This exceptional new collection comprises 13 new essays on the nature and definability of art. Presenting a wide offering of contemporary philosophical perspectives including theoretical, historical, cross-cultural, and evolutionary "Art and Essence" offers thorough critical discussion on the extensive contemporary philosophical literature on the subject. The work here contrasts the idea of theorizing about why we make and consume art with that of defining it; furthermore, the authors consider the possibility that art has no definable essence and discusses differences and connections between art and nature. More historical chapters focus on ancient and medieval approaches to art, while others discuss the work of philosophers such as Hume, Kant, and Nietzsche. Non-Western cultures cultivated their own, distinctive art practices and philosophies, as discussed in chapters on India and Japan, and contemporary philosophers have added their own unique perspectives. The authors are among the leading philosophers on the subjects they cover, making "Art and Essence" an invaluable tool for scholars of a wide variety of fields."
What is it to be a work of art? Renowned author and critic Arthur C. Danto addresses this fundamental, complex question. Part philosophical monograph and part memoiristic meditation, What Art Is challenges the popular interpretation that art is an indefinable concept, instead bringing to light the properties that constitute universal meaning. Danto argues that despite varied approaches, a work of art is always defined by two essential criteria: meaning and embodiment, as well as one additional criterion contributed by the viewer: interpretation. Danto crafts his argument in an accessible manner that engages with both philosophy and art across genres and eras, beginning with Plato's definition of art in The Republic, and continuing through the progress of art as a series of discoveries, including such innovations as perspective, chiaroscuro, and physiognomy. Danto concludes with a fascinating discussion of Andy Warhol's famous shipping cartons, which are visually indistinguishable from the everyday objects they represent. Throughout, Danto considers the contributions of philosophers including Descartes, Kant, and Hegel, and artists from Michelangelo and Poussin to Duchamp and Warhol, in this far-reaching examination of the interconnectivity and universality of aesthetic production.
he Artist, the critic and the academic: feminism's problematic relationship with 'theory' / Janet Wolff -- Preaching to the converted? Feminist art publishing in the 1980s / Frances Borzello -- The Sphinx contemplating Napoleon: black women artists in Britain / Gilane Tawadros -- Reading between the lines: the imprinted spaces of Sutapa Biswas / Moira Roth -- Modernism, art education and sexual difference / Pen Dalton -- Eyewitnesses, not spectators/activitists, not academics: feminist pedagogy and women's creativity / Val A. Walsh -- Exhibiting strategies / Debbie Duffin -- The Situation of women curators / Elizabeth A. MacGregor -- Afterthoughts on curating 'The Subversive stitch' / Pennina Barnett -- The Cult of the individual / Fran Cottell -- On women dealers in the art world / Maureen Paley -- Where do we draw the line? An investigation into the censorship of art / Anna Douglas -- Women's movements: feminism, censorship and performance art / Sally Dawson -- Why have there been no great women pornographers? / Naomi Salaman -- Just jamming: Irigaray, painting and psychoanalysis / Christine Battersby -- Border crossings: womanliness, body, representation / Hilary Robinson -- (P)age 49: on the subject of history / Mary Kelly -- Models of painting practice: too much body? / Joan Key -- Text and textiles: weaving across the borderlines / Janis Jefferies -- Kinda art, sorta tapestry: tapestry as shorthand access to the definitions, languages, institutions, attitudes, hierarchies, ideologies, constructions, classifications, histories, prejudices and other bad habits of the West / Ann Newdigate -- Sewn constructions / Dinah Prentice -- Penelope and the unravelling of history / Ruth Scheuing
In 'Struggle Over the Modern', Dennis Raverty argues that there was not one, but two competing modernisms, vying for dominance of this critical field in American art during the first half of the 20th century.
Formalism and anti-formalism in the turn-of-the-century American thought -- Formalism and anti-formalism in the critical debate surrounding the armory show -- A split among the moderns -- The paradigms take shape -- The paradigm comes of age I: the social parameters of experience -- The paradigm comes of age II: the political parameters of experience -- Formalism as a minority position in the 1930s and into the 1940s -- The culmination of the paradigms in postwar critical thought
Guillaume Apollinaire's only book on art, The Cubist Painters, was first published in 1913. This essential text in twentieth-century art presents the poet and critic's aesthetic meditations on nine painters: Pablo Picasso, Georges Braque, Jean Metzinger, Albert Gleizes, Marie Laurencin, Juan Gris, Fernand Léger, Francis Picabia, and Marcel Duchamp. As Picasso's closest friend and Marie Laurencin's lover, Apollinaire witnessed the development of Cubism firsthand. This collection of essays and reviews, written between 1905 and 1912, is a milestone in the history of art criticism, valued today as both a work of reference and a classic example of modernist creative writing. In addition to a faithful and fluid translation of Apollinaire's text, Peter Read provides his own scholarly analysis of its importance in the history of modernism. He examines Apollinaire's art criticism, his relationship to the Cubist movement, and, more specifically, the genesis of Cubist Painters through its various revisions and proofs. Supported by all forty-five plates from the original edition, this new volume brings Apollinaire's vitality and vision to life for a new generation.
1: Guillaume Apollinaire, The cubist painters -- On painting -- New Painters -- Picasso -- Georges Braque -- Jean Metzinger -- Albert Gleizes -- Marie Laurencin -- Juan Gris -- Fernand Leger -- Francis Picabia -- Marcel Duchamp -- Duchamp-Villon -- 2: Peter Read, Apollinair and cubism -- Apollinaire as art critic before The cubist painters -- Apollinaire and cubism -- The cubist painters: Genesis of the book -- The cubist painters: structure, style and modern beauty -- The cubist painters and the enemies of cubism -- Aesthetic meditations. The cubist painters -- Critical response to The cubist painters -- Translations