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David Carrier [118]David Stewart Carrier [1]
  1.  27
    The Mind and Its Depths by Richard Wollheim. [REVIEW]David Carrier - 1993 - Journal of Philosophy 90 (7):378-384.
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  2.  12
    The Truth in Painting.David Carrier - 1988 - Journal of Philosophy 85 (4):219-223.
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  3.  30
    Art and the Aesthetic. [REVIEW]David Carrier - 1975 - Journal of Philosophy 72 (22):823-825.
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  4.  36
    Arthur C. Danto, Beyond The Brillo Box: The Visual Arts in A Post-Historical Perspective, Mark Tansey: Visions and Revisions.David Carrier & Arthur C. Danto - 1993 - Journal of Aesthetics and Art Criticism 51 (3):513.
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  5.  14
    The Aesthetics of Comics.David Carrier & Michael A. Oliker - 2001 - Journal of Aesthetic Education 35 (4):119.
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  6.  65
    Cogitamus Ergo Sumus.David Carrier - 1986 - The Monist 69 (4):521-533.
  7.  75
    Introduction: Danto and his critics: After the end of art and art history.David Carrier - 1998 - History and Theory 37 (4):1–16.
    In Bielefeld, Germany in April, 1997 an author conference was devoted to Arthur C. Danto's 1995 Mellon Lectures After the End of Art: Contemporary Art and the Pale of History . This essay provides an introduction to seven essays given at that conference and expanded for this Theme Issue of History and Theory. Danto presented his view of the nature of art in The Transfiguration of the Commonplace . He then added in the Mellon lectures a sociological perspective on the (...)
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  8.  42
    Piero della Francesca and his Interpreters: Is There Progress in Art History?David Carrier - 1987 - History and Theory 26 (2):150-165.
    The existence of conflicting interpretations in literature, history, and art history casts doubt on the ability of any interpretation to be true to the facts. The role of the art historian is complicated by this reconsideration of what is valuable in interpretation. Progress in the history of art is difficult to ascertain. The scope and diversity of twentieth-century criticism of Piero della Francesca's Renaissance frescoes is difficult to compare to his less extensive Renaissance criticism by Vasari. While the antirelativist would (...)
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  9.  10
    Museum Memories. History, Technology, Art.David Carrier & Didier Maleuvre - 2001 - Journal of Aesthetic Education 35 (2):122.
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  10.  4
    If These Apples Should Fall. Cézanne and the Present.David Carrier - forthcoming - British Journal of Aesthetics.
    T. J. Clark’s two early books, The Absolute Bourgeois: Artists and Politics in France, 1848–1851 and Image of the People: Gustave Courbet and the 1848 Revolutio.
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  11. Erwin Panofsky, Leo Steinberg, David carrier: The problem of objectivity in art historical interpretation.David Carrier - 1989 - Journal of Aesthetics and Art Criticism 47 (4):333-347.
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  12.  35
    In praise of connoisseurship.David Carrier - 2003 - Journal of Aesthetics and Art Criticism 61 (2):159-169.
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  13.  14
    Introduction: Danto and His Critics: Art History, Historiography and After the End of Art.David Carrier - 1998 - History and Theory 37 (4):1-16.
    In Bielefeld, Germany in April, 1997 an author conference was devoted to Arthur C. Danto's 1995 Mellon Lectures After the End of Art: Contemporary Art and the Pale of History. This essay provides an introduction to seven essays given at that conference and expanded for this Theme Issue of History and Theory. Danto presented his view of the nature of art in The Transfiguration of the Commonplace. He then added in the Mellon lectures a sociological perspective on the current situation (...)
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  14.  11
    Modern Art & the Remaking of Human Disposition.David Carrier - 2022 - British Journal of Aesthetics 63 (1):127-129.
    How should a post-formalist history of modern visual art be written? One unfamiliar but useful way to do that, Butterfield-Rosen argues, is by reference to evol.
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  15.  40
    Shadows and EnlightenmentShadows: The Depiction of Cast Shadows in Western Art.David Carrier, Michael Baxandall & E. H. Gombrich - 1996 - Journal of Aesthetics and Art Criticism 54 (2):200.
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  16.  39
    Artforum, Andy Warhol, and the Art of Living: What Art Educators Can Learn from the Recent History of American Art Writing.David Carrier - 2005 - Journal of Aesthetic Education 39 (1):1-12.
    In lieu of an abstract, here is a brief excerpt of the content:Artforum, Andy Warhol, and the Art of Living:What Art Educators Can Learn from the Recent History of American Art WritingDavid Carrier (bio)When around 1980 I began writing art criticism, Artforum was much concerned with historical analysis.1 When presenting the work of younger painters and sculptors, it seemed natural to explain artists' accomplishments by identifying precedents for their work. Much of my criticism published in the 1980s presented post-formalist accounts (...)
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  17.  27
    The Object of Art: The Theory of Illusion in Eighteenth-Century France.David Carrier - 1983 - Journal of Aesthetics and Art Criticism 41 (4):455-456.
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  18.  48
    Art and its spectators.David Carrier - 1986 - Journal of Aesthetics and Art Criticism 45 (1):5-17.
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  19.  50
    Gombrich and Danto on defining art.David Carrier - 1996 - Journal of Aesthetics and Art Criticism 54 (3):279-281.
  20. Three kinds of imagination.David Carrier - 1973 - Journal of Philosophy 70 (22):819-831.
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  21.  67
    Book reviews. [REVIEW]David Carrier - 1986 - British Journal of Aesthetics 26 (3):84-85.
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  22.  19
    On Narratology.David Carrier - 1984 - Philosophy and Literature 8 (1):32-42.
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  23.  30
    MARSHALL, CHRISTOPHER R. Baroque Naples and the Industry of Painting: The World in the Workbench. Yale University Press, 2016, 352 pp., 88 color + 115 b&w illus., $75.00 cloth NAPOLI, NICHOLAS J. The Ethics of Ornament in Early Modern Naples: Fashioning the Certosa di San Martino. Burlington, VT: Ashgate, 2015, 430 pp., 36 color + 64 b&w illus., $120.00 cloth. [REVIEW]David Carrier - 2017 - Journal of Aesthetics and Art Criticism 75 (2):208-210.
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  24.  1
    A World Art History and its Objects.David Carrier - 2008 - Pennsylvania State University Press.
    Is writing a world art history possible? Does the history of art as such even exist outside the Western tradition? Is it possible to consider the history of art in a way that is not fundamentally Eurocentric? In this highly readable and provocative book, David Carrier, a philosopher and art historian, does not attempt to write a world art history himself. Rather, he asks the question of how an art history of all cultures could be written—or whether it is even (...)
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  25.  1
    A World Art History and its Objects.David Carrier - 2008 - Pennsylvania State University Press.
    Is writing a world art history possible? Does the history of art as such even exist outside the Western tradition? Is it possible to consider the history of art in a way that is not fundamentally Eurocentric? In this highly readable and provocative book, David Carrier, a philosopher and art historian, does not attempt to write a world art history himself. Rather, he asks the question of how an art history of all cultures could be written—or whether it is even (...)
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  26. Danto and His Critics Art History, Historiography and After and End of Art.David Carrier - 1998 - Wesleyan University Press.
     
