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Art is a diverse range of human activity and its resulting product that involves creative or imaginative talent generally expressive of technical proficiency, beauty, emotional power, or conceptual ideas.
Aesthetics is the branch of philosophy concerned with the nature of beauty and the nature of taste; and functions as the philosophy of art. Aesthetics examines the philosophy of aesthetic value, which is determined by critical judgements of artistic taste; thus, the function of aesthetics is the "critical reflection on art, culture and nature".
In literary theory and aesthetics, authorial intent refers to an author's intent as it is encoded in their work. Authorial intentionalism is the hermeneutical view that an author's intentions should constrain the ways in which a text is properly interpreted. Opponents, who dispute its hermeneutical importance, have labelled this position the intentional fallacy and count it among the informal fallacies.
Tom Friedman is an American conceptual sculptor. He was born in St. Louis, Missouri and received a BFA in graphic illustration from Washington University in St. Louis (1988) and an MFA in sculpture from the University of Illinois at Chicago (1990.). As a conceptual artist he works in diverse media including sculpture, painting, drawing, video, and installation.
Arthur Coleman Danto was an American art critic, philosopher, and professor at Columbia University. He was best known for having been a long-time art critic for The Nation and for his work in philosophical aesthetics and philosophy of history, though he contributed significantly to a number of fields, including the philosophy of action. His interests included thought, feeling, philosophy of art, theories of representation, philosophical psychology, Hegel's aesthetics, and the philosophers Friedrich Nietzsche and Jean-Paul Sartre.
"The Death of the Author" is a 1967 essay by the French literary critic and theorist Roland Barthes (1915–1980). Barthes' essay argues against traditional literary criticism's practice of relying on the intentions and biography of an author to definitively explain the "ultimate meaning" of a text. Instead, the essay emphasizes the primacy of each individual reader's interpretation of the work over any "definitive" meaning intended by the author, a process in which subtle or unnoticed characteristics may be drawn out for new insight. The essay's first English-language publication was in the American journal Aspen, no. 5–6 in 1967; the French debut was in the magazine Manteia, no. 5 (1968). The essay later appeared in an anthology of Barthes' essays, Image-Music-Text (1977), a book that also included his "From Work to Text".
Statutory interpretation is the process by which courts interpret and apply legislation. Some amount of interpretation is often necessary when a case involves a statute. Sometimes the words of a statute have a plain and a straightforward meaning. But in many cases, there is some ambiguity in the words of the statute that must be resolved by the judge. To find the meanings of statutes, judges use various tools and methods of statutory interpretation, including traditional canons of statutory interpretation, legislative history, and purpose. In common law jurisdictions, the judiciary may apply rules of statutory interpretation both to legislation enacted by the legislature and to delegated legislation such as administrative agency regulations.
Textualism is a formalist theory in which the interpretation of the law is based exclusively on the ordinary meaning of the legal text, where no consideration is given to non-textual sources, such as intention of the law when passed, the problem it was intended to remedy, or significant questions regarding the justice or rectitude of the law.
"The Origin of the Work of Art" is an essay by the German philosopher Martin Heidegger. Heidegger drafted the text between 1935 and 1937, reworking it for publication in 1950 and again in 1960. Heidegger based his essay on a series of lectures he had previously delivered in Zurich and Frankfurt during the 1930s, first on the essence of the work of art and then on the question of the meaning of a "thing", marking the philosopher's first lectures on the notion of art.
The psychology of art is the scientific study of cognitive and emotional processes precipitated by the sensory perception of aesthetic artefacts, such as viewing a painting or touching a sculpture. It is an emerging multidisciplinary field of inquiry, closely related to the psychology of aesthetics, including neuroaesthetics.
The hermeneutic circle describes the process of understanding a text hermeneutically. It refers to the idea that one's understanding of the text as a whole is established by reference to the individual parts and one's understanding of each individual part by reference to the whole. The circle is a metaphor for the procedure of transforming one's understanding of the part and the whole through iterative recontextualization.
