Results for 'feminist aesthetics'

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  1. Feminist Aesthetics, Popular Music, and the Politics of the 'Mainstream'.Robin James - unknown
    While feminist aestheticians have long interrogated gendered, raced, and classed hierarchies in the arts, feminist philosophers still don’t talk much about popular music. Even though Angela Davis and bell hooks have seriously engaged popular music, they are often situated on the margins of philosophy. It is my contention that feminist aesthetics has a lot to offer to the study of popular music, and the case of popular music points feminist aesthetics to some of its (...)
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  2. Feminist Aesthetics.Gemma Arguello - 2019 - International Lexicon of Aesthetics 2 (Autumn).
    Feminist aesthetics can be characterized as a critical conceptual framework for analyzing the gender assumptions Western aesthetics, philosophy of the arts and the arts have had and their implications in the categories they have historically employed. It emerged as a result the influence feminism had in the study of gender bias in the artistic production and its reception. Works like Linda Nochlin’s Why Have There Been No Great Women Artists? (1971) and Laura Mulvey’s Visual Pleasure and Narrative (...)
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  3. Feminist Aesthetics and the Neglect of Natural Beauty.Sheila Lintott - 2010 - Environmental Values 19 (3):315 - 333.
    Feminist philosophy has taken too long to engage seriously with aesthetics and has been even slower in confronting natural beauty in particular. There are various possible reasons for this neglect, including the relative youth of feminist aesthetics, the possibility that feminist philosophy is not relevant to nature aesthetics, the claim that natural beauty is not a serious topic, hesitation among feminists to perpetuate women's associations with beauty and nature, and that the neglect may be (...)
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  4. Introduction: Feminism and Aesthetics.Peg Zeglin Brand Weiser & Mary Devereaux - 2003 - Hypatia 18 (4):ix-xx.
    This special issue of HYPATIA: A Journal of Feminist Philosophy entitled "Women, Art, and Aesthetics" highlights the expanded range of topics at center stage in feminist philosophical inquiry to date (2003): recontextualizing women artists (essays by Patricia Locke, Eleanor Heartney, and Michelle Meagher), bodies and beauty (Ann J. Cahill, Sheila Lintott, Janell Hobson, Richard Shusterman, Joanna Frueh), art, ethics, politics, law (A. W. Eaton, Amy Mullin, L. Ryan Musgrave, Teresa Winterhalter), and review essays by Estella Lauter and (...)
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  5. Feminism and Tradition in Aesthetics.Peg Zeglin Brand Weiser & Carolyn Korsmeyer (eds.) - 1995 - Pennsylvania State University Press.
    Feminism and Tradition in Aesthetics takes a fresh look at the history of aesthetics and at current debates within the philosophy of art by exploring the ways in which gender informs notions of art and creativity, evaluation and interpretation, and concepts of aesthetic value. Multiple intellectual traditions have formed this field, and the discussions herein range from consideration of eighteenth century legacies of ideas about taste, beauty, and sublimity to debates about the relevance of postmodern analyses for (...) aesthetics. Forward by Arthur C. Danto, 20 authors include Paul Mattick, Jr., Caroline Korsmeyer, Timothy Gould, Christine Battersby, Mary Devereaux, bell hooks, REnee Lorraine, Trinh T. Minh-ha, Elizabeth Ann Dobie, Adrian Piper, Anita Silvers, Susan Feagin, Mary D. Garrard, Ellen Handler Spitz, Noel Carroll, Joanne Waugh, Joseph Margolis, Rita Felski, and Hilde Hein, as well as Peg Brand's essay, "Revising the Aesthetic-Nonaesthetic Distinction: The Aesthetic Value of Activist Art.". (shrink)
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  6.  70
    The Theory of the Aesthetic Situation of Maria Gołaszewska (1926–2015) and Feminist Interventions in Philosophy.Natalia Anna Michna - 2024 - In Clara Carus (ed.), New Voices on Women in the History of Philosophy. Dortrecht: Springer. pp. 185-200.
