JOURNAL OF AESTHETICS AND ART CRITICISM最新文献

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IF 0.8 2区 艺术学
JOURNAL OF AESTHETICS AND ART CRITICISM Pub Date : 2020-11-09 DOI: 10.1111/jaac.12769
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引用次数: 0
Introduction: Stand-Up Comedy Today and Tomorrow 简介:单口喜剧的今天和明天
IF 0.8 2区 艺术学
JOURNAL OF AESTHETICS AND ART CRITICISM Pub Date : 2020-11-09 DOI: 10.1111/jaac.12759
SHEILA LINTOTT
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引用次数: 1
Improvisation and Stand-Up Comedy 即兴表演和单口喜剧
IF 0.8 2区 艺术学
JOURNAL OF AESTHETICS AND ART CRITICISM Pub Date : 2020-11-09 DOI: 10.1111/jaac.12754
TOBYN DEMARCO
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引用次数: 1
Jackson, , , Lauren Michele. White Negroes: When Cornrows Were in Vogue… and Other Thoughts on Cultural Appropriation. Boston: Beacon Press, 2019, 184 pp., $25.95 cloth. 杰克逊,劳伦·米歇尔。白人黑人:当玉米辫流行的时候……以及对文化挪用的其他思考。波士顿:灯塔出版社,2019年,184页,25.95美元。
IF 0.8 2区 艺术学
JOURNAL OF AESTHETICS AND ART CRITICISM Pub Date : 2020-08-13 DOI: 10.1111/jaac.12753
MARIE HADLEY
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引用次数: 1
Learning from Aesthetic Disagreement and Flawed Artworks 从审美分歧和有缺陷的艺术作品中学习
IF 0.8 2区 艺术学
JOURNAL OF AESTHETICS AND ART CRITICISM Pub Date : 2020-08-13 DOI: 10.1111/jaac.12748
EILEEN JOHN
{"title":"Learning from Aesthetic Disagreement and Flawed Artworks","authors":"EILEEN JOHN","doi":"10.1111/jaac.12748","DOIUrl":"10.1111/jaac.12748","url":null,"abstract":"<div>\u0000 \u0000 <p>Disagreements about art are considered here for their potential to pose questions about reality beyond the artwork. The project of assessing artistic value is useful for bringing complex questions to light. The ambitiousness of the cognitive stock, in Richard Wollheim's term, that can be relevant to understanding an artwork may mean that confident evaluation will elude us. Thinking about artistic value judgment in this way shifts its centrality as the point of artistic interpretation and evaluation; the goal of judging a work's meaning and value is a useful tool for prompting us to understand a work. But if we fail to reach that goal, that does not mean we have failed to engage with the work appropriately. The artistic value judgment, and achieving consensus on that value, can be secondary in importance to grasping the problems a work poses that are not immediately resolvable. Examples drawn from literary and philosophical imagining, in the work of Grace Paley and Mary Mothersill, and from Toni Morrison's literary criticism are used to illustrate and support the fruitfulness of this approach.</p>\u0000 </div>","PeriodicalId":51571,"journal":{"name":"JOURNAL OF AESTHETICS AND ART CRITICISM","volume":null,"pages":null},"PeriodicalIF":0.8,"publicationDate":"2020-08-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1111/jaac.12748","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130893692","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Carvalho, , , John. Thinking with Images: An Enactivist Aesthetics, New York: Routledge, 2019, x + 150 pp., 16 b&w images, $140.00 cloth. 卡瓦略,约翰。用图像思考:一种激进的美学,纽约:劳特利奇,2019,x + 150页,16张黑白图片,140.00美元布面。
IF 0.8 2区 艺术学
JOURNAL OF AESTHETICS AND ART CRITICISM Pub Date : 2020-08-13 DOI: 10.1111/jaac.12752
SHERYL TUTTLE ROSS
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引用次数: 0
Installation Art and the Question of Aesthetic Autonomy: Juliane Rebentisch and the Beholder's Share 装置艺术与审美自主性的问题:朱利安·雷庞蒂斯奇与观者的份额
IF 0.8 2区 艺术学
JOURNAL OF AESTHETICS AND ART CRITICISM Pub Date : 2020-08-13 DOI: 10.1111/jaac.12735
KEN WILDER
{"title":"Installation Art and the Question of Aesthetic Autonomy: Juliane Rebentisch and the Beholder's Share","authors":"KEN WILDER","doi":"10.1111/jaac.12735","DOIUrl":"10.1111/jaac.12735","url":null,"abstract":"<p>Intermedial art, as it emerged in the 1960s and 1970s, constituted a threat not only to the medium specificity of modernism, but also to the artwork as self-contained autonomous object. That this threat was real is evidenced by the ubiquitous presence of installation art. While only named as such toward the end of this period, installation art––a label still rejected by some of its founding artists––is exemplary of such hybrid practices. Its supporters and critics drew a contrast between, on the one hand, modernism's aesthetic engagement with a medium-specific (and self-sufficient) “object,” and, on the other hand, new so-called nonaesthetic “practices” engaging the “literal” spectator within her own space, such that the space of the gallery or situation is drawn into the encounter. So, while in 1967, Michael Fried writes disparagingly of the notion that “someone has merely to enter the room in which a literalist work has been placed to become that beholder, that audience of one” (<span>1998</span>, 193), Claire Bishop echoes such a claim when she suggests that “an insistence on the literal presence of the viewer is arguably the key characteristic of installation art” (<span>2005</span>, 6). Despite diametrically opposed critical evaluations of such situated art, a curious consensus emerges around a beholder whose “share” is characterized as a “being present.”