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Illustrations | |
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Preface | |
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Introduction | |
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Artworlds and Definitions: How That Became Art | |
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Introduction | |
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Art | |
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Honorific Definitions of "Art" | |
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Classificatory Definitions | |
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The Open Definition | |
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Aesthetics | |
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Art Criticism | |
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Interpretation and Judgment | |
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Critics on Criticizing | |
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Criticizing Criticism | |
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Criticism and Aesthetics | |
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Skepticism about Art, Aesthetics, and Criticism | |
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Aesthetics, Art Criticism, and Visual Culture | |
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Aestheticians, Artists, Critics, and Readers | |
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Questions for Further Reflection | |
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Notes | |
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Realism: Art Is Realistic, Truthful, and Beautiful | |
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Introduction | |
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A Brief Overview of Realism | |
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Plato | |
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Aristotle | |
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Kitsch | |
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Pornography | |
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Obscenity and Censorship | |
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Photography, Reality, and Truth | |
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What Does It Mean to Say That a Work Is "Realistic"? | |
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Works of Art by Jeff Koons | |
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Critical Commentary on Koons's Work | |
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Koons's Thoughts about His Own Work | |
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Paintings by Alexis Rockman | |
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Critical Commentary on Rockman's Paintings | |
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Rockman's Thoughts about His Own Work | |
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Photographs by Andres Serrano | |
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Critical Commentary on Serrano's Photographs | |
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Serrano's Thoughts about His Own Work | |
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Conclusion | |
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Realism and Artists | |
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Realism and Artworks | |
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Realism and Audiences | |
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Questions for Further Reflection | |
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Notes | |
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Expressionism and Cognitivism: Art Shows Feelings, Communicates Thoughts, and Provides Knowledge | |
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Introduction | |
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Expressionism and Cognitivism | |
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Expressionist and Cognitivist Theories of Art | |
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Leo Tolstoy | |
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Benedetto Croce | |
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R. G. Collingwood | |
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Suzanne Langer | |
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John Dewey | |
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Nelson Goodman | |
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Arthur Danto | |
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Metaphor | |
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Psychoanalytic Theory | |
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Marxist Aesthetics | |
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Joan Mitchell, Painter | |
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Critical Commentary on Mitchell's Paintings | |
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Mitchell's Thoughts about Her Own Work | |
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Mitchell and Expressionism | |
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Louise Bourgeois, Sculptor | |
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Critical Commentary on Bourgeois's Sculptures | |
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Bourgeois's Thoughts about Her Own Work | |
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Bourgeois and Expressionism | |
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Kiki Smith, Printmaker and Sculptor | |
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Critical Commentary on Smith's Work | |
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Smith's Thoughts about Her Own Work | |
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Smith and Cognitivism | |
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The Problem of Artistic Intent | |
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Limitations of Expressionism and Cognitivism | |
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Strengths of Expressionism and Cognitivism | |
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Conclusion | |
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Expressionism, Cognitivism, and Artists | |
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Expressionism, Cognitivism, and Artworks | |
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Expressionism, Cognitivism, and Audiences | |
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Questions for Further Reflection | |
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Notes | |
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Formalism: Art Is Significant Form | |
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Introduction | |
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Precursors to Formalism | |
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Is Beauty Objective or Subjective? | |
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Early Formalism | |
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Aesthetic Attitude and Aesthetic Experience | |
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The Sublime | |
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Immanuel Kant | |
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G. W. F. Hegel | |
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Twentieth-Century Formalism | |
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Early Modern Abstractionists Kandinsky, Mondrian, and Malevich | |
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Clive Bell | |
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Clement Greenberg | |
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Structuralism | |
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Ferdinand de Saussure | |
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Roland Barthes | |
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Structuralism and Formalism | |
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Agnes Martin: Paintings and Drawings | |
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Critical Commentary on Martin's Work | |
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Martin's Thoughts about Her Own Work | |
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Joel Shapiro: Sculptures | |
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Critical Commentary on Shapiro's Work | |
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Shapiro's Thoughts about His Own Work | |
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Andy Goldsworthy: Environmental Sculptures | |
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Critical Commentary on Goldsworthy's Work | |
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Goldsworthy's Thoughts about His Own Work | |
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Martin, Shapiro, Goldsworthy, and Formalism | |
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Strengths and Weaknesses of Formalism | |
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Conclusion | |
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Formalism and Artists | |
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Formalism and Artworks | |
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Formalism and Audiences | |
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Questions for Further Reflection | |
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Notes | |
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Postmodern Pluralism: Art Destabilizes the Good, the True, the Beautiful, and the Self | |
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Introduction | |
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Precursors to Poststructuralism and Postmodernism | |
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Friedrich Nietzsche | |
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Critical Theory, the Frankfurt School, and Neo-Marxism | |
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Poststructuralism | |
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Jacques Lacan | |
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Michel Foucault | |
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Julia Kristeva | |
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Jacques Derrida | |
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Gilles Deleuze and Felix Guattari | |
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Richard Rorty | |
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Feminism | |
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Postmodernism | |
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Jean-Fran�ois Lyotard | |
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Jean Baudrillard | |
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Fredric Jameson | |
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Postcolonialism | |
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Cindy Sherman: Photographs | |
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Critical Commentary on Sherman's Photographs | |
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Sherman's Thoughts about Her Own Work | |
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Cindy Sherman and Postmodern Pluralism | |
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Lorna Simpson: Photographs with Words | |
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Critical Commentary on Simpson's Work | |
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Simpson's Thoughts about Her Own Work | |
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Lorna Simpson and Postmodern Pluralism | |
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Paul McCarthy: Performances, Videos, and Sculptures | |
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Critical Commentary on McCarthy's Work | |
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McCarthy's Thoughts about His Own Work | |
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McCarthy and Postmodern Pluralism | |
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Strengths and Weaknesses of Postmodern Pluralism | |
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Approaches to Postmodern Artmaking | |
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Escaping the Confines of Museums | |
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Collapsing Boundaries Between "High" and "Low" | |
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Rejecting "Originality" | |
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Jouissance | |
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Working Collaboratively | |
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Appropriating | |
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Simulating | |
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Hybridizing | |
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Mixing Media | |
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Layering | |
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Mixing Codes | |
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Recontextualizing | |
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Confronting the Gaze | |
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Facing the Abject | |
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Constructing Identities | |
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Using Narratives | |
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Creating Metaphors | |
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Using Irony, Parody, and Dissonance | |
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Conclusion | |
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Postmodern Pluralism and Artists | |
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Postmodern Pluralism and Artworks | |
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Postmodern Pluralism and Audiences | |
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Questions for Further Reflection | |
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Notes | |
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Conclusion | |
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Introduction | |
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Why Is Stacked Art? | |
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Art by Definitions | |
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Is Stacked a Good Work of Art? | |
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Realist Considerations | |
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Expressionist Considerations | |
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Formalist Considerations | |
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Postmodernist Considerations | |
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Purposes of Art | |
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Selecting Criteria | |
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A Single Criterion or Multiple Criteria for All Works of Art | |
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Questions for Further Reflection | |
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Notes | |
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Glossary | |
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Bibliography | |
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Index | |