Author note: Owen Hulatt (Editor)
Whether paintings could be utterly self sustaining has been many times challenged within the smooth historical past of aesthetics. during this selection of specially-commissioned chapters, a workforce of specialists talk about the level to which artwork will be defined only when it comes to aesthetic categories.
Covering examples from Philosophy, track and paintings historical past and drawing on continental and analytic assets, this quantity clarifies the connection among works of art and extra-aesthetic issues, together with old, cultural or monetary components. It provides a finished review of the query of aesthetic autonomy, exploring its relevance to either philosophy and the comprehension of particular works of art themselves. by means of heavily reading how the production of artistic endeavors, and our decisions of those artistic endeavors, relate to society and background, 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)
12 A major example of this is the work of Griselda Pollock. See, for example, her book Vision and Difference; Femininity, Feminism, and the Histories of Art (London: Routledge, 1988). For a more interesting approach which considers artistic intention in relation to medium-based considerations, see Steven W. Dykstra’s ‘The Artist’s Intentions and the Intentional Fallacy in Fine Arts Conservation’, Journal of the American Institute for Conservation,Vol. 3, No. 3, 1996, pp. 197–218. 13 I show this in Chapters 9 and 10 of my The Language of Twentieth-century Art; A Conceptual History (New Haven, CT and London: Yale University Press, 1997), and in Chapter 5 of The Transhistorical Image.
In terms of the latter, feminist and postcolonialist claims that the canon of art and the aesthetic are suspect (through excluding or marginalizing the experience of women and non-Western groups) turn out to be culturally specific to the point – ironically enough – of tacit racism. Their assumption is that representation is only intelligible in terms of reflecting or concealing the ‘experience’ of social, gender or racial groups. Its function is to provide Indifferent to Intentions: The Autonomy of Artistic Meaning 27 information and narrative for socially persuasive ends.
There are alternative views about work meaning as well as views Aesthetic Autonomy and Artistic Heteronomy 43 about interpretation that eliminate reference to work meaning altogether. 13 Even after leaving open the exact nature of interpretation relevant to understanding a work, there are still many other things that could be meant by understanding which are excluded by this account. For example, for any property a work has, there is some explanation that allows us to understand why it has the property.
Aesthetic and Artistic Autonomy (Bloomsbury Studies in Philosophy)