    Maria Gołaszewska (1926–2015) was a Polish philosopher associated throughout her life with Poland’s oldest academic institution, the Jagiellonian University in Cracow. She was a student of the phenomenologist Roman Ingarden, himself a student of Edmund Husserl. During the post-war and communist years in Poland, Gołaszewska conducted research focusing on issues related to art and aesthetics. She created her own conception of empirically and anthropologically oriented aesthetics, which I believe is a prime example of a theory that accounts for (...)
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  7. Feminism and Aesthetics.Peg Brand - 2006 - In Kittay Eva Feder & Martín Alcoff Linda (eds.), The Blackwell Guide to Feminist Philosophy. New York: Wiley-Blackwell. pp. 254–265.
    This chapter presents an overview of feminism and aesthetics in the 2007 Blackwell Guide to Feminist Philosophy edited by Linda Martin Alcoff and Eva Feder Kittay. Sections cover the topics of distinguishing aesthetics and philosophy of art, bringing feminist theory into aesthetics, developing feminist challenges to aesthetics, the role of women artists in feminist aesthetics, feminist philosophers reflect on self-portraiture and women as objects of beauty, and future developments.
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  8. Feminism and Aesthetics in Contemporary American Art.Peg Brand Weiser - 1997 - American Studies 15:133-146.
    What is feminist art? Can an ordinary viewer experience it in a neutral, detached, and objective way? These two questions are the focus of this essay which attempts to bridge a gap between philosophical aesthetics and feminist theorizing about women's art. The first question is purely historical, easily answered by means of a brief overview of the past twenty-five years of feminist art in America. The second question raises philosophical issues squarely within the realm of (...), contingent upon who counts as "an ordinary viewer." Answering this question reveals a divergence of opinion as wide as the range of respondents. [My thanks to the American Studies Center at Warsaw University where an earlier draft of this paper was presented.]. (shrink)
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  9. Feminism in Context: A Role for Feminist Theory in Aesthetic Evaluation.Peg Brand Weiser - 1993 - In John W. Bender & Gene Blocker (eds.), Contemporary Philosophy of Art: Readings in Analytic Aesthetics. Pearson College Division. pp. 106-112.
    This paper explores the role of 1980s to early 1990s feminist theory of art within the analytic philosophical tradition of aesthetics starting with a critique of the noncontextual criticism of aesthetics of Jerome Stolnitz and Monroe Beardsley contrasted with contextual feminist theory, informed by contextual theories of Arthur Danto, George Dickie and Marcia Eaton, and concluding that knowledge of external, contextual data is necessarily required to assess a work of art that has been deemed a work (...)
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  10. From the Feminist Ethic of Care to Tender Attunement: Olga Tokarczuk’s Tenderness as a New Ethical and Aesthetic Imperative.Natalia Anna Michna - 2023 - Arts 12 (3):1-15.
    In her Nobel speech in 2019, Olga Tokarczuk presented the category of tenderness as a new way of narrating the contemporary world. This article is a proposal for the analysis and interpretation of tenderness in ethical and aesthetic terms. (1) From an ethical perspective, tenderness is interpreted as an extension and complement of feminist relational ethics, i.e., the ethics of care. In the proposed approach, tenderness is a broader and more universal quality than care in the feminist understanding. (...)
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  11. Why Does Feminism Matter To Aesthetics?Joshua Shaw - 2005 - Postgraduate Journal of Aesthetics 2 (1):1-11.
    Peter Lamarque recently reported on current trends in aesthetics in the Postgraduate Journal of Aesthetics. Noticeably absent from his list, however, is the emergence and acceptance of feminist approaches in aesthetics, especially among analytic philosophers. Yet feminism is an important movement, one that should have been included among those he discusses. Indeed, my goal is to convince you that feminism should have made it onto Lamarque’s list. Rather than criticize him, however, I want to use his (...)
