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Institutions of Art
George Dickie has been one of the most innovative, influential, and controversial philosophers of art working in the analytical tradition in the past twenty-five years. Dickie's arguments against the various theories of aesthetic attitude, aesthetic perception, and aesthetic experience virtually brought classical theories of the aesthetic to a halt. His institutional theory of art was perhaps the most discussed proposal in aesthetics during the 1970s and 1980s, inspiring both supporters who produced variations on the theory as well as passionate detractors who thought the theory thoroughly wrongheaded. Dickie has also written widely on the history of aesthetics, and his work ranks among the best examples of analytic aesthetics. The philosophy of George Dickie continues to provoke reaction and reflection. The essays in this collection pay homage not only to Dickie's ideas but also to his influence. A brief biography of George Dickie and a bibliography of his works complete the volume.
Art and Value
Art and Value focuses on the questions of history, methods, and nature of art theories, and on the value and evaluation of art. It serves as a valuable primer to aesthetics, as well as a summary and extension of Dickie's contribution to the field.
The Art Circle
None
Evaluating Art
A theory about how to judge a work of art--as opposed to a theory that explains why a particular work is defined as art.
Theories of Art Today
What is art? The contributors to Theories of Art Today address the assertion that the term “art” no longer holds meaning. They explore a variety of issues including: aesthetic and institutional theories of art, feminist perspectives on the philosophy of art, the question of whether art is a cluster concept, and the relevance of tribal art to philosophical aesthetics. Contributors to this book include such distinguished philosophers and historians as Arthur Danto, Joseph Margolis, and George Dickie.
The Transfiguration of the Commonplace
Danto argues that recent developments in art--in particular the production of works that cannot be told from ordinary things--make urgent the need for a new theory of art. He demonstrates the relationship between philosophy and art and the connections that hold between art, social institutions, and art history.
The Aesthetic Function of Art
How can we understand art and its impact? Gary Iseminger argues that the function of the practice of art and the informal institution of the artworld is to promote aesthetic communication. He concludes that the fundamental criteria for evaluating a work of art as a work of art are aesthetic. After considering other practices and institutions that have aesthetic dimensions and other things that the practice of art does, Iseminger suggests that art is better at promoting aesthetic communication than other practices are and that art is better at promoting aesthetic communication than it is at anything else. Iseminger bases his work on a distinction often blurred in contemporary aesthetics, between art as a set of products"works of art"and art as an informal institution and social practice—the artworld. Focusing initially on the function of the artworld rather than the function of works of art, he blends elements from two of the most currently influential philosophical approaches to art, George Dickie's institutional theory and Monroe Beardsley's aesthetic theory, and provides a new foundation for a traditional account of what makes good art.
Fixing Reference
Imogen Dickie develops an account of aboutness-fixing for thoughts about ordinary objects, and of reference-fixing for the singular terms we use to express them. Extant discussions of this topic tread a weary path through descriptivist proposals, causalist alternatives, and attempts to combine the most attractive elements of each. The account developed here is a new beginning. It starts with two basic principles. The first connects aboutness and truth: a belief is about the object upon whose properties its truth or falsity depends. The second connects truth and justification: justification is truth conducive; in general and allowing exceptions, a subject whose beliefs are justified will be u...
Culture and Art
The sociological imagination and the artistic imagination have been historically intertwined, at once reciprocal and conflicting, complementary and tensional. This connection is nowhere more apparent than in the work of Zygmunt Bauman. His conception and practice of sociology were always infused with a literary and artistic sensibility. He wrote extensively on the relationship between sociology and the arts, and especially on sociology and literature; he frequently drew on literary writers in his exploration and elucidation of sociological problems; and he was an avid and passionate consumer and practitioner of art, especially film and photography. This volume brings together hitherto unknow...
Philosophy of the Arts
A new edition of this bestselling introduction to aesthetics and the philosophy of art. Includes new sections on digital music and environmental aesthetics. All other chapters have been thoroughly revised and updated.
