Aesthetic and Artistic Autonomy (Bloomsbury Studies in

Author note: Owen Hulatt (Editor)

Whether artwork should be absolutely self reliant has been again and again challenged within the smooth heritage of aesthetics. during this choice of specially-commissioned chapters, a workforce of specialists speak about the level to which paintings will be defined only by way of aesthetic categories.

Covering examples from Philosophy, song and paintings background and drawing on continental and analytic resources, this quantity clarifies the connection among works of art and extra-aesthetic issues, together with old, cultural or fiscal components. It provides a finished evaluation of the query of aesthetic autonomy, exploring its relevance to either philosophy and the comprehension of particular artistic endeavors themselves. by way of heavily studying how the construction of artistic endeavors, and our decisions of those artistic endeavors, relate to society and heritage, Aesthetic and inventive Autonomy presents an insightful and sustained dialogue of an immense query in aesthetic philosophy.

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14 For an alternative way of doing this (based on Kant’s aesthetics) see Thierry de Duve’s Kant After Duchamp (Cambridge, MA and London: MIT Press, 1996). 15 For a defence of this view see Chapter 2 of Defining Art. 16 There is, indeed, a strong argument to be made for the claim that the extraordinary range of practical and ritual uses which representation can serve is enabled by its intrinsic aesthetic power. Hence the artistic dimension is at least implicit in the practices of those cultures which do use the concept ‘art’.

Brighton: Harvester Press. Mitchell, W. J. T. (1994) Picture Theory. Chicago, IL: University of Chicago Press. Moxey, Keith (2001) The Practice of Persuasion; Paradoxes and Power in Art History. Ithaca, NY and London: Cornell University Press. Panofsky, Erwin (1993) Meaning and the Visual Arts. Harmondsworth: Penguin. Pollock, Griselda (1988) Vision and Difference; Femininity, Feminism, and the Histories of Art. London: Routledge. Trivedi, Saam (2001) ‘An Epistemic Dilemma for Actual Intentionalism’.

These points at least indicate how even the problematic Duchampian tradition might be adapted to a normative approach;14 but the vital notion here is ‘adapted’. Conceptual works are not paradigms of art. The great problem of aesthetics in the analytical tradition is that since the late twentieth century it has often treated such works as if they were paradigmatic. 26 Aesthetic and Artistic Autonomy This strategy, indeed, is the basis of the institutional definitions of art and their variants. What is regarded as fundamental in such approaches is, in effect, the idea about art which the artist wishes to convey.

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