Definitions of Art and Fine Art's Historical Origins

Clowney, David

doi:10.1111/j.1540-6245.2011.01474.x

Cited by 12 publications

(8 citation statements)

References 3 publications

(1 reference statement)

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“…Such artefacts often come out as borderline cases of art under his definition, and rightly so, Levinson argues (see quote above). Denis Dutton and Richard L. Anderson (Anderson 1989;Dutton 2006), on the other hand, see such artefacts as uncontroversial and even central instances of art, while David Clowney (Clowney 2011) maintains that such artefacts should not be categorised as art at all. Thus, philosophers of art do not generally agree that these artefacts constitute borderline cases of art.…”

Section: Borderline Cases Of Art: Examplesmentioning

confidence: 95%

Borderline Cases and the Project of Defining Art

Monseré

2016

Acta Anal

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Most philosophers of art assume that there are three categories with regard to arthood, namely 'art', 'artful' and 'non-art' and that, therefore, a definition must be able to account for 'artful items', also called 'borderline cases of art'. This article, however, defends the thesis that, since there is no agreement over which items fall under the category 'artful', the ability to account for borderline cases of art should not be used as a criterion for evaluating definitions of art. The defended thesis is important not merely because it reveals that virtually all alleged descriptive definitions of art have strong recommendatory consequences but also because the thesis has implications for the (many) artefacts that are considered to be borderline cases of art.

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Section: Borderline Cases Of Art: Examplesmentioning

confidence: 95%

Borderline Cases and the Project of Defining Art

Monseré

2016

Acta Anal

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“…The word "fine" does not so much denote the quality of the artwork in question, but the purity of the discipline according to traditional Western European canons [5]. Except in the case of architecture, where a practical utility was accepted, this definition originally excluded the "useful" applied or decorative arts, and the products of what were regarded as crafts.…”

Section: Introductionmentioning

confidence: 99%

History of Fine Art in Uzbekistan, Its Types and Genres.

Muhammadiyeva¹

2019

Theoretical & Applied Science

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“…Defining art is a difficult task; it is one which many theorists, artists, and critics have tackled, trying to decide upon the best approach to understanding what we mean by art. It is a question still being asked in contemporary literature (Crowther, 2007;Currie, 2010;Clowney, 2011). Yet it is only through coming to a greater understanding of what art is, that we can then attempt to determine what the future of art will have in store.…”

Section: Introductionmentioning

confidence: 99%

Defining Art and its Future

Isrow

2017

JAH

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Art is a creative phenomenon which changes constantly, not just insofar as it is being created continually, but also in the very meaning of ‘art.’ Finding a suitable definition of art is no easy task and it has been the subject of much inquiry throughout artistic expression. This paper suggests a crucial distinction between ‘art forms’ and ‘forms of art’ is necessary in order to better understand art. The latter of these corresponds to that which we would typically call art such as painting, singing, etc. The former corresponds to the form out of which these take shape, movement, speech, etc. With this distinction set out, it becomes clearer that art and the aesthetic is rooted in the properties of the ‘thing’ such as the color, shape, and the texture, rather than the product of creation itself. Thus, the future of art will bring a new aesthetic in which these properties become recognized as art and as such there will be an aesthetic of everyday life.

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Definitions of Art and Fine Art's Historical Origins

Cited by 12 publications

References 3 publications

Borderline Cases and the Project of Defining Art

Borderline Cases and the Project of Defining Art

History of Fine Art in Uzbekistan, Its Types and Genres.

Defining Art and its Future

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