"A first-rate introduction to the field, accessible to scholars working from a variety of disciplinary and theoretical perspectives. Highly recommended... " —Choice "... offers both broad theoretical considerations and applications to specific art forms, diverse methodological perspectives, and healthy debate among the contributors.... [an] outstanding volume."—Philosophy and Literature "... this volume represents an eloquent and enlightened attempt to reconceptualize the field of aesthetic theory by encouraging its tendencies toward openness, self-reflexivity and plurality." —Discourse & Society "All of the authors challenge (...) the traditional notion of a pure and disinterested observer that does not allow for questions of race/ethnicity, class, sexual preference, or gender." —Signs These essays examine the intellectual traditions of the philosophy of art and aesthetics. Containing essays by scholars and by the writer Marilyn French, the collection ranges from the history of aesthetic theory to a philosophical reflection on fashion. The contributions are unified by a sustained scrutiny of the nature of "feminist," "feminine," or "female" art, creativity, and interpretation. (shrink)
During the past thirty years, museums of all kinds have tried to become more responsive to the interests of a diverse public. With exhibitions becoming people-centered, idea-oriented, and contextualized, the boundaries between museums and the “real” world are eroding. Setting the transition from object-centered to story-centered exhibitions in a philosophical framework, Hilde S. Hein contends that glorifying the museum experience at the expense of objects deflects the museum's educative, ethical, and aesthetic roles. Referring to institutions ranging from art museums to (...) theme parks, she shows how deployment has replaced amassing as a goal and discusses how museums now actively shape and create values. (shrink)
By considering the museum itself as art, rather than as a receptacle, Hein's Public Art: Thinking Museums Differently argues for an improved understanding of the role museums play in shaping public discourse.
Since the eighteenth century, museums have played a prominent part in constituting the artworld, populating it with inhabitants and assigning value to them. Museums have the institutional function of collecting and preserving objects identified as having a certain cultural value. Unlike private collectors, who can indulge their personal tastes independently of the public, museums are obliged to make depersonalized judgments that are normative. Museums are expected to be both archival and celebratory. They are managed by expert staffs whose function it (...) is to use public and/or private funds to select, study and exhibit those items whose aesthetic and historic interest merits special custodial and scholarly attention. Museums are thus implicated in the dissemination of cultural canons and, I contend, of their formation as well. (shrink)
This collection fills an important gap for students of American philosophy. Striking to this reader is the use of the phrase African- American philosophy, for the authors represented, all of whom are black, are neither more nor less American than are most of us who trace our roots to Anglo-European stock. Perhaps we should call ourselves Euro-American philosophers. This observation is not trivial, for it is plain from the contents of the book that the philosophers included, like most of us, (...) have been influenced by their teachers and contemporary movements, and the essays reflect most of the important currents of American thought in the twentieth century. These range from the more or less homegrown pragmatism and critical realism of the early part of the century to the imported varieties of positivism, Marxism, phenomenology, Frankfurt School critical theory, and Oxford ordinary language and conceptual analysis. (shrink)
This collection fills an important gap for students of American philosophy. Striking to this reader is the use of the phrase African- American philosophy, for the authors represented, all of whom are black, are neither more nor less American than are most of us who trace our roots to Anglo-European stock. Perhaps we should call ourselves Euro-American philosophers. This observation is not trivial, for it is plain from the contents of the book that the philosophers included, like most of us, (...) have been influenced by their teachers and contemporary movements, and the essays reflect most of the important currents of American thought in the twentieth century. These range from the more or less homegrown pragmatism and critical realism of the early part of the century to the imported varieties of positivism, Marxism, phenomenology, Frankfurt School critical theory, and Oxford ordinary language and conceptual analysis. (shrink)
Professor Margolis indicates that the problem of the identity of a work of art is a difficult one to resolve. Shall we locate the "work of art" associated with a musical composition in the score or in a performance; and, if the latter, in which particular one? Similarly in poetry, shall we identify the work of art with the printed characters upon the page or with an oral rendition of them? If we call an etching a "work of art," are (...) we referring to the copper plate or to one or more of the prints drawn from it? Some philosophers claim that the "work of art" is none of these; that, in fact, it is not a material object at all, but an experience existing in the mind of the artist and, possibly, in the minds of those whom he has induced to share his experience. (shrink)
