Is it appropriate to honor artists who have created great works but who have also acted immorally? In this article, after arguing that honoring involves identifying a person as someone we ought to admire, we present three moral reasons against honoring immoral artists. First, we argue that honoring can serve to condone their behavior, through the mediums of emotional prioritization and exemplar identification. Second, we argue that honoring immoral artists can generate undue epistemic credibility for the artists, which can lead (...) to an indirect form of testimonial injustice for the artists’ victims. Third, we argue, building on the first two reasons, that honoring immoral artists can also serve to silence their victims. We end by considering how we might respond to these reasons. (shrink)

Artists’ books are challenging to photograph. They function as a unit of tightly conceptually-bound visual, textual and material elements in addition to a heightened self-awareness of the work's booksness. Binding, size, weight, and shape of the book, translucency, texture, thickness of paper, placement of images and/or text on the page or off the page interact with other graphic elements; they control, and direct the reader towards the expressive components of meaning which arise from pace, haptic experience, and visual or structural (...) stylistic choices. Most of such information gets sacrificed in the process of documentation. Here I discuss some of such issues of photographing artists books for this journal and my solutions to replicating each artists’ book within the physical and thematic constraints of this publication: I tried not only to visualize the books’ content but also to translate some of the experience of how that content makes itself meaningful to the reader. (shrink)

This paper comprises interviews with five practising artists: Terry Atkinson, Torie Begg, Rebecca Fortnum, Lubaina Himid, and James Hugonin. The aim is to gauge the ways in which ‘the visual’ features in contemporary fine art practice, not only at the end of a century in which the visual ‐ at least for much of the first half of that century ‐ was often accorded special status, but also, more recently, after Conceptualism and radical egalitarian interventions have challenged the status of (...) and assumptions about the value of the visual. All five artists were asked the same questions: What/who are the formative influences on your work?; What role does the visual play in your work ‐ to what extent do you value the visual?; Can you say something about aesthetic and pleasure ‐ however you define them?; How does a work evolve?; How do you define quality ‐ what makes you think one of your works is better than another?; What is the spectator's relationship to your work? ‐ what role does the spectator have? The responses bear witness to significantly different ways in which contemporary artists value the visual. (shrink)

Starting from the comparison between the situation of Augustan poets and that of artists and intellectuals in the totalitarian regimes of our time, this book offers a multidisciplinary perspective on the problem of the relation of art, thought and power.

The #metoo movement has forced many fans to consider what they should do when they learn that a beloved artist has acted immorally. One natural thought is that fans ought to give up the artworks of immoral artists. In Why It's OK to Enjoy the Work of Immoral Artists, Mary Beth Willard argues for a more nuanced view. Enjoying art is part of a well-lived life, so we need good reasons to give it up. And it turns out good reasons (...) are hard to find. Willard show that it's reasonable to believe that most boycotts of artists won't succeed, so most of the time there's no ethical reason to join in. Someone who manages to separate the art from the artist isn't making an ethical mistake by buying and enjoying their art. She then considers the ethical dimensions of canceling artists and so-called "cancel culture," arguing that canceling is ethically risky because it encourages moral grandstanding. Willard concludes by arguing that the popular debate has overlooked the power of art to change our lives for the good. It's of course OK to decide to give up the artwork of immoral artists, but--as Willard shows in this provocative little volume--it's OK to continue to enjoy their art, as well. Key Features Offers accessible discussions of complicated philosophical topics like aesthetic value, collective action problems, and epistemic justice Provides a unique perspective and underexplored argument on the popular issue of cancellation Explores the role of aesthetic value in our lives, including its relation to our ethical decisions and our well being. (shrink)

Challenging topics in museums can guide museum professionals in developing modern methods of displaying their heritage, but also in offering reinterpretations of existing collections. The public also looks for challenging topics—injustice, loss, pain, or death—and many museums manage to attract visitors by offering them places to debate, reflect, or take action. These topics, if presented in an exhibition, could engage practising artists in an ideological exchange with the museum institution. Our statement is that artists with curatorial interest can scrutinise the (...) ways in which cultural heritage is revealed or interpreted for the contemporary public. The uncomfortable or uncertain aspects of recent and contemporary history are of great interest for contemporary artists and we assume that the Communist era in Romania could be further interpreted by artists in future museum places. (shrink)

