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The problem of intentionality in the contemporary visual arts

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Lorenzini G.
Estetika: The Central European Journal of Aesthetics
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2019
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vol. 56_(New_Series_12)
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issue 2
186-205
EN
The discourse regarding intentionality and interpretation in analytic philosophy of art, although ample and lively, has concerned itself almost exclusively with the literary medium. Starting from a paper published by Hans Maes, I discuss the complications that may arise in straightforwardly applying current intentionalist strategies to the realm of the contemporary visual arts. I first present a detailed account of the difference between hypothetical intentionalism and moderate actual intentionalism which will help to better understand the nature of Maes’s arguments in his paper. I then argue that the characteristics which shape the approach of moderate actual intentionalism cannot be accommodated by certain contemporary visual artworks. I will demonstrate how in certain contemporary artworks, should a viewer be interested in accepting actual intentions within her interpretation, she will have to do so with an extreme intentionalist posture rather than a moderate actual one.
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What is an instance of an artwork?

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Aliyev A.
Estetika: The Central European Journal of Aesthetics
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2019
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vol. 56_(New_Series_12)
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issue 2
163-185
EN
The expression ‘an instance of an artwork’ is often used in philosophical discourse about art. Yet there is no clear account of what exactly this expression means. My goal in this essay is to provide such an account. I begin by expounding and defending a particular definition of the concept of ‘an instance of an artwork’. Next, I elaborate this definition – by providing definitions of the main derivatives of the concept of ‘an instance of an artwork’, namely the concepts of ‘a well-formed instance of an artwork’ and ‘a non-wellformed instance of an artwork’. Finally, I examine the relation of the foregoing definitions to the existence and identity conditions of artworks and make some additional remarks concerning these definitions.
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The Aesthetic Experience of Kandinsky’s Abstract Art : A Polemic with Henry’s Phenomenological Analysis

75%
Ziółkowska-Juś A.
Estetika: The Central European Journal of Aesthetics
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2017
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vol. 54 (New Series 10)
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issue 2
212-237
EN
The French phenomenologist Michel Henry sees a similarity between the primordial experience of what he calls ‘Life’ and the aesthetic experience occasioned by Wassily Kandinsky’s abstract art. The triple aim of this essay is to explain and assess (1) how Henry interprets Kandinsky’s abstract art and theory; (2) what the consequences of his interpretation mean for the theory of the experience of abstract art; and (3) what doubts and questions emerge from Henry’s interpretations of Kandinsky’s theory and practice. Despite its containing many interesting ideas, Henry’s phenomenological approach is insufficient to describe the aesthetic experience of Kandinsky’s abstract art. For Henry, aesthetic experience is corporeal, primordial, non-intentional, and independent of knowledge and culture. By contrast, I believe that it is possible and more suitable to connect the direct, corporeal, and affective character of the aesthetic experience of abstract art with intentionality and embeddedness in culture and knowledge.
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Method and Metaphysics in the Philosophy of Art

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Gardner S.
Estetika: The Central European Journal of Aesthetics
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2014
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vol. 51
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issue 2
230-254
EN
This article is concerned with the question of the proper place of substantial general metaphysics in aesthetics and the philosophy of art. For reasons articulated in writings from the 1950s, analytic aesthetics denies that there is any relation of dependence and regards the intrusion of metaphysics into reflection on art as not merely superfluous but also methodologically inappropriate. Against this I argue (1) that analytic aesthetics in its circumscription of the bounds of the discipline is not metaphysically neutral, (2) that it is vulnerable to the challenge of scientific naturalism, and (3) that a case for the necessity of metaphysics in aesthetics and the philosophy of art can be made on the grounds of the constitutive opacity of art and the aesthetic from the standpoint of ordinary consciousness. The analytic reception of Kant’s aesthetic theory, I argue, supports this conclusion.
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