</p><p>It is indicative because it allows us to see an interrelation “between the anti-objectivist impulse of theories of aesthetic experience and the impulses toward the dissolution of the concept of the work in artistic practice”; thus, the opposition toward objectivism in a philosopher like Rüdiger Bubner is <i>at the same time</i> a “reaction to the destruction of the traditional unity of the work in contemporary art,” exemplified, of course, by installation art (Rebentisch <span>2012</span>, 10).</p><p>The object is aesthetic not by virtue of qualities that <i>precede</i> the experience of such an object (that is, guaranteed by production), but only when the encounter with the artwork initiates a specifically aesthetic experience. This is not “a return to subjectivism that would sacrifice the art critical discourse and with it any consideration of questions of productions aesthetics” (130–131), but rather a recognition that art critical discourse necessarily <i>follows</i> aesthetic experience and is, thus, constitutive of such aesthetic objects through processes of reflective transformation.</p><p>Through such discursivity, Rebentisch seeks to avoid the pitfalls of an objectivism conceived as self-referential, and a subjectivism that posits the subject's aesthetic experience <i>as its own object</i>. She defines the aesthetic experience of installation art as a relation that does, indeed, involve aesthetic distance, in that it “brackets” the object not just as a self-referential “thing,” but through an event-like experience: a bracketing that highlights the performative role of the ","PeriodicalId":51571,"journal":{"name":"JOURNAL OF AESTHETICS AND ART CRITICISM","volume":null,"pages":null},"PeriodicalIF":0.8,"publicationDate":"2020-08-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1111/jaac.12735","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132533554","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"OA","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 1
Contributors 贡献者
IF 0.8 2区 艺术学
JOURNAL OF AESTHETICS AND ART CRITICISM Pub Date : 2020-08-13 DOI: 10.1111/jaac.12751
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引用次数: 0
Lewis, , , Eric. Intents and Purposes: Philosophy and the Aesthetics of Improvisation. University of Michigan Press, 2019, 280 pp., 3 b&w illus., $80.00 cloth. 刘易斯,埃里克。意图与目的:即兴创作的哲学与美学。密歇根大学出版社,2019,280页,3b&w。, $80.00布。
IF 0.8 2区 艺术学
JOURNAL OF AESTHETICS AND ART CRITICISM Pub Date : 2020-08-13 DOI: 10.1111/jaac.12746
CASEY HASKINS
{"title":"Lewis, , , Eric. Intents and Purposes: Philosophy and the Aesthetics of Improvisation. University of Michigan Press, 2019, 280 pp., 3 b&w illus., $80.00 cloth.","authors":"CASEY HASKINS","doi":"10.1111/jaac.12746","DOIUrl":"10.1111/jaac.12746","url":null,"abstract":"","PeriodicalId":51571,"journal":{"name":"JOURNAL OF AESTHETICS AND ART CRITICISM","volume":null,"pages":null},"PeriodicalIF":0.8,"publicationDate":"2020-08-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1111/jaac.12746","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116834423","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
The 2021 John Fisher Memorial Prize 2021年约翰·费雪纪念奖
IF 0.8 2区 艺术学
JOURNAL OF AESTHETICS AND ART CRITICISM Pub Date : 2020-08-13 DOI: 10.1111/jaac.12737
{"title":"The 2021 John Fisher Memorial Prize","authors":"","doi":"10.1111/jaac.12737","DOIUrl":"https://doi.org/10.1111/jaac.12737","url":null,"abstract":"","PeriodicalId":51571,"journal":{"name":"JOURNAL OF AESTHETICS AND ART CRITICISM","volume":null,"pages":null},"PeriodicalIF":0.8,"publicationDate":"2020-08-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1111/jaac.12737","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134805478","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
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