Investigating how people respond to and view AI-created artworks is becoming increasingly crucial as the technology’s current application spreads due to its affordability and accessibility. This study examined how AI art alters people’s evaluation, purchase intention, and collection intention toward Chinese-style and Western-style paintings, and whether art expertise plays a role. Study 1 recruited participants without professional art experience and found that those who made the paintings would not change their liking rating, purchase intention, and collection intention. In addition, they (...) showed ingroup preference, favoring Chinese-style relative to Western-style paintings, in line with previous evidence on cultural preference in empirical aesthetics. Study 2 further investigated the modulation effect of art expertise. Art experts evaluated less favorably AI-generated paintings relative to artist-made paintings, while non-experts showed no preference. There was also an interaction effect between the author and the art expertise and interaction between the painting style and the art expertise. Collectively, the findings in this study showed that who made the art matters for experts and that the painting style affects aesthetic evaluation and ultimate reception of it. These results would also provide implications for AI-art practitioners. (shrink)

Erich Hatala Matthes’s (2021)Drawing the Line is about what we ought to do when we discover that an artist whom we love has committed a great moral wrong. As it turns out, Matthes and I agree almost entirely on the moral obligations of the individual consumer. We both agree that it is necessary to ascertain whether the life of the artist affects the aesthetic quality of their work, and that we should attend to how continuing to engage with their work (...) publicly expresses our ethical values. Both of us wind up with a morally permissive stance, according to which individuals can, in some contexts, continue to engage with the artwork of immoral artists.There is one distinct difference in how we approached the problem. Matthes took up the question of the role and responsibility of institutions in his third chapter, a question I set aside almost entirely. In this article, I want to delve more deeply into the question of art institutions and their responsibilities to reform themselves. I will argue that the nature of aesthetic practice means that it is harder for an institution to tread the desirable middle ground between uncritically endorsing an immoral artist and cancelling them. (shrink)

The author would like to add the photographs which were inadvertently not included with the article.

The artist's process -- Making -- Experiencing -- Practice -- The social value of art -- Democracy -- Participation -- Communication.

Mariology—the veneration of the Virgin Mary—exerts a profound influence on women artists from Catholic backgrounds. Internalizing the mixed signals Mary transmits about purity, female strength, and compassion, they reinterpret the stories and mythologies surrounding her in ways that allow them to explore the ambiguities of the female role in contemporary society while also examining their conflicts about their own sexuality.

In this paper I explain what the duty of artists could be according to the philosopher R.G. Collingwood. My aim is not only to focus on Collingwood’s writings on the philosophy of art, but to show the parallel between the concepts used in his aesthetics and his ethics. In fact, the major role of “emotion” in both his art and moral theory gives me the occasion to develop an understanding of artists’ tasks within their communities. Moreover, it provides an occasion (...) to define what, for Collingwood, the subject of ethics is and to explore an almost uncharted part of his work: his “Lectures on Moral Philosophy” delivered from 1921 to 1940. (shrink)

What happened when creative biographers took on especially creative subjects in Greek and Roman antiquity? Creative Lives in Classical Antiquity examines how the biographical traditions of ancient poets and artists parallel the creative processes of biographers themselves, both within antiquity and beyond. Each chapter explores a range of biographical material that highlights the complexity of how readers and viewers imagine the lives of ancient creator-figures. Work in the last decades has emphasized the likely fictionality of nearly all of the ancient (...) evidence about the lives of poets, as well as of other artists and intellectuals; this book now sets out to show what we might nevertheless still do with the rich surviving testimony for 'creative lives' - and the evidence that those traditions still shape how we narrate modern lives too. (shrink)

The last third of the twentieth century brought about cultural changes, including the rapid scientific progress and the informatization that began in the 1960s. Artists of this period, especially the progressive artists of New York, responded to the changes by integrating the digital reality and a new scientific understanding of the universe into their oeuvre. Such art projects were based on the pure data comprised of facts, instead of subjective ideas, and conveyed in a strongly reduced non-semiotic form. I define (...) this trend as informational art to describe a shift from the verbal, visual and conceptual cognition toward the data-oriented thinking. This pivotal moment in Western history has not been given enough scholarly attention yet. For this reason, the achievement of Walter De Maria and his colleagues in the placement of scientific principles at the foundation of contemporary art has not been fully appreciated. In my paper, I aim to highlight the role of informational art in the advancement of the modern scientifically based ›Weltanschauung‹. (shrink)