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  12. Feminism: Feminisms and Tradition.Peg Zeglin Brand Weiser - 2014 - In Michael Kelly (ed.), Encyclopedia of Aesthetics. 2nd edition (Oxford University Press). Oxford University Press. pp. 22-26.
    Feminism came to the discipline of philosophical aesthetics rather late--approximately 1990--in spite of advances made much earlier in the 1970s by feminist scholars in related fields such as literary theory, art history, art criticism, and film studies. This essay tracks notions of "tradition" within the history of aesthetics and subsequent feminist challenges to patriarchal traditions and existing philosophical practices. No one unitary feminist approach is sought; rather a multiplicity of feminisms have arisen within aesthetics (...)
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  13. Feminist Criticism: On Disturbatory Art and Beauty.Peg Brand Weiser - 2021 - In Lydia Goehr & Jonathan Gilmore (eds.), A Companion to Arthur C. Danto. Hoboken: Wiley. pp. 344-353.
    Arthur C. Danto, philosopher and art critic for The Nation from 1984-2009, offered interpretations of artworks by a wide array of artists, including Eva Hesse, Judy Chicago, and Cindy Sherman, whose "disturbatory" works were either ignored or denounced by mainstream critics at the time. Danto's championing of feminist art was deliberate and delightful; he openly endorsed the Guerilla Girls! His feminist art critical writings ultimately shaped the early development of what has come to be known as "feminist (...)
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  14. The Aesthetics of Childbirth.Peg Brand & Paula Granger - 2011 - In Sheila Lintott & Maureen Sander-Staudt (eds.), Philosophical Inquiries into Pregnancy, Childbirth, and Mothering: Maternal Subjects. Routledge. pp. 215-236.
    Images abound of women throughout the ages engaging in various activities. But why are there so few representations of childbirth in visual art? Feminist artist Judy Chicago once suggested that depictions of women giving birth do not commonly occur in Western culture but can be found in other contexts such as pre-Columbian art or societies previously considered "primitive." Chicago's own exploration of the theme resulted in the creation of The Birth Project (1980-85): an unprecedented series of eighty handcrafted works (...)
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  15. A Feminist in a Patriarchal Academic Institution: The Life and Philosophy of the Polish Aesthetician Maria Gołaszewska (1926‒2015).Natalia Anna Michna - 2020 - In Umberto Mondini (ed.), Women Who Made History. Edizioni Progetto Cultura. pp. 277-291.
    Maria Gołaszewska (1926–2015), a Polish philosopher, was associated throughout her life with Poland’s oldest academic institution, the Jagiellonian University in Cracow. She was a student of the phenomenologist Roman Ingarden, himself a student of Edmund Husserl. During the postwar and communist years in Poland, Gołaszewska conducted research focusing on issues related to art and aesthetics. She created her own conception of empirically and anthropologically oriented aesthetics, which I believe is a prime example of a theory that accounts for (...)
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  16. Knitting, Weaving, Embroidery, and Quilting as Subversive Aesthetic Strategies: On Feminist Interventions in Art, Fashion, and Philosophy.Natalia Anna Michna - 2020 - Zone Moda Journal 10 (1):167-183.
    In the paper, I pose the question of how, on artistic, aesthetic, and philosophical levels, decoration and domestic handicrafts as subversive strategies enable the undermining and breakdown of class-based and patriarchal divisions into high and low, objective and subjective, public and private, masculine and feminine. I explore whether handicrafts, in accordance with feminist postulates, are transgressive, transformative, and inclusive. I link handicrafts with the feminist perspective, since, in the second half of the twentieth century, it was precisely the (...)
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  17. Aesthetics and Gender.Natalia Anna Michna & Carolyn Korsmeyer (eds.) - 2016 - Cracow: The Polish Journal of Aesthetics.
