October 25, 2017
by Alex King
4 Comments
In September this year, French-Luxembourgian performance artist Deborah De Robertis exposed her vagina in front of the Mona Lisa at the Louvre. A few days ago, she was acquitted of charges of sexual exhibitionism by Paris’s High Court. Why? Because (a) her intent was not sexual in nature, and (b) the “material element of the crime” was missing (= you couldn’t *see* her genitalia because pubic hair obscured it). (Yes, you may giggle now.)
March 29, 2017
by Rebecca Millsop
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The American Society for Aesthetics Board of Trustees has approved a grant of $3,990 for a conference on “The Philosophy of Portraits” at the University of Maryland, April 7-8, 2018. The conference has been organized by Hans Maes, Senior Lecturer in History and Philosophy of Art and Director of the Aesthetics Research Centre at the University of Kent, and Jerrold Levinson, Distinguished Professor of Philosophy at the University of Maryland. Confirmed keynote speakers include A.W. Eaton, Cynthia Freeland, and Jenefer Robinson. A call for additional papers for the conference will be announced shortly. ASA is funding two travel grants for ASA student members of $500 each for papers selected for the program. The conference registration fee of $35 will be waived for all ASA members attending the conference.
December 9, 2016
by Rebecca Millsop
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This is entry #61 in our 100 Philosophers, 100 Artworks, 100 Words Series.
December 4, 2016
by Aesthetics for Birds
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A collaboration between ING bank, Microsoft, Delft University of Technology, and the Mauritshuis museum brings us the Next Rembrandt project. They’ve created an original, Rembrandt-style “painting” created by analyzing existing Rembrandt paintings (colors, head direction, facial composition, etc.). <!–more–> If this is a taste of what the robot apocalypse will look like, then I guess it seems sort of anticlimactic. Anyway, if you were curious about how to make the MOST paradigmatic Rembrandt painting, you’d want the following characteristics: Okay, but so much you probably already knew, without any deep data algorithms. Just with your fleshy meat brain. But could you do this part? They did micro-landscape analysis of the brushstrokes and mimicked that, too. Then used “paint-based UV ink” to create the final product with a 3D printer. And how does it look? I mean, it looks like a Rembrandt to me. (Some people claim they can tell it’s not authentic. I’m skeptical.) This – like … Continue reading
October 14, 2016
by Rebecca Millsop
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This is entry #55 in our 100 Philosophers, 100 Artworks, 100 Words Series.
October 6, 2016
by Rebecca Millsop
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New York City’s Museum of Modern Art is certainly one of the most important and influential art institutions in the USA and the world. MoMA curators throughout the decades have made decisions that have greatly affected the way the artworld and public understand the nature of art. You can now view all materials from all of MoMA’s exhibitions, beginning with their opening in 1929. Check it out for yourself: MoMA’s Entire Exhibition History After, or perhaps before, check out a recent article in The Atlantic by Robinson Meyer, “The Museum of Modern Art’s Miraculous New Online Archive”, discussing the aesthetic and functional changes in exhibition documentation throughout the years.
September 23, 2016
by Aesthetics for Birds
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This is entry #53 in our 100 Philosophers, 100 Artworks, 100 Words Series.
September 9, 2016
by Aesthetics for Birds
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This is entry #52 in our 100 Philosophers, 100 Artworks, 100 Words Series.
April 15, 2016
by Aesthetics for Birds
4 Comments
What follows is a guest post by Nils-Hennes Stear (University of Michigan) Last July, the Boston Museum of Fine Arts (BMFA) put on an exhibition featuring Claude Monet’s La Japonaise (1875), a painting of Camille, Monet’s wife, dressed in a resplendent red kimono. For some of that period, the museum also invited visitors to “dress up” in a replica of the depicted kimono beside the painting, to take selfies, and share them with the museum. Protestors accused the BMFA of Orientalism and cultural appropriation, after which the museum cancelled the dress-up activity in favour of one in which visitors could interact with the garment in other ways. More details about the case are here and here.
January 19, 2016
by Aesthetics for Birds
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This is entry #40 in our 100 Philosophers, 100 Artworks, 100 Words Series.
