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Some art theorists have proposed that the attempt to define art must be abandoned and have instead urged an anti-essentialist theory of art. [9] In 'The Role of Theory in Aesthetics' (1956), Morris Weitz famously argues that individually necessary and jointly sufficient conditions will never be forthcoming for the concept 'art' because it is an ...
Institutional critique is a practice that emerged from the developments of Minimalism and its concerns with the phenomenology of the viewer; formalist art criticism and art history (e.g. Clement Greenberg and Michael Fried); conceptual art and its concerns with language, processes, and administrative society; and the critique of authorship that begins with Roland Barthes and Michel Foucault in ...
He was an influential philosopher of art working in the analytical tradition. His institutional theory of art inspired both supporters who produced variations on the theory as well as detractors. One of his more influential works is The Century of Taste (1996), an inquiry into several eighteenth-century philosophers' treatments of the subject.
Pages for logged out editors learn more. Contributions; Talk; Institutional theory of art
Texte zur Kunst is published in the small journal format of 166 x 230 mm and contains approximately 300 pages. Issues are thematic and feature essays, interviews, and round-table discussions that address culture-sector questions relating to contemporary art, socio-political theory, and cultural policy from an art historical and sociological perspective. [5]
Arthur Coleman Danto (January 1, 1924 – October 25, 2013) was an American art critic, philosopher, and professor at Columbia University.He was best known for having been a long-time art critic for The Nation and for his work in philosophical aesthetics and philosophy of history, though he contributed significantly to a number of fields, including the philosophy of action.
Significant form refers to an aesthetic theory developed by English art critic Clive Bell which specified a set of criteria for what qualified as a work of art. [1] In his 1914 book, Art, Bell postulated that for an object to be deemed a work of art it required potential to provoke aesthetic emotion in its viewer, a quality he termed ...
Michael Max Asher (July 15, 1943 – October 15, 2012) was an American conceptual artist, described by The New York Times as "among the patron saints of the Conceptual Art phylum known as Institutional Critique, an often esoteric dissection of the assumptions that govern how we perceive art."