    Combining aesthetic theory with gender analysis opens a large and diverse territory to explore. Both familiar issues in the philosophy of art and new, expanded questions about the influence of culture on imagination and identity have become subjects of feminist research. Film, literature, graphic arts, advertising, and the legacies of history all contribute to the forces that shape self-image, desire, behavior, and social role – as well as the ability to imagine possibilities for change. This issue brings together an (...)
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  18. The Aesthetic Attitude in the Ethics of Ambiguity.Peg Zeglin Brand - 2001-2002 - Simone de Beauvoir Studies 18 (1):31-48.
    This essay aims to address a lack of recognition on the part of aestheticians, feminist scholars in the visual arts, as well as Simone de Beauvoir scholars by studying Beauvoir's The Ethics of Ambiguity (1948) for what it has to offer on the topic of art and aesthetics: (1) the important role of the visual arts in society and the political legacy artists can contribute to the world; (2) the traditionally revered philosophical concept of the aesthetic attitude; and (...)
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  19. Review of New Feminist Art Criticism by Katy Deepwell. [REVIEW]Peg Brand - 1997 - Journal of Aesthetics and Art Criticism 55 (3):344-345.
    Katy Deepwell calls for a vital and visible "new" feminist criticism in 1997 amidst a pessimistic overview of the state of feminist art and criticism in Britain, Canada, and the U.S. As an update to this review, I note that Deepwell took decisive and effective action on her pessimism and for the past twenty years (as of this writing in July 2017) created an online feminist journal--n.paradoxa: international feminist art journal--that has published over 550 articles by (...)
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  20. Sex Objects and Sexy Subjects: A Feminist Reclamation of Sexiness.Sheila Lintott & Sherri Irvin - 2016 - In Sherri Irvin (ed.), Body Aesthetics. Oxford, GB: Oxford University Press. pp. 299-317.
    Though feminists are correct to note that conventional standards of sexiness are oppressive, we argue that feminism should reclaim sexiness rather than reject it. We argue for an aesthetic and ethical practice of working to shift from conventional attributions of sexiness to respectful attributions, in which embodied sexual subjects are appreciated in their full individual magnificence. We argue that undertaking this practice is an ethical obligation, since it contributes to the full recognition of others’ humanity. We discuss the relationship of (...)
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  21. Misleading Aesthetic Norms of Beauty: Perceptual Sexism in Elite Women's Sports.Peg Zeglin Brand Weiser & Edward B. Weiser - 2016 - In Sherri Irvin (ed.), Body Aesthetics. Oxford, GB: Oxford University Press. pp. 192-221.
    The history of gender challenges faced by women in elite sports is fraught with controversy and injustice. These athletes' unique physical beauty creates what appears to be a paradox yet is, in fact, scientifically predictable. Intense training for the highest levels of competition leads to unique bodily strength and rare beauty associated with specific anatomic changes, leading top athletes to be singled out as exceptions from their gender and even excluded from competing. Authorities like the IOC and IAF, as well (...)
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  22. Taking Feminist Pornography Seriously.Georgie Malone - 2024 - Film and Philosophy 28:19-37.
    It has been argued that an adequate feminist response to sexist pornography demands not just efforts to eradicate sexist beliefs, but also aesthetic counter-intervention at the level of taste. This view motivates support for feminist pornography. This paper takes the feminist pornography suggestion seriously by unpacking difficulties for the project. I begin by spelling out two views about what makes feminist pornography feminist: the ‘content view,’ and the ‘context view,’ and discuss what I take to (...)
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  23. Oppression, Privilege, & Aesthetics: The Use of the Aesthetic in Theories of Race, Gender, and Sexuality, and the Role of Race, Gender, and Sexuality in Philosophical Aesthetics.Robin James - 2013 - Philosophy Compass 8 (2):101-116.
    Gender, race, and sexuality are not just identities; they are also systems of social organization – i.e., systems of privilege and oppression. This article addresses two main ways privilege and oppression (e.g., racism, misogyny, heteronormativity) are relevant topics in and for philosophical aesthetics: (i) the role of the aesthetic in privilege and oppression, and (ii) the role of philosophical aesthetics, as a discipline and a body of texts, in constructing and naturalizing relations of privilege and oppression (i.e., white (...)
