585
Views
4
CrossRef citations to date
0
Altmetric
Articles

Intentionality in art: empirical exposure

ORCID Icon
Pages 297-309 | Received 17 Aug 2019, Accepted 03 Apr 2020, Published online: 30 Apr 2020

References

  • Baxandall, Michael. 1985. Patterns of Intention: On the Historical Explanation of Pictures. New Haven, CT: Yale University Press.
  • Berndt, Frauke, and Lutz Koepnick. 2018. Ambiguity in Contemporary Art and Theory. Hamburg: Felix Meiner Verlag.
  • Boden, Margaret A. 2013. “Creativity as a Neuroscientific Mystery.” In Neuroscience of Creativity, edited by Oshin Vartanian, Adam S. Bristol and James C. Kaufman, 3–18. Cambridge, MA: MIT Press.
  • Braembussche, Antoon Van den. 2009. Thinking Art: An Introduction to Philosophy of Art. Dordrecht: Springer Netherlands.
  • Camfield, William. 1991. “Duchamp’s Fountain: Aesthetic Object, Icon or Anti-Art.” In The Definitively Unfinished Marcel Duchamp, edited by Thierry de Duve, 133–184. Cambridge, MA: The MIT Press.
  • Carroll, Noël. 2000. “Interpretation and Intention: The Debate Between Hypothetical and Actual Intentionalism.” Metaphilosophy 31 (1/2): 75–95. doi: 10.1111/1467-9973.00131
  • Carroll, Noël. 2013. Minerva’s Night Out: Philosophy, Pop Culture, and Moving Pictures. Oxford: Wiley.
  • Carroll, Noël. 2014. “Criticism and Interpretation Redux: Responses to My Commentators.” Sztuka I Filozofia 44: 37–45.
  • Cernuschi, Claude, and Andrzej Herczynski. 2008. “The Subversion of Gravity in Jackson Pollock’s Abstractions.” The Art Bulletin 90 (4): 616–639. doi: 10.1080/00043079.2008.10786416
  • Charman, Helen, and Michaela Ross. 2004. “Contemporary Art and the Role of Interpretation.” Tate Papers, 2. https://www.tate.org.uk/research/publications/tate-papers/02/contemporary-art-and-the-role-of-interpretation.
  • Coplans, John. 1971. “An Interview with Don Judd.” Artforum 9 (10): 40–50.
  • Davis, Stephen. 2006. “Authors, Intentions, Literary Interpretation and Literary Value.” British Journal of Aesthetics 46 (3): 223–247. doi: 10.1093/aesthj/ayl001
  • De Duve, Thierry. 2019. Aesthetics at Large: Volume 1: Art, Ethics, Politics. Chicago, IL: University of Chicago Press.
  • Gell, Alfred. 1998. Art and Agency: An Anthropological Theory. New York: Oxford University Press.
  • Heinich, Nathalie. 2012. “Mapping Intermediaries in Contemporary Art According to Pragmatic Sociology.” European Journal of Cultural Studies 15 (6): 695–702. doi: 10.1177/1367549412450634
  • Hicks, Dan. 2018. “The Material-Cultural Turn: Event and Effect.” In The Oxford Handbook of Material Culture Studies, edited by Dan Hicks and Mary C. Beaudry, 26–98. Oxford: Oxford University Press. doi:10.1093/oxfordhb/9780199218714.013.0002.
  • Hopkins, David. 2002. “Marcel Duchamp’s Readymades and Anti-Aesthetic Reflex.” In A Companion to Art Theory, edited by Paul Smith and Carolyn Wilde, 253–263. Oxford: Blackwell Publishers Ltd.
  • Jakesch, Martina, Helmut Leder, and Michael Forster. 2013. “Image Ambiguity and Fluency.” Plos One 8 (9), doi:10.1371/journal.pone.0074084.
  • Kant, Immanuel. 2000. Critique of the Power of Judgment. Translated by Paul Guyer and Eric Matthews; edited by Pau Guyer. Cambridge: Cambridge University Press.
  • Knapp, Steven, and Walter Benn Michaels. 1982. “Against Theory.” Critical Inquiry 8: 723–742. doi: 10.1086/448178
  • Krieger, Verena, and Rachel Mader. 2010. Ambiguität in der Kunst. Typen und Funktionen eines ästhetischen Paradigmas. Cologne: Böhlau Verlag.
  • Lahav, Sylvia. 2011. “Interpretation in the Art Museum: Authority and Access.” PhD diss., University of London.
  • Latour, Bruno. 2005. Reassembling the Social: An Introduction to Actor-Network Theory. Oxford: Oxford University Press.