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  27. Danto as Systematic Philosopher, or Comme on Lit Danto En Français.David Carrier - 2012 - In Ernest Lepore & Mark Rollins (eds.), Danto and his Critics. Oxford, UK: Wiley‐Blackwell. pp. 13–29.
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  28. High Art Charles Baudelaire and the Origins of Modernist Painting.David Carrier - 1996
     
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  29. Imagination and Our Image of the Mind.David Carrier - 1978 - Philosophical Forum 9 (4):393.
     
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  30. L’estetica di Danto è davvero così generale come crede di essere?David Carrier - 2007 - Rivista di Estetica 35 (35):45-66.
    Let us suppose that the idea of art can be expanded to embrace the whole range of man-made things, including all tools and writing in addition to the useless, beautiful, and poetic things of the world. By this view the universe of man-made things simply coincides with the history of art.George Kubler I filosofi, tradizionalmente, hanno creduto che le loro argomentazioni abbiano una validità assolutamente generale. Quando descrivono azioni, storia o conoscenza, pensano che la loro analisi si a...
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  31. Michael Podro, The Critical Historians of Art.David Carrier - 1983 - Journal of Aesthetics and Art Criticism 42 (1):94-96.
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  32. "Needs, Values, Truth: Essays in the Philosophy of Value": David Wiggins. [REVIEW]David Carrier - 1989 - British Journal of Aesthetics 29 (4):370.
     
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  33. New York Art, Pittsburgh Art, Art1.David Carrier - 2003 - Journal of Aesthetic Education 37 (3):99.
    In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.3 (2003) 99-104 [Access article in PDF] New York Art, Pittsburgh Art, Art 1 David Carrier Champney Family Professor Case Western Reserve University/Cleveland Institute of Art I. New York Art A fully developed artworld requires not only artists, but also a support system — schools to teach the artists, commercial galleries to display art, and the connected artmarket; public museums and their curators to (...)
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  34. Postmodernism and Its Discontents.David Carrier - 2022 - In Jonathan Gilmore & Lydia Goehr (eds.), A Companion to Arthur C. Danto. Hoboken, NJ, USA: Wiley. pp. 180–189.
    Art historians interpret artworks, tell the history of art and compare diverse artistic traditions. This chapter presents one key portion of Krauss's theorizing, Arthur Danto's definition of art, and compares and contrasts their accounts. Responding to radically original contemporary art, Krauss offered a challenging philosophical argument about the nature of art. Danto offers a completely general account, one that identifies the essence of all art. His written commentaries on Warhol tell what is embodied in Brillo Box, which is a commentary (...)
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  35.  11
    Proust/Warhol: Analytical Philosophy of Art.David Carrier - 2009 - Peter Lang.
    Introduction -- Ch. 1. The search for Proust's and Warhol's sources -- Ch. 2. Dramatically opposed styles of art making -- Ch. 3. Defining art -- Ch. 4. Elstir's studio/Warhol's factory -- Ch. 5. Queer art making -- Ch. 6. The value of art -- Ch. 7. Art fashion -- Acknowledgments -- Bibliography.
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  36. "Prophets of Extremity: Nietzsche, Heidegger, Foucault, Derrida": Allan Megill. [REVIEW]David Carrier - 1986 - British Journal of Aesthetics 26 (3):288.
     