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  24.  39
    Etyczne i estetyczne aspekty czułości Olgi Tokarczuk [Ethical and aesthetic aspects of Olga Tokarczuk’s tenderness].Natalia Anna Michna - 2023 - Edukacja Biologiczna I Środowiskowa 1 (79):28-43.
    In the article, tenderness, a category presented in the Nobel Prize speech by Olga Tokarczuk, is analyzed as a new ethical imperative, developing the feminist relational ethics, i.e. the ethics of care. In the proposed interpretation, tenderness is a broader category than care understood in feminist terms: it is more universal, inclusive, and unifying. Tenderness also applies to – or perhaps most of all – the world beyond-the-human, as it goes beyond the anthropocentric perspective of the ethics of (...)
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  25. Falling in Lust: Sexiness, Feminism, and Pornography.Hans Maes - 2017 - In Mari Mikkola (ed.), Beyond Speech: Pornography and Analytic Feminist Philosophy. New York, US: Oxford University Press.
    Caffeine makes you sexy! This absurd slogan can be seen in the shop windows of a popular Brussels coffee chain – its bold pink lettering indicating how they are mainly targeting female customers. It is one of the silliest examples of something that is both very common and very worrisome nowadays, namely, the constant call on women to look ‘hot’ and conform to the standards of sexiness as they are projected in the media, entertainment industry, and advertising. But what exactly (...)
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  26. The Aesthetics and Ethics of Sexiness.Hans Maes - 2017 - In David Goldblatt, Stephanie Partridge & Lee Brown (eds.), Aesthetics: A Reader in Philosophy (4th ed.).
    All too often women are considered sexy in accordance with an externally dictated and unduly narrow conception of sexiness – one that excludes large portions of the female population from being considered sexy. In response to this, some feminists have suggested that we should give up on sexiness altogether. Since the agency, subjectivity, and autonomy of a woman being judged sexy is generally ignored, they argue, we have, in effect, an equation of sexiness with objecthood. In a recent essay entitled (...)
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  27. Kobiety i kultura. O doświadczeniu w filozofii feministycznej [Women and Culture. On Experience in Feminist Philosophy].Natalia Anna Michna - 2018 - Kraków: Wydawnictwo Uniwersytetu Jagiellońskiego.
    The book, which constitutes part of the current feminist research as broadly understood, deals in particular with issues related to the philosophical approach to women’s experience. The main thrust of the research is to ask questions such as: What is women’s experience? Is it generally possible to speak of women’s typical experiences? Does it influence knowledge, and if so, how? Does it influence women’s perception and interpretation of art, and if so, how? And finally, taking a broader perspective: can (...)
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  28. (1 other version)Virgil’s Feminist Counterforce: Juno’s Furor as Matter of Imperium's Unjust Forms.Joshua M. Hall - 2024 - Journal of Aesthetic Education 58 (2):12-29.
    In this article, I offer a new philosophical interpretation of Virgil’s Aeneid, dually centered on the queens of Olympus and Carthage. More specifically, I show how the philosopher-poet Virgil deploys Dido’s Junonian furor as the Aristotelian matter of the unjust Roman imperium, the feminist counterforce to the patriarchal force disguised as peaceful order. The first section explores Virgil’s political and biographical background for the raw materials for a feminist, anti-imperial political philosophy. The second section, following Marilynn Desmond, situates (...)
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  29.  51
    Writing the Feminist Internet: a Chthonian Feminist Internet Theory for the twenty first century.Nancy Mauro-Flude - 2021 - Continuum Journal of Media and Cultural Studies 35 (5):788-804.
    This paper analytically responds to the collaborative performance work Writing the Feminist Internet as a motif of fourth wave feminism. It probes at the edge of Internet dark spaces that are often occupied by those who point to complacency in engagement with networking systems, by drawing auxiliary attention to the apparatus. Further examination sheds light on the valences and anarchy of technopolitics that transpired and reflects on the call for ‘hybrid of feminist activist efforts’ noted by Emma A. (...)
