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The Normative Functions of Artist Intentions in a Twenty-First Century Contemporary Art Practice.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	The Normative Functions of Artist Intentions in a Twenty-First Century Contemporary Art Practice./
作者:	Harrop, Lee.
面頁冊數:	1 online resource (303 pages)
附註:	Source: Dissertations Abstracts International, Volume: 84-08, Section: B.
Contained By:	Dissertations Abstracts International84-08B.
標題:	Art galleries & museums. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=30203538click for full text (PQDT)
ISBN:	9798371941220

The Normative Functions of Artist Intentions in a Twenty-First Century Contemporary Art Practice.
Harrop, Lee.

The Normative Functions of Artist Intentions in a Twenty-First Century Contemporary Art Practice. - 1 online resource (303 pages)

Source: Dissertations Abstracts International, Volume: 84-08, Section: B.

Thesis (Ph.D.)--Charles Darwin University (Australia), 2022.

Includes bibliographical references

Intentionalism in art theory holds that a critical component of the meaning of a text or artwork is determined by the intentions and agency of the artist who created the work. Disagreements concerning when authorial intentions ought to be considered have led to conflicting views regarding how one ought to interpret and value works of art. To respond to proponents of anti-intentionalism, such as William K Wimsatt and Monroe Beardsley, I examine the epistemic and moral roles of intentions communicated either by major contemporary artists or by my own practice-led research. The methodology of this enquiry is undergirded by iterative critical assessments of the data generated by my practice-led research, which builds from the feedback acquired through the peer-reviewing of forty-five published artworks and four peer-reviewed theoretical publications. The enquiry specifies three normative conditions that have scaffolded my artistic voice, which I term Countermodernity Intentionalism. According to the Virtuous Discovery Condition, a virtuous artistic interpretation ought to be aimed at discovering the meaning that was intended by the author. A classic objection to that condition is based on the thought that the author's meaning is inaccessible. To refute this objection, I identify the harms caused by adopting this inaccessibility view as the chief standpoint by which to interpret a corpus of artworks about violence, law, mining and geoscience. Contrary to predictions suggested by the inaccessibility view, the explication of the corpus provides converging evidence that the interpretation of an artwork can accord with the artist's intended meaning. The Audience Meaning Condition states that, if an interpretation dismisses or is devoid of the artist's intended meaning, then that interpretation is ethically limited by its status as merely the interpretation of the audience member. In the case study 'The decommission of I See Red', I respond to an anti-intentionