Add to ORKGThis essay examines the difficulties faced by the claim that artworks are simple physical objects (or, in the case of non-visual art forms, simple structures of another sort) and examines alternative proposals regarding their ontological nature
This article considers the mediating role of digital photography for eliciting embodied and dialogic...
This paper strikes an arc through C.P. Snow's influential 'Two Cultures' lecture at Cambridge Univer...
These assembled texts relate to working as a curator at the Lychee One Gallery over a four-year peri...
This essay examines the difficulties faced by the claim that artworks are simple physical objects (o...
The ontology of visual artworks might be thought comparable to the ontology of other sorts of artifa...
New formal theories were seldom used to vaunt one discipline or medium over another; they were more ...
I have been fascinated by the shapes and textures of objects, how their properties not only capture ...
The image is described by Flusser as being a significant surface. He suggests that it is the process...
The idea of “material plenitude” has been gaining traction in recent discussions of the metaphysics ...
Access to art and cultural works is a fundamental human right, irrespective of abilities and human d...
The output is an artefact comprising an artist’s book. It was developed from a performance, initiall...
The artist’s “4 New Paintings” continues – or perhaps expands – on a text she wrote in 2010, “I Choo...
How tight is the conceptual connection between imagination and perception? A number of philosophers,...
Perhaps the time is right to retrieve Abstract Illusionism from the dimming corners of recent art hi...
The body is relevant for aesthetics from two perspectives. We experience and assess bodies aesthetic...
This article considers the mediating role of digital photography for eliciting embodied and dialogic...
This paper strikes an arc through C.P. Snow's influential 'Two Cultures' lecture at Cambridge Univer...
These assembled texts relate to working as a curator at the Lychee One Gallery over a four-year peri...
This essay examines the difficulties faced by the claim that artworks are simple physical objects (o...
The ontology of visual artworks might be thought comparable to the ontology of other sorts of artifa...
New formal theories were seldom used to vaunt one discipline or medium over another; they were more ...
I have been fascinated by the shapes and textures of objects, how their properties not only capture ...
The image is described by Flusser as being a significant surface. He suggests that it is the process...
The idea of “material plenitude” has been gaining traction in recent discussions of the metaphysics ...
Access to art and cultural works is a fundamental human right, irrespective of abilities and human d...
The output is an artefact comprising an artist’s book. It was developed from a performance, initiall...
The artist’s “4 New Paintings” continues – or perhaps expands – on a text she wrote in 2010, “I Choo...
How tight is the conceptual connection between imagination and perception? A number of philosophers,...
Perhaps the time is right to retrieve Abstract Illusionism from the dimming corners of recent art hi...
The body is relevant for aesthetics from two perspectives. We experience and assess bodies aesthetic...
This article considers the mediating role of digital photography for eliciting embodied and dialogic...
This paper strikes an arc through C.P. Snow's influential 'Two Cultures' lecture at Cambridge Univer...
These assembled texts relate to working as a curator at the Lychee One Gallery over a four-year peri...