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  30. An Ecofeminist Critique of Rural Studio: Toward an Ethically-Sustainable Aesthetics.Joshua M. Hall - forthcoming - The Journal of Aesthetic Education.
    In this article, I apply Australian logician and ecofeminist philosopher Val Plumwood’s Feminism and the Mastery of Nature, specifically its alternative logic of “the dance of interaction,” to a controversial community-engagement program in my home state of Alabama. At Rural Studio, Auburn University students design free housing and public works for one of the poorest regions in the United States, known as the “Black Belt.” Through the lens of Plumwood’s ecofeminist dancing logic, the marginalized source of Rural Studio’s survival is (...)
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  31. Incandescence, Melancholy, and Feminist Bad Vibes.Robin James - forthcoming - Differences 25 (2).
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  32. Review of Feminism and Contemporary Art: The Revolutionary Power of Women's Laughter and The Emptiness of the Image: Psychoanalysis and Sexual Differences. [REVIEW]Peg Brand Weiser, Jo Anna Isaak & Parveen Adams - 1998 - Journal of Aesthetics and Art Criticism 56 (3):299.
    Both books published in 1996 explore the role that gender plays in the psychology of art (dealing with both making and viewing), complicating current philosophical distinctions between the aesthetic and the cognitive, and providing new insights into basic topics in the history and psychology of perception, representation, and disinterestedness.
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  33. Revising the Aesthetic-Nonaesthetic Distinction: The Aesthetic Value of Activist Art.Peg Brand Weiser - 1995 - In Peg Zeglin Brand Weiser & Carolyn Korsmeyer (eds.), Feminism and Tradition in Aesthetics. Pennsylvania State University Press. pp. 245-272.
    This essay explores the role that the aesthetic-nonaesthetic distinction plays in assessing activist art by women and artists of color. First, I shall review one traditional line of philosophical thought and show how it serves as the foundation for three types of reasons typically given for artworks reputed to lack aesthetic value. I develop two of the three reasons by examining recent writings opposed to the aesthetic value of activist art by well-known art critic Donald Kuspit, pointing out his aberrant (...)
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  34. Glaring Omissions in Traditional Theories of Art.Peg Zeglin Brand Weiser - 2002 - In Cahn Steven (ed.), Philosophy for the 21st Century: A Comprehensive Reader. Oxford University Press. pp. 799-813.
    I investigate the role of feminist theorizing in relation to traditionally-based aesthetics. Feminist artworks have arisen within the context of a patriarchal Artworld dominated for thousands of years by male artists, critics, theorists, and philosophers. I look at the history of that context as it impacts philosophical theorizing by pinpointing the narrow range of the paradigms used in defining “art.” I test the plausibility of Danto’s After the End of Art vision of a post-historical, pluralistic future in (...)
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  35. From receptivity to transformation: on the intersection of race, gender, and the aesthetic in contemporary continental philosophy.Robin James - 2010 - In Maria del Guadalupe Davidson, Kathryn T. Gines & Donna-Dale L. Marcano (eds.), Convergences: Black Feminism and Continental Philosophy. SUNY Press.
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  36. Beauty Matters.Peg Zeglin Brand (ed.) - 2000 - Indiana University Press.
    Beauty has captured human interest since before Plato, but how, why, and to whom does beauty matter in today's world? Whose standard of beauty motivates African Americans to straighten their hair? What inspires beauty queens to measure up as flawless objects for the male gaze? Why does a French performance artist use cosmetic surgery to remake her face into a composite of the master painters' version of beauty? How does beauty culture perceive the disabled body? Is the constant effort to (...)
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  37. Introduction.Peg Brand Weiser & Carolyn Korsmeyer - 1990 - Journal of Aesthetics and Art Criticism 48 (4):277-280.
