Participatory art and appreciative practice

Journal of Aesthetics and Art Criticism

Volumn 59, Issue 2, 2001, Pages 153-165

  Novitz, David ^a  

^a UNIVERSITY OF CANTERBURY   (New Zealand)

Author keywords

[No Author keywords available]

Indexed keywords

EID: 61049107433     PISSN: 00218529     EISSN: 15406245     Source Type: Journal    
DOI: 10.1111/0021-8529.00015     Document Type: Review

References (26)

1. For more on gardens as an art form, see Mara Miller, The Garden as an Art (SUNY Press, 1993)
2. How we identify artifacts as works of art is a problem that I cannot address here. I have done so elsewhere. See my "Disputes About Art," The Journal of Aesthetics and Art Criticism 54 (1996): 153-163. In the present context, all that we need notice is that were someone to claim of the Abbey that it is a work of art, there would be much that would count in favor of the claim, and very little that could count against it: architecture is an art form, and buildings often are regarded as works of art
3. Arnold Hauser, The Social History of Art, vol. 2 (London: Routledge and Kegan Paul, 1968)
4. Arnold Hauser, The Sociology of Art (University of Chicago Press, 1982), chap. 5, especially pp. 284ff
5. and Janet Wolff, The Social Production of Art (London: MacMillan, 1981), p. 26
6. For a range of related observations, see Susan L. Feagin, "Paintings and Their Places," in Art and Its Messages: Meaning, Morality, and Society, ed. Stephen Davies (Pennsylvania State University Press, 1997), pp. 17-25
7. Cf. Joseph Margolis, Art and Philosophy: Conceptual Issues in Aesthetics (Atlantic Highlands, NJ: Humanities Press, 1980), pp. 48-49
8. It might be argued that in interpreting and so appreciating a work of art, the viewer in some sense completes it. This has often been argued by Joseph Margolis. See his "Robust Relativism," The Journal of Aesthetics and Art Criticism 35 (1976): 37-46
9. "Reinterpreting Interpretation," The Journal of Aesthetics and Art Criticism 47 (1989): 237-251
10. Interpretation Radical but Not Unruly: The New Puzzle of the Arts and History (University of California Press, 1995)
11. What, After All, Is a Work of Art? Lectures in the Philosophy of Art (Pennsylvania State University Press, 1999), chaps. 2 and 3
12. See, as well, Michael Krausz, Rightness and Reasons: Interpretation in Cultural Practices (Cornell University Press, 1993)
13. I have responded to claims of this sort in Knowledge, Fiction and Imagination (Temple University Press, 1987), chap. 5
14. and in "Interpretation and Justification," Metaphilosophy 31 (2000):4-24
15. Whether or not it does make sense depends on the adequacy of functional accounts of art. While I cannot argue the case here, see my "Disputes About Art," as well as Robert Stecker, "Historical Functionalism or the Four Factor Theory," The British Journal of Aesthetics 34 (1994): 255-265
16. Exhibited as part of the Charles Ray Retrospective, Museum of Contemporary Art, Los Angeles, November 15, 1998 through February 21, 1999
17. On this, see my "Disputes About Art," pp. 159-162
18. See, as well, Noël Carroll, "Art, Practice, and Narrative," Monist 71 (1988): 140-156
19. and "Historical Narratives and the Philosophy of Art," The Journal of Aesthetics and Art Criticism 51 (1993): 313-326
20. B. R. Tilghman, But Is It Art? (Oxford: Blackwell, 1984)
21. Jerrold Levinson, "Defining Art Historically," reprinted in Music, Art and Metaphysics (Cornell University Press, 1991), pp. 3-25
22. See my "Messages 'In' and Messages 'Through' Art," The Australasian Journal of Philosophy 73 (1995): 199-203
23. For a defense of the distinction between rational and seductive persuasion, see my The Boundaries of Art (Temple University Press, 1992), chap. 10
24. For more on the tensions here described between forms of appreciation, see my discussion of the critical paradox in "The Anaesthetics of Emotion" in Emotion and the Arts, ed. M. Hjort and S. Laver (Oxford: Oxford University Press, 1997), pp. 246-262, especially pp. 251-254
25. See, for example, Pater Lamarque and Stein Haugom Olsen, Truth, Fiction, and Literature: A Philosophical Perspective (Oxford: The Clarendon Press, 1994), chaps. 15 and 16
26. See, as well, my "The Trouble With Truth," Philosophy and Literature 19 (1995): 350-359