Should we take into account an artist's personal moral failings when appreciating or evaluating the work? In this essay, I seek to expand Berys Gaut's account of ethicism by showing how moral judgment of an artist's private moral actions can figure in one's overall evaluation of their work. To expand Gaut's view, I argue that the artist's personal morality is relevant to our evaluation of their work because we may only come to understand the point of view of the work, (...) and therefore the work's prescribed attitude, by examining the values, attitudes, and behaviors of the artist. This view is defended against a rival account offered by Bernard Wills and Jason Holt, which holds that the artistic evaluation of an artist's work is independent from the moral evaluation of their life except in extreme cases. (shrink)

This chapter offers an overview of issues posed by the problem of immoral artists, artists who in word or deed violate commonly held moral principles. I briefly consider the question of whether the immorality of an artist can render their work aesthetically worse (making connections to chapters in the Theory section of the handbook), and then turn to questions about what the audience should do and feel in response to knowledge of these moral failings. I discuss questions such as whether (...) audiences have reason not to purchase or consume work by these artists, whether their shows and exhibitions should be canceled, and how fans might grapple with the emotional turmoil they feel when artists whom they love act or speak in ways that are morally condemnable. (shrink)

Collaboration between the arts and health sectors is gaining momentum. Artists are contributing significantly to public health efforts such as vaccine confidence campaigns. Artists and the arts are well positioned to contribute to the social conditions needed to build trust in the health sector. Health professionals, organizations, and institutions should recognize not only the power that can be derived from the insights, artefacts, and expertise of artists and the arts to create the conditions that make trust possible. The health sector (...) must also recognize that, while it can gain much from partnership with artists, artists risk much—namely, the public's trust—when they are in such partnerships. This essay unpacks these claims and considers the care and ethical considerations that must be brought to these partnerships to yield constructive pathways for ethical collaboration as well as for both establishing public trust and continuing to hold the health care profession accountable for becoming more trustworthy. (shrink)

In this essay I bring Gregory Bateson together with Deleuze and Guattari (primarily with the latter) to show their ecological compatibility, especially with Guattari’s ecosophy. I do this against the backdrop of the Anthropocene which presents us not only with a ‘climate’ of post-truth and political corruption, but also with the so-called climate crisis. In the context of these two broad examinations, I ask what can an artisan-artist-designer do given this problematic context? My reply is to call on ‘speculative design’ (...) by an ‘avant-garde without authority’ to expose the symptoms of the Anthropocene era. (shrink)

Computer and communication technologies created new modes of creating and sharing arts. In this paper, we apply ‘diffusion of innovation’ theory to investigate how artistic content travels in an online social network site called deviantArt, a site designed for sharing user-generated artworks. We first define what innovation corresponds to in such a context, and then discuss how it can be measured with the help of network, image and text analysis methods. We propose to use user-shared resources as relatively easy targets (...) of tracking innovation. (shrink)

From Chaos to Creativity is a book that teaches readers how to build a productivity system that works with their art and with their lifestyle. Author Jessie Kwak helps readers tame the chaos that often surrounds a creative career and further enhance readers' creative output.

Artists, art critics, art historians, and cognitive psychologists have asserted that visual artists perceive the world differently than nonartists and that these perceptual abilities are the product of knowledge of techniques for working in an artistic medium. In support of these claims, Kozbelt (2001) found that artists outperform nonartists in visual analysis tasks and that these perceptual advantages are statistically correlated with drawing skill. We propose a model to explain these results that is derived from a diagnostic framework for object (...) recognition and recent research in cognitive neuroscience on selective visual attention. This research demonstrates that endogenous shifts of visual attention enhance the encoding of expected features in the visual field and inhibit the perception of potential distracters. Moreover, it demonstrates complementary roles for spatial schemata and motor plans in visual attention. We argue that artists develop novel spatial schemata, which enable them to recognize and reproduce stimulus features sufficient for adequate artistic production in a medium, and that these schemata become encoded as motor plans as artists develop technical proficiency in a medium. We hypothesize that artists' perceptual advantages can therefore, be explained by the role spatial schemata and motor plans play in selective attention. (shrink)