    This is the co-authored--with Carolyn Korsmeyer--Introduction to the first published feminist scholarship in The Journal of Aesthetics and Art Criticism (Volume 48, Number 4, Fall 1990). Contributors included Hilde Hein, Paul Mattick, Jr., Timothy Gould, Joanne B. Waugh, Joseph Margolis, Mary Devereaux, Noel Carroll, Flo Leibowitz, Anita Silvers, Elizabeth Ann Dobie, Renee Cox, and Ellen Handler Spitz. All essays were subsequently published in an expanded book version entitled, Feminism and Tradition in Aesthetics by Penn State Press (1995).
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  38. Painting the Difference: Sex and Spectator in Modern Art.Peg Brand - 2007 - Journal of Aesthetics and Art Criticism 65 (2):244-246.
    British art historian Charles Harrison presumes the existence of a patriarchal world with power in the hands of men who dominate the representation of women and femininity. He applauds the ground-breaking work of feminist theorists who have questioned this imbalance of power since the 1970s. He stops short, however, of accepting their claims that all women have been represented by male artists as images of “utter passivity” (p. 4), routinely reduced by the male gaze to the status of exploited (...)
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  39. How Beauty Matters (4th edition).Peg Zeglin Brand Weiser - 2017 - In David Goldblatt & Stephanie Patridge (eds.), Aesthetics: A Reader in Philosophy of the Arts. New York: Routledge. pp. 94-97.
    How do we view, understand and appreciate a complex and challenging work of visual art such as Leon Mostovoy's Transfigure and how, in our encounter with it, does beauty matter? Transfigure Project--a 2013 book, film and photographic installation that is now also an interactive website--is "a project of corporal self-expression, presented as an experimental, visual feast" by which 'transfigure' means "to transform into something more beautiful or elevated." Photographs of fifty nude trans-identified figures can be playfully arranged in numerous combinations; (...)
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  40. Changing Perceptions of Beautiful Bodies: The Athletic Agency Model.Peg Brand Weiser - 2022 - In Andrew Edgar & William Morgan (eds.), Somaesthetics and Sport. Brill. pp. 85-113.
    I consider what draws us to perceiving beautiful bodies in art and athletics--repeatedly and over time--that is informed by viewers' changing perceptions derived from recent publications in fashion and sport, the philosophy of sport, feminist film theory and aesthetics under the ever-expanding umbrella of somaesthetics. This paper won the American Society for Aesthetics 2023 Somaesthetics Prize.
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  41. Mounting Frustration: The Art Museum in the Age of Black Power, by Susan E. Cahan, and Museums and Public Art: A Feminist Vision, by Hilde Hein. [REVIEW]Peg Zeglin Brand Weiser - 2017 - Journal of Aesthetics and Art Criticism 75 (1):91-94.
    These two books challenge museums--the predominant and continually evolving institutions of art delivery--in order to uncover and expose the rampant political biases and hidden strategies that their founders, administrators, and boards of trustees have utilized in order to maintain the preferred status quo of predominantly white male power.
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  42. (1 other version)Symposium: Beauty Matters.Peg Zeglin Brand - 1999 - Journal of Aesthetics and Art Criticism 57 (1):1-10.
    The point of this symposium is to locate one trajectory of the new wave of discussions about beauty beyond the customary confines of analytic aesthetics and to situate it at the intersection of aesthetics, ethics, social-political philosophy, and cultural criticism. Three essays follow this introduction authored by Marica Muelder Eaton, Paul C. Taylor, and Susan Bordo. They represent a conjoined effort to move 'beauty' beyond the traditional parameters of past contextual theories of art. This introductory essay offers some (...)
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  43. Bound to Beauty: An Interview with Orlan.Peg Zeglin Brand Weiser - 2000 - In Peg Zeglin Brand (ed.), Beauty Matters. Indiana University Press. pp. 289-313.
