What follows is a guest post by David Alff. Last year I finished writing a book about projects. Not art projects or housing projects or chemistry projects, but the idea of projects itself. I wanted to learn how humans came to organize their lives and worlds through discrete endeavor. I wanted to understand how enterprise became such a widespread vehicle for ambition that we seldom notice its existence. What are projects anyway? Why are we always doing them? How else could we spend our time? These questions drove me to see the project as a distinct form with a traceable past rather than as a daunting abstraction or the container of something more salient. Studying projects on their own terms, I thought, would give me fresh vantage on the history of ideas. My book set out to reveal nothing less than the basic unit by which anything has ever been … Continue reading →
What follows is a guest post by Jennifer A. McMahon. Have you ever found yourself patiently listening to a range of interpretations of an artwork, wondering whether there was some objective way to negotiate the plethora of sometimes idiosyncratic and whimsical responses? Regarding this question, it is interesting to compare the typical objective of a community-based-book-club to the way gallery visitors talk about the art they see. A reader seeks to make sense of a novel in terms relative to their own life experiences. If a reader finds by referencing expert authority that their experience is far removed from what the author had in mind, the value they place on the work might be diminished rather than prompt them to any new experience of it (unless they were reading it as part of a course on which they were to be assessed). With visual art, the situation until recently was … Continue reading →
What follows is a post in our ongoing JAAC x AFB series, a collaboration between Aesthetics for Birds and the Journal of Aesthetics and Art Criticism. Today, Emily Brady shares some insights from her recent paper, “John Muir’s Environmental Aesthetics: Interweaving the Aesthetic, Religious, and Scientific“, which you can find in the recent Special Issue of the Journal of Aesthetics and Art Criticism on Environmentalism and Aesthetics. I greatly enjoyed my walk up this majestic ice-river, charmed by the pale-blue, ineffably fine light in the crevasses, moulins, and wells, and the innumerable azure pools in basins of azure ice, and the network of surface streams, large and small, gliding, swirling with wonderful grace of motion in their frictionless channels, calling forth devout admiration at almost every step and filling the mind with a sense of Nature’s endless beauty and power. Looking ahead from the middle of the glacier, you see the … Continue reading →
February 14, 2019
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What follows is a guest post from Darren Hudson Hick (Texas Tech University). A few weeks back, as my aesthetics undergrads were taking their final exam, I was sitting in the back of the room, reading Susan M. Bielstein’s 2006 book, Permissions, A Survival Guide: Blunt Talk about Art as Intellectual Property. It’s a book about the history, legality, and pragmatics of art permissions, and it’s a page-turner. Seriously: it’s easily one of the best books about copyright that I’ve read in years (and, by God, that’s saying a lot). Bielstein is the executive editor for art, architecture, classical studies and film at the University of Chicago Press, so she knows what she’s talking about, and she’s an enviably good writer. Accompanying each image in the book is a note about how much Bielstein paid to use the image, and to whom. On page 58 is a reproduction of Robert … Continue reading →
January 31, 2019
by Aesthetics for Birds 6 Comments
What follows is a guest post from Elizabeth Cantalamessa (University of Miami). Think about the endless debates over what, really, is art. We get it over the latest Star Wars movie, or over Richard Prince’s series of Instagram screenshots titled New Portraits, or the recent Banksy “art-world prank” where a print of Girl With a Balloon “self-shredded” upon its auction. Articles are written, exhibitions are curated, theories are proposed – but, if there’s no fact out there in the world that can settle the debates, why do people waste their time trying to get others to agree with them? It seems that we face a dilemma: either people are wasting their time trying to figure out what “really” makes something art – or there is some deep fact about these objects that would settle the debates if aestheticians and the like just do enough analysis and theory.
September 6, 2018
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What follows is a post in our ongoing collaborative series with the Journal of Aesthetics and Art Criticism. This is based on a new article by Dieter Declercq, “A Definition of Satire (And Why a Definition Matters)” which you can find in the current issue of JAAC. Satire is infamously varied. The origins of the label date back to Roman times, as a classification for disgruntled verses by poets like Horace and Juvenal. Yet, although the Roman orator Quintilian tried to claim satire as “wholly ours” (satura tota nostra est), satire is clearly not limited to ancient Rome. Just think of Margaret Atwood’s The Handmaid’s Tale, Jane Austen’s Pride and Prejudice, Jimi Hendrix’s “Star-Spangled Banner” (performed at Woodstock), Full Frontal with Samantha Bee, Pussy Riot, Guerrilla Girls, Paul Beatty’s The Sellout, Jordan Peel’s Get Out, Aravind Adiga’s The White Tiger, Daliso Chaponda’s stand-up comedy…
August 24, 2018
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What follows is a post in our ongoing collaborative series with the Journal of Aesthetics and Art Criticism. This is based on a new article by Henry Pratt, “Are You Ready for Some Football? A Monday Night Documentary?” When I lived in Wisconsin, I had a large, hairy housemate named Brian who watched a lot of hockey and football on TV. Sometimes he’d even do so shirtless to avoid stains from marinara sauce. It turns out that, unbeknownst to me at the time, he’d seen thousands of documentaries and was something of an expert on them. Wait—what? Quoth Gregory Currie, in his prominent article on the category: “game shows turn out to be documentaries about their participants, chat shows documentaries about the interviewer and interviewees, and sports programs documentaries about the activities of the athletes” (294).
What follows is a guest post by Steven Hales (Bloomsburg University of Pennsylvania) My parents are antique dealers, and if there is one thing that I have learned from them, it is that people will collect anything: coins, stamps, Tiffany lamps, Victorian salt shakers, gasoline pumps, barbed wire, automobiles, rocks, fossils, Coca-Cola advertising, airline barf bags. I collect rare books. When I was in philosophy grad school at Brown I met Dan Knowlton, the university’s on-staff hand bookbinder, and wound up taking private bookbinding lessons from him for two years. I’ve been a serious hobbyist binder ever since. So I have first-hand knowledge of the kinds of interventions bookbinders do, and what they hope to achieve as a result. Here are a few thoughts about the types of value that collectors are interested in and how restorers (especially bookbinders) maximize or minimize those values.