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A Comparative Philosophy of Sport and ArtDefining Art

A Comparative Philosophy of Sport and Art: Defining Art [I begin this chapter by setting out a number of desiderata for a satisfactory analysis of art, based on Richard Wollheim’s critique of a version of the institutional theory of art. I then offer an account of art according to which the following are some of its central features: that a work of art has an author who endows it with a meaning; that this meaning is embodied in a durable and perceptible medium; and that a work of art is intended primarily for the pleasure and satisfaction of the experience it provides as an object of interpretation and appraisal. Elaborating on these features, I discuss the case of “readymades” such as Duchamp’s Fountain, arguing that, contrary to appearances, these works do have meaning conferred on them by the artist. Discussing the place of the artist’s medium in the experience of art, I consider the case of what I call “display” pictures—pictures that are “transparent” in the sense that we experience their subject matter without any awareness of a medium. To illuminate the nature of our experience of art, I draw on Jerrold Levinson’s ideas concerning the experience of erotic art, on the one hand, and pornography, on the other.] http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png

A Comparative Philosophy of Sport and ArtDefining Art

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References (2)

Publisher
Springer International Publishing
Copyright
© The Editor(s) (if applicable) and The Author(s), under exclusive license to Springer Nature Switzerland AG 2021
ISBN
978-3-030-72333-0
Pages
81 –92
DOI
10.1007/978-3-030-72334-7_6
Publisher site
See Chapter on Publisher Site

Abstract

[I begin this chapter by setting out a number of desiderata for a satisfactory analysis of art, based on Richard Wollheim’s critique of a version of the institutional theory of art. I then offer an account of art according to which the following are some of its central features: that a work of art has an author who endows it with a meaning; that this meaning is embodied in a durable and perceptible medium; and that a work of art is intended primarily for the pleasure and satisfaction of the experience it provides as an object of interpretation and appraisal. Elaborating on these features, I discuss the case of “readymades” such as Duchamp’s Fountain, arguing that, contrary to appearances, these works do have meaning conferred on them by the artist. Discussing the place of the artist’s medium in the experience of art, I consider the case of what I call “display” pictures—pictures that are “transparent” in the sense that we experience their subject matter without any awareness of a medium. To illuminate the nature of our experience of art, I draw on Jerrold Levinson’s ideas concerning the experience of erotic art, on the one hand, and pornography, on the other.]

Published: Jun 17, 2021

Keywords: Definition of art; Institutional theory of art; Art and meaning; Art enjoyed for its own sake; Art has a medium; Art and pornography

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