This volume has been brought together to generate new ideas and provoke discussion about what constitutes arts education in the twenty-first century, both within the institution and beyond. Art, Artists and Pedagogy is intended for educators who teach the arts from early childhood to tertiary level, artists working in the community, or those studying arts in education from undergraduate to Masters or PhD level.

Artists' intentions are among the primary data retrieved by art appreciators. However, artistic creation is not always deliberate; artists sometimes fail in their intentions; artists' achievements depend on artworld roles, not only intentions; factors external to the artist contribute to artwork meaning; artworks stand apart from their creators; and interpretation need not be exclusively concerned with recovering intended meaning.

Shows how contemporary artists re-envision the earth in innovative painterly, sculptural, and architectural ways.

This study investigates how patterns of media use and exposure to media messages are related to attitudes about artificial intelligence (AI) image generators. In doing so, it builds on theoretical accounts of media framing and public opinion about science and technology topics, including AI. The analyses draw on data from a survey of the US public (N = 1,035) that included an experimental manipulation of exposure to tweets framing AI image generators in terms of real art, artists’ concerns, artists’ outrage, (...) or competing interpretations. The results show that technology news use and science fiction viewing predicted support for AI art but also predicted belief that AI image generators will take jobs and steal art styles from human artists. In addition, the experimental results demonstrate that exposure to specific media messages can influence these responses. The findings carry implications for understanding the future adoption, use, and regulation of AI image generators. (shrink)

This essay brings together critical perspectives from the discrete traditions of artists’ books and the medical humanities to examine artists’ books by three contemporary artists – Penny Alexander, Martha A. Hall and Amanda Watson-Will – that treat experiences of illness and wellbeing. Through its focus on a multimodal and multisensory art form that has allegiances with, but is not reduced to, narrative, the essay adds to recent calls to rethink key assumptions of illness narrative study and to challenge utilitarian approaches. (...) In particular, it draws attention to the aesthetic and imaginative elements of illness communication by exploring how artists’ books represent lived experiences in a distinctively palpable way and offer an “intimate authority” that extends beyond narrative legitimacy or a form of struggle against the medical gaze. By interrogating narrative’s dominance in medical humanities research, the essay further expands awareness of illness experiences that resist conventional forms of representation (such as chronic illness), and of alternative reflective practices within healthcare education that encourage engagement with both mind and body. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Why Artists StarveKevin MelchionneAlthough cultural types may fear being branded as philistines for saying so, a remarkable amount of contemporary art is so awful that the very fact and regularity of this awfulness is in want of an explanation. Outside the art world, this observation is jejune. Inside, it makes for immediate disqualification. Is there something about the most common artistic motivations and attitudes that make this awfulness bound (...) to happen yet hard for insiders to sniff out?There are probably many factors in need of elaboration. One reason is widespread self-deception about the motivations for pursuing art. We often hear artists explain their commitment to art by a desire to express themselves or develop their gifts. We hear of a love of beauty or the challenges of craft or the chance for insight into self and world. Frequently, artists describe being called to art, a feeling of being chosen by art rather than choosing it. These are familiar accounts of what makes a life or career in art worth pursuing. But the piety of these high sounding explanations is strikingly incongruent with so much—though by no means all—contemporary art and suggests that, among artists, self-deception about motivations looms large.Franz Kafka's "A Hunger Artist" is a parable of artistic motivation and a case study in the self-deception of the artist. In the brief story, Kafka unwinds an account of artistic motivation that begins with the familiar explanations but gives way eventually to less flattering admissions about artistic ambition. Professional fasting ultimately becomes a path to truth for the hunger artist. But the truth that it yields reduces [End Page 142] art from a source of intrinsic value to a somewhat desperate form of attention seeking. In the figure of the hunger artist, Kafka captures one self-delusion common among artists.IIn "A Hunger Artist," Kafka charts the decline of an accomplished artist.1 Kafka tells us that the artist, a practitioner of what the author describes as a now forgotten genre of performance art known as professional fasting, garners a degree of notoriety for his ability to sustain fasts of death-defying lengths. Half-art, half-sport, Kafka's professional fasting amounts to sitting in a contained but public space such as a cage, where the fast is observable round-the-clock by watchers whose job is to verify its authenticity. The fast is also subject to the attention of paying spectators. Presumably, it is this commercial element as well as the secular hubbub surrounding the fast that most distinguishes it from religious fasting (out of which artistic fasting must have emerged sometime in previous centuries, had Kafka also bothered to concoct a history of the practice). A professional fast typically lasts for periods of up to the biblically resonant forty days, after which the artist is carried from his cage with great fanfare to a modest, performance ending breakfast. Through the practice of fasting, the hunger artist lifts self-denial and by implication, self-control, to the level of virtuosity. The grace of the fast and even a sense of moderate contentment in it are part of what is on display for the audience.Notwithstanding a light routine of bonhomie, Kafka's hunger artist remains distant from his audience. He is neither buoyed by their adoration nor deflated by their vulgarity. Instead, the hunger artist seems entirely sustained by his practice. In his self-possession, we glimpse a familiar ideal of the authentic artist devoted to his practice for the sake of its intrinsic rewards. Indeed, doubts about the authenticity of his performance only fuel the hunger artist's determination. Far from insulted by the zeal of official observers, the hunger artist welcomes their vigilance. In their distrust of the hunger artist, the most severe of watchers convey a respect for the practice of professional fasting. Their desire to scrupulously ratify the authenticity of his effort is also an endorsement of its value. The earnestness of the referees pleases the hunger artist, though we are assured that their presence hardly matters. As in any authentic art, the bystanding critics are hardly necessary to ensure the integrity of the performance... (shrink)