    Orlan is a French performance artist whose work on beauty elicits shock and disgust. Beginning in 1990, she began a series of nine aesthetic surgeries entitled The Reincarnation of St. Orlan that altered her face and body, placed her at risk in the operating room, and centered her within certain controversy in the art world. Undergoing only epidural anaesthesia and controlling the performance to the greatest degree possible, she "choreographs" and documents the events. This enhanced interview I conducted with Orlan (...)
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  44. Disinterestedness and Political Art.Peg Brand Weiser - 1998 - In Carolyn Korsmeyer (ed.), Aesthetics: The Big Questions. Malden, Mass.: Wiley-Blackwell. pp. 155-171.
    Can an ordinary viewer ever experience art---particularly politically charged, socially relevant art--in a neutral, detached, and objective way? The familiar philosophical notion of disinterestedness has its roots in eighteenth-century theories of taste and was refined throughout the twentieth century. In contrast, many contemporary theorists have argued for what I call an "interested approach" in order to expand beyond the traditional emphasis on neutrality and universality. Each group, in effect, has argued for the value of a work of art by excluding (...)
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  45. Personal Beauty and Personal Agency.Madeline Martin-Seaver - 2023 - Philosophy Compass 18 (12):e12953.
    We make choices about our own appearance and evaluate others' choices – every day. These choices are meaningful for us as individuals and as members of communities. But many features of personal appearance are due to luck, and many cultural beauty standards make some groups and individuals worse off (this is called “lookism”). So, how are we to square these two facets of personal appearance? And how are we to evaluate agency in the context of personal beauty? I identify three (...)
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  46. Beauty Unlimited.Peg Zeglin Brand (ed.) - 2013 - Bloomington, IN: Indiana University Press.
    Emphasizing the human body in all of its forms, Beauty Unlimited expands the boundaries of what is meant by beauty both geographically and aesthetically. Peg Zeglin Brand and an international group of contributors interrogate the body and the meaning of physical beauty in this multidisciplinary volume. This striking and provocative book explores the history of bodily beautification; the physicality of socially or culturally determined choices of beautification; the interplay of gender, race, class, age, sexuality, and ethnicity within and on the (...)
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  47. Mounting Frustration: The Art Museum in the Age of Black Power, by Susan Cahan, and Museums and Public Art: A Feminist Vision, by Hilde Hein. [REVIEW]Peg Brand Weiser - 2017 - Journal of Aesthetics and Art Criticism 75 (1):91-94.
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  48. You’ve come a long way, baby: the evolution of feminine identity models on the example of contemporary language of advertising.Natalia Anna Michna - 2016 - Polish Journal of Aesthetics 41 (2):99-117.
    The article presents the evolution of the language of advertising from the 1960s to the present, presenting various images of women in advertising. Simultaneously a theoretical analysis has been carried out of the demands of second-wave feminism, which exerted significant influence on the creation of images of women in the mass media. The objective of our comparison of feminist theory with advertising practice is an attempt to answer the question of whether the present media image of women liberated from (...)
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  49. ORLAN Revisited: DIsembodied Virtual Hybrid Beauty.Peg Brand Weiser - 2013 - In Peg Brand Weiser (ed.), Beauty Unlimited. Indiana University Press. pp. 306-340.
    This essay offers an update on the author's thoughts on the French feminist performance artist ORLAN, analyzing her visual representations as a new category of feminist visual art, namely, virtual hybrid beauty.
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  50. The Role of Luck in Originality and Creativity.Peg Zeglin Brand Weiser - 2015 - Journal of Aesthetics and Art Criticism 73 (1):31-55.
    In this article I explore the concept of originality from several viewpoints. Within the world of printmaking, I show that while print dealers may draw attention to originality in order to enhance economic value, artists emphasize the aesthetic value of a work based on the freedom to express artistic intent and to experiment with techniques of the medium. Within the worlds of philosophy and to some extent, psychology, “originality” has been misleadingly tied to the notions of “creativity” and “genius,” thereby (...)
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