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  37. Ronald Paulson, Representations of Revolution.David Carrier - 1983 - Journal of Aesthetics and Art Criticism 42 (2):223-225.
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  38. Stephen N. Thomas, "The formal mechanics of mind". [REVIEW]David Carrier - 1983 - Metaphilosophy 14:72.
     
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  39.  36
    The Aesthete in the City: The Philosophy and Practice of American Abstract Painting in the 1980s.David Carrier - 1994 - Pennsylvania State University Press.
    In the 1980s, when the American art market flourished, critics were heavily concerned with theory. In T_he Aesthete in the City_ David Carrier offers a personal view on the artistic activity of that decade. He begins with a theoretical perspective on the relationship between two very different forms of artwriting: art criticism and art history writing. Carrier surveys the developments within theory during the 1980s, focusing on constructive critical analysis of the then fashionable work of Jean Baudrillard, Walter Benjamin, T. (...)
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  40. "The Content of the Form. Narrative Discourse and Historical Representation": Hayden White. [REVIEW]David Carrier - 1988 - British Journal of Aesthetics 28 (1):84.
     
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  41. "The Forger's Art: Forgery and the Philosophy of Art": Edited by Denis Dutton. [REVIEW]David Carrier - 1984 - British Journal of Aesthetics 24 (4):371.
     
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  42. "The Judgment of Sense: Renaissance Naturalism and the Rise of Aesthetics": David Summers. [REVIEW]David Carrier - 1989 - British Journal of Aesthetics 29 (1):74.
     
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  43. The World Art History Museum.David Carrier - 2013 - Sztuka I Filozofia (Art and Philosophy) (42).
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  44.  35
    The Test of Time by Anthony Savile. [REVIEW]David Carrier - 1984 - Journal of Philosophy 81 (4):226-230.
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  45.  29
    Rosalind Krauss, David Carrier, and Philosophical Art CriticismRosalind Krauss and American Philosophical Art Criticism: From Formalism to beyond Postmodernism.Daniel A. Siedell & David Carrier - 2004 - Journal of Aesthetic Education 38 (2):95.
    In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.2 (2004) 80-87 [Access article in PDF] The Beauty of Henri Matisse David Carrier Because beauty has for a long time now been politically incorrect (at least among certain influential critics and academic historians) the art of Henri Matisse has recently suffered from a kind of benign neglect. His goals were luxury, calm, and voluptuousness, not social critique. He painted female nudes, and was (...)
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  46.  58
    Interpreting Musical Performances.David Carrier - 1983 - The Monist 66 (2):202-212.
    Interpreting artworks involves “the overtone or implication of an obligation of a moral kind.” Here “moral” might be understood in two different ways. First, such obligation, like moral obligation, involves recognition of and submission to some law outside oneself. The law says “Do not kill” and so I intend my actions to conform with that standard; analogously, a performance presents that work created by the composer. Second, the act of interpretation may itself have moral value. Interpretation brings to life artworks (...)
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  47.  45
    Chinese art: How different could it be from western painting?David Carrier - 2012 - History and Theory 51 (1):116-122.
    ABSTRACTWhen encountering something unfamiliar, it is natural to describe and understand it by reference to what is familiar. Commentary on Chinese landscape painting usually relies heavily upon analogies with Western art. James Elkins, concerned to understand the implications of this procedure, asks whether in seeing and writing about this art we ever can escape our Western perspectives. His problem is not just that he himself does not know Chinese. Even bilingual specialists or native Chinese speakers employ this vocabulary, for the (...)
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  48.  66
    Adrian Stokes and the theory of painting.David Carrier - 1973 - British Journal of Aesthetics 13 (2):133-145.
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  49.  1
    Danto's Aesthetic.David Carrier - 2012 - In Ernest Lepore & Mark Rollins (eds.), Danto and his Critics. Oxford, UK: Wiley‐Blackwell. pp. 232–247.
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  50.  1
    Proust's In Search of Lost Time: The Comics Version.David Carrier - 2012 - In Dominic McIver Lopes, Berys Gaut, Aaron Meskin & Roy T. Cook (eds.), The Art of Comics. Oxford, UK: Wiley‐Blackwell. pp. 188–202.
    This chapter contains sections titled: Notes References.
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