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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 | |