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Philosophy and Conceptual Art
Edited by The late Peter Goldie and Elisabeth Schellekens
308 pages
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11 halftones
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234x156mm
978-0-19-956825-3
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Paperback
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18 June 2009
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This item is printed to order and supplied on a firm sale basis. Items which are printed to order are normally despatched and charged within 5-10 days.
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- First collection of papers by analytic philosophers on this topic
- Excellent line-up of contributors
- Includes illustrations of artworks discussed
The 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 philosophers tackling these concerns head-on.Readership:
Students and scholars of philosophy, aesthetics, and the theory of art.
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Edited by The late Peter Goldie, University of Manchester, and Elisabeth Schellekens, Durham University Contributors:
Margaret A. Boden, University of Sussex
Diarmuid Costello, University of Warwick
Gregory Currie, University of Nottingham
David Davies, McGill University
Peter Goldie, University of Manchester
Robert Hopkins, University of Sheffield
Matthew Kieran, University of Leeds
Peter Lamarque, University of York
Dominic McIver Lopes, University of British Columbia
Derek Matravers, Open University
Elisabeth
Schellekens, Durham University
Kathleen Stock, University of Sussex
Carolyn Wilde, University of Wales
Art & Language
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"A healthy corrective to limited discussion can be had in Philosophy and Conceptual Art...many of the essays are illuminating and sophisticated...These artists smartly articulate a symbiosis or thorough melding of making and thinking, artistic practice and discursive critique." - Kirk E. Pillow MIND
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Introduction
I. Conceptual art as a kind of art
1: Peter Lamarque: On perceiving conceptual art
2: Derek Matravers: The dematerialization of the art object
3: Gregory Currie: The ontology of conceptual art
4: Robert Hopkins: Speaking through silence: conceptual art and conversational implicature
II. Conceptual art and aesthetic value
5: Elisabeth Schellekens: The aesthetic value of ideas
6: Diarmuid Costello: Kant After LeWitt: Towards an aesthetics of conceptual art
III. Conceptual art, knowledge and understanding
7: Carolyn Wilde: Mind and matter in the work of art: One and Three Chairs
8: David Davies: Telling Pictures: the place of narrative in late modern 'visual art'
9: Peter Goldie: Conceptual art and knowledge
10: Kathleen Stock: Sartre, Wittgenstein, and learning from imagination
IV. Appreciating conceptual art
11: Matthew Kieran: Artistic character, creativity, and the appreciation of conceptual art
12: Margaret Boden: Creativity and conceptual art
13: Dominic McIver Lopes: Conceptual art is not what it seems
14: Art & Language: Emergency Conditionals
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The specification in this catalogue, including without limitation price, format, extent, number of illustrations, and month of publication, was as accurate as possible at the time the catalogue was compiled. Occasionally, due to the nature of some contractual restrictions, we are unable to ship a specific product to a particular territory. Jacket images are provisional and liable to change before publication.
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