Author note: Owen Hulatt (Editor)
Whether paintings will be thoroughly independent has been again and again challenged within the smooth background of aesthetics. during this number of specially-commissioned chapters, a group of specialists speak about the level to which paintings might be defined merely when it comes to aesthetic categories.
Covering examples from Philosophy, track and artwork historical past and drawing on continental and analytic assets, this quantity clarifies the connection among works of art and extra-aesthetic concerns, together with historical, cultural or fiscal components. It provides a complete assessment of the query of aesthetic autonomy, exploring its relevance to either philosophy and the comprehension of particular artistic endeavors themselves. by way of heavily analyzing how the production of artistic endeavors, and our decisions of those works of art, relate to society and heritage, Aesthetic and inventive Autonomy presents an insightful and sustained dialogue of a big query in aesthetic philosophy.
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Extra resources for Aesthetic and Artistic Autonomy (Bloomsbury Studies in Philosophy)
What is regarded as fundamental in such approaches is, in effect, the idea about art which the artist wishes to convey. The object or text is significant not in terms of its phenomenal or imaginatively intended particularity, but rather in terms of the more general idea about art to which it points. This means that iconography and iconology is paramount. Art is not made, it is designated on the basis of a specific intention or attitude (or sets thereof) on the artist or art world’s part. In my preceding analyses I have argued that intentions of this sort – bound up with the specific historical circumstances surrounding a work’s production – are, in logical terms, irrelevant to its status as art.
Through the formative power of the medium he expresses something of the autonomous at the level of the sensible particular, and this emerges not through the correspondence of the poems with his life, but through their relation to human experience in general – as mediated by our diachronic knowledge of other works in the tradition of poetry. It is this autonomous and comparative normative context (over and above narrow iconographical and iconological issues) that, in fact, determines the general social significance of art.
Second, the idea that we primarily value objects typed as painting or as music, not objects typed as art, is not quite right, or is at least misleading. This is because there are paintings typed as art and paintings not typed as art, and we value these in different, though overlapping ways. There are products of commercial art, graphic design, illustration, etc. that are certainly paintings (and other graphic works), but they are not members of the art form painting.
Aesthetic and Artistic Autonomy (Bloomsbury Studies in Philosophy)