{"title":"高成本的艺术","authors":"Frank Boardman","doi":"10.5840/wurop202114","DOIUrl":null,"url":null,"abstract":"Certain artworks are––whatever else they are––statements about the value of art. A particularly striking form of such a statement is made by a class of artworks we can call “high-cost art.” High-cost artworks are those with greater costs relative to benefits for their artists or displayers. I will argue here that those art forms that are most likely to include high-cost works are particularly effective at communicating artistic value-claims, and suggest that by so championing the value of art, these artworks themselves increase in artistic value.","PeriodicalId":276687,"journal":{"name":"Washington University Review of Philosophy","volume":"53 1","pages":"0"},"PeriodicalIF":0.0000,"publicationDate":"2021-08-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"High-Cost Art\",\"authors\":\"Frank Boardman\",\"doi\":\"10.5840/wurop202114\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"Certain artworks are––whatever else they are––statements about the value of art. A particularly striking form of such a statement is made by a class of artworks we can call “high-cost art.” High-cost artworks are those with greater costs relative to benefits for their artists or displayers. I will argue here that those art forms that are most likely to include high-cost works are particularly effective at communicating artistic value-claims, and suggest that by so championing the value of art, these artworks themselves increase in artistic value.\",\"PeriodicalId\":276687,\"journal\":{\"name\":\"Washington University Review of Philosophy\",\"volume\":\"53 1\",\"pages\":\"0\"},\"PeriodicalIF\":0.0000,\"publicationDate\":\"2021-08-17\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Washington University Review of Philosophy\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.5840/wurop202114\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"\",\"JCRName\":\"\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Washington University Review of Philosophy","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.5840/wurop202114","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
Certain artworks are––whatever else they are––statements about the value of art. A particularly striking form of such a statement is made by a class of artworks we can call “high-cost art.” High-cost artworks are those with greater costs relative to benefits for their artists or displayers. I will argue here that those art forms that are most likely to include high-cost works are particularly effective at communicating artistic value-claims, and suggest that by so championing the value of art, these artworks themselves increase in artistic value.