Art history is the study of aesthetic objects and visual expression in historical and stylistic context. Traditionally, the discipline of art history emphasized painting, drawing, sculpture, architecture, ceramics and decorative arts; yet today, art history examines broader aspects of visual culture, including the various visual and conceptual outcomes related to an ever-evolving definition of art. Art history encompasses the study of objects created by different cultures around the world and throughout history that convey meaning, importance or serve usefulness primarily through visual representations.
Also known as reception analysis, audience reception theory has come to be widely used as a way of characterizing the wave of audience research which occurred within communications and cultural studies during the 1980s and 1990s. On the whole, this work has adopted a "culturalist" perspective, has tended to use qualitative methods of research and has tended to be concerned, one way or another, with exploring the active choices, uses and interpretations made of media materials, by their consumers. Can also be known as reception theory, in which producers encode with a desired response, then the audience decode.
In the philosophy of art, an interpretation is an explanation of the meaning of a work of art. An aesthetic interpretation expresses a particular emotional or experiential understanding most often used in reference to a poem or piece of literature, and may also apply to a work of visual art or performance.
Twittering Machine is a 1922 watercolor with gouache, pen-and-ink, and oil transfer on paper by Swiss-German painter Paul Klee. Like other artworks by Klee, it blends biology and machinery, depicting a loosely sketched group of birds on a wire or branch connected to a hand-crank. Interpretations of the work vary widely: it has been perceived as a nightmarish lure for the viewer or a depiction of the helplessness of the artist, but also as a triumph of nature over mechanical pursuits. It has been seen as a visual representation of the mechanics of sound.
In psychology of art, the relationship between art and emotion has newly been the subject of extensive study thanks to the intervention of esteemed art historian Alexander Nemerov. Emotional or aesthetic responses to art have previously been viewed as basic stimulus response, but new theories and research have suggested that these experiences are more complex and able to be studied experimentally. Emotional responses are often regarded as the keystone to experiencing art, and the creation of an emotional experience has been argued as the purpose of artistic expression. Research has shown that the neurological underpinnings of perceiving art differ from those used in standard object recognition. Instead, brain regions involved in the experience of emotion and goal setting show activation when viewing art.
Monogram is a Combine by American artist Robert Rauschenberg, made between 1955 and 1959. It consists of a stuffed Angora goat with its midsection passing through an automobile tire. Critic Jorg von Uthmann described it as Rauschenberg's most famous work in the Huffington Post. In 1965, Pontus Hultén purchased the artwork for the collection of the Moderna Museet in Stockholm.
A theory of art is intended to contrast with a definition of art. Traditionally, definitions are composed of necessary and sufficient conditions and a single counterexample overthrows such a definition. Theorizing about art, on the other hand, is analogous to a theory of a natural phenomenon like gravity. In fact, the intent behind a theory of art is to treat art as a natural phenomenon that should be investigated like any other. The question of whether one can speak of a theory of art without employing a concept of art is also discussed below.
In art, a title is a word or phrase used to identify and distinguish a particular work of art from others. These titles can be descriptive, indicative of the content or theme of the work, or they can be more abstract and open to interpretation. Titles can be designated by the artists themselves, or by curators or other third parties, and can affect reception and interpretation.
Breaking the Pose – alternately titled Breaking the Pose (The Art Class) – is an oil painting from 1986 by the painter Jerome Witkin. Completed when the artist was 47 and working as a professor at Syracuse University, the work demonstrates why Witkin has been called one of the greatest contemporary artists of his time and one of today’s great narrative painters.
References
- ↑ "AAEP Chair on the Passing of Dr. Terry Barrett | Department of Arts Administration, Education and Policy". aaep.osu.edu. Retrieved 2024-06-09.
- ↑ "Terry Barrett". Monoskop. Retrieved 14 September 2016.
- ↑ (Barrett, T. (1991), Interpreting Art: Reflecting, Wondering, and Responding, Chapter 8, Page 197).
- ↑ (Barrett, T. (199?), Interpreting Art: Reflecting, Wondering, and Responding, Chapter 8, Page 202).
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