Artistic Autonomy (Bloomsbury Studies in Philosophy)

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Dykstra, Steven W. (1996) ‘The Artist’s Intentions and the Intentional Fallacy in Fine Arts Conservation’. Journal of the American Institute for Conservation,Vol. 3, No. 3. Iseminger, Gary (1992) edited collection Intention and Interpretation. Philadelphia, PA: Temple University Press. Lyas, Colin (1983) ‘Anything Goes; The Intentional Fallacy Revisited’. British Journal of Aesthetics, Vol. 23. Margolis, Joseph (1980) Art and Philosophy; Conceptual Issues in Aesthetics. Brighton: Harvester Press.

In a way they do have aesthetic value since they inherit the aesthetic value of the object photographed. But that can hardly explain their value as art. I have argued elsewhere that the value of the photographs is primarily cognitive. 5 Levine’s photographs also have art-historical value in marking an important stage in the development of appropriated art, which also contributes to its value as art. From the premises that some artworks lack aesthetic value or lack sufficient aesthetic value to explain their value as art, and that they have significant value as art, it follows that there is non-aesthetic artistic value.

Human beings do not exist in states of personal or cultural solipsism. As embodied subjects, they share similar structural possibilities vis-à-vis the scope and limits of experience. From stone age to postmodern, there are similar existential strategies – such as plot and deceit; similar modes of feeling – such as love and jealousy; and similar needs – such as the demand for recognition from others. All this, of course, is in addition to common factors based on physical embodiment and the human form.

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