- Publication date:
- Oxford : Clarendon Press ; Oxford ; New York : Oxford University Press, 2007.
- xxi, 273 p.,  p. of plates : ill. ; 25 cm.
Includes bibliographical references and index.
- Introduction-- I. CONCEPTUAL ART AS A KIND OF ART-- On perceiving conceptual art-- The dematerialization of the art object-- The ontology of conceptual art-- Speaking through silence: conceptual art and conversational implicature-- II. CONCEPTUAL ART AND AESTHETIC VALUE-- The aesthetic value of ideas-- Kant After LeWitt: Towards an aesthetics of conceptual art-- III. CONCEPTUAL ART, KNOWLEDGE AND UNDERSTANDING-- Mind and matter in the work of art: One and Three Chairs-- Telling Pictures: the place of narrative in late modern 'visual art'-- Conceptual art and knowledge-- Sartre, Wittgenstein, and learning from imagination-- IV. APPRECIATING CONCEPTUAL ART-- Artistic character, creativity, and the appreciation of conceptual art-- Creativity and conceptual art-- Conceptual art is not what it seems-- Emergency Conditionals.
- (source: Nielsen Book Data)
- Publisher's Summary:
The fourteen prominent 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 Anglo-American philosophers tackling these concerns head-on. Contributors Margaret Boden, Diarmuid Costello, Gregory Currie, David Davies, Peter Goldie, Robert Hopkins, Matthew Kieran, Peter Lamarque, Dominic McIver Lopes, Derek Matravers, Elisabeth Schellekens, Kathleen Stock, Carolyn Wilde, and the 'Art & Language' group.
(source: Nielsen Book Data)
- Goldie, Peter.