  • Leder, Helmut, Benno Belke, Andries Oeberst, and Dorothee Augustin. 2004. “A Model of Aesthetic Appreciation and Aesthetic Judgments.” British Journal of Psychology 95: 489–508. doi: 10.1348/0007126042369811
  • Leder, Helmut, Gernot Gerger, Stefan G. Dressler, and Alfred Schabmann. 2012. “How Art Is Appreciated.” Psychology of Aesthetics, Creativity, and the Arts 6 (1): 2–10. doi: 10.1037/a0026396
  • Lee, Soo Hee, and Jin Woo Lee. 2016. “Art Fairs as a Medium For Branding Young and Emerging Artists: The Case of Frieze London.” The Journal of Arts Management, Law, and Society 46 (3): 95–106. doi: 10.1080/10632921.2016.1187232
  • Levinson, Jerrold. 2002. “Hypothetical Intentionalism: Statement, Objections, Replies.” In Is There a Single Right Interpretation?, edited by Michael Krausz, 309–318. University Park: Penn State Press.
  • Lijster, Thijs. 2017. Benjamin and Adorno on Art and Art Criticism: Critique of Art. Amsterdam: Amsterdam University Press.
  • Lin, Szu-Yen. 2019. “Art and Interpretation.” The Internet Encyclopedia of Philosophy, July 10.
  • Mace, Mary-Anne, and Tony Ward. 2002. “Modeling the Creative Process: A Grounded Theory Analysis of Creativity in the Domain of Art Making.” Creativity Research Journal 14 (2): 179–192. doi: 10.1207/S15326934CRJ1402_5
  • Neale, Stephen. 2016. “Silent Reference.” In Meanings and Other Things: Essays in Honor of Stephen Schiffer, edited by G. Ostertag, 229–344. Oxford: Oxford University Press.
  • Petterson, Anders. 2014. “Value, Risk and the Contemporary Art Ecosystem.” In Risk and Uncertainty in the Art World, edited by Anna M. Dempster, 67–86. London: Bloomsbury Publishing.
  • Pippin, Robert B. 2013. After The Beautiful: Hegel and the Philosophy of Pictorial Modernism. Chicago, IL: University of Chicago Press.
  • Preziosi, Donald. 2009. “Art History: Making the Visible Legible.” In Art of Art History: A Critical Anthology, edited by Donald Preziosi, 7–13. Oxford: Oxford University Press.
  • Quiviger, François. 2002. “Renaissance Art Theories.” In A Companion to Art Theory, edited by Paul Smith and Carolyn Wilde, 49–60. Oxford: Blackwell Publishers.
  • Rajchman, John. 2020. Art and Theory in a Global Context. New York: Columbia University. Lecture.
  • Roskill, Mark. 1989. The Interpretation of Pictures. Amherst: The University of Massachusetts Press.
  • Smith, Edward W.L. 2012. The Psychology of Artists and the Arts. Jefferson, NC: McFarland & Company.
  • Sperber, Dan, and Deidre Wilson. 2002. “Pragmatics, Modularity and Mindreading.” Mind & Language 17 (1-2): 3–23. doi: 10.1111/1468-0017.00186
  • Stecker, Robert. 1997. Artworks: Definition, Meaning, Value. University Park: Pennsylvania State University Press.
  • Tinio, Pablo P. L. 2013. “From Artistic Creation to Aesthetic Reception: The Mirror Model of Art.” Psychology of Aesthetics, Creativity, and the Arts 7 (3): 265–275. doi: 10.1037/a0030872

Reprints and Corporate Permissions

Please note: Selecting permissions does not provide access to the full text of the article, please see our help page How do I view content?

To request a reprint or corporate permissions for this article, please click on the relevant link below:

Academic Permissions

Please note: Selecting permissions does not provide access to the full text of the article, please see our help page How do I view content?

Obtain permissions instantly via Rightslink by clicking on the button below:

If you are unable to obtain permissions via Rightslink, please complete and submit this Permissions form. For more information, please visit our Permissions help page.