Philosophy and Conceptual Art

Erscheinungsjahr 2009
ISBN: 978-0-19-956825-3
Verlag: OUP Oxford

Buch, Englisch, 308 Seiten, Format (B × H): 156 mm x 234 mm, Gewicht: 471 g

The analytic philosophers writing here engage with the cluster of philosophical questions raised by conceptual art. They address four broad questions: What kind of art is conceptual art? What follows from the fact that conceptual art does not aim to have aesthetic value? What knowledge or understanding can we gain from conceptual art? How ought we to appreciate conceptual art?

Conceptual art, broadly understood by the contributors as beginning with Marcel Duchamp's ready-mades and as continuing beyond the 1970s to include some of today's contemporary art, is grounded in the notion that the artist's 'idea' is central to art, and, contrary to tradition, that the material work is by no means essential to the art as such. To use the words of the conceptual artist Sol LeWitt, 'In conceptual art the idea of the concept is the most important aspect of the work. and the execution is a perfunctory affair'. Given this so-called 'dematerialization' of the art object, the emphasis on cognitive value, and the frequent appeal to philosophy by many conceptual artists, there are many questions that are raised by conceptual art that should be of interest to analytic philosophers. Why, then, has so little work been done in this area? This volume is most probably the first collection of papers by analytic philosophers tackling these concerns head-on.

Autoren/Hrsg.

Goldie, Peter

Schellekens, Elisabeth

Fachgebiete

• Geisteswissenschaften Kunst Kunstgeschichte Kunstgeschichte: 20./21. Jahrhundert Konzeptkunst, Postmodernismus
• Geisteswissenschaften Kunst Kunst, allgemein Kunsttheorie, Kunstphilosophie
• Geisteswissenschaften Philosophie Ästhetik

Inhaltsverzeichnis

- Introduction

- I. Conceptual art as a kind of art

- 1: Peter Lamarque: On perceiving conceptual art

- 2: Derek Matravers: The dematerialization of the art object

- 3: Gregory Currie: The ontology of conceptual art

- 4: Robert Hopkins: Speaking through silence: conceptual art and conversational implicature

- II. Conceptual art and aesthetic value

- 5: Elisabeth Schellekens: The aesthetic value of ideas

- 6: Diarmuid Costello: Kant After LeWitt: Towards an aesthetics of conceptual art

- III. Conceptual art, knowledge and understanding

- 7: Carolyn Wilde: Mind and matter in the work of art: One and Three Chairs

- 8: David Davies: Telling Pictures: the place of narrative in late modern 'visual art'

- 9: Peter Goldie: Conceptual art and knowledge

- 10: Kathleen Stock: Sartre, Wittgenstein, and learning from imagination

- IV. Appreciating conceptual art

- 11: Matthew Kieran: Artistic character, creativity, and the appreciation of conceptual art

- 12: Margaret Boden: Creativity and conceptual art

- 13: Dominic McIver Lopes: Conceptual art is not what it seems

- 14: Art and Language: Emergency Conditionals

Über Autor(innen)

Professor Peter Goldie was Samuel Hall Chair and Head of Philosophy at Manchester University

Elisabeth Schellekens is Senior Lecturer of Philosophy at the University of Durham