This paper focuses on how the social, dialogical and collaborative strategies and practices of The Artists Village openly intervened in the public spaces of Singapore at various times in the city-state’s history from 1989 to 2015. The objective of this paper is to draw out how the artists collective used social situations to openly produce relational, participatory and socially engaged art in public spaces with specific functions, history and importance. These various forms of artistic interventions took place on a farm, (...) in shopping malls, on public transport networks and at national monuments during different moments in Singapore’s rapid urban transformation. From these examples, one is able to understand why The Artists Village openly intervened in the public spaces of Singapore and how these interventions functioned in their limited scope. Through this study we are able to assess how the varying levels of collaboration, openness and criticality present in their public art projects enabled them to grow outside the centralised system of the nation-state in inserting their practice into the public sphere and engaging the masses. (shrink)

Art historical research shows that artists, especially since the 1960s rise in museum and art gallery attendance do not always trust the audience’s ability to deal with their art. The choice for a performative aesthetic, for example, has also been a method for reasserting rather than—as is often thought—relinquishing artistic control. The article looks at aesthetic strategies developed by artists who desire(d) a more attentive look from their audiences. It considers works made by artists in the sixties and seventies. It (...) is a fact that the appearance of mass audiences goes hand in hand with the creation of artworks that have “attention” as their subject. Secondly, the article takes a look at more contemporary work. Faced with spectators that spend about 28 seconds looking at artworks and reading the accompanying labels, artists are developing strategies that slow spectators down, thus hoping to channel and hold their attention. (shrink)

Artists rarely shy away from a drink and other psychoactive substances, yet it seems that there has never been much discussion on what aesthetic or artistic relevance this has to their works and their reception. I outline the scale of the phenomenon focusing on some prominent examples and distinguish a subset of what I call ‘high artworks’. In such artworks, I argue, drug experiences are encoded: their drug-related contextual and intrinsic properties or content are aesthetically or artistically relevant and should (...) be mentioned in any in-depth analysis. I then further argue that it is impossible or at least very difficult to fully appreciate or produce optimal evaluations of a high artwork, unless one has oneself had drug-induced experiences of the kind encoded in the work. This is because such experiences afford one the relevant phenomenal knowledge that is otherwise inaccessible, yet required to gain an adequate level of competence allowing one to fully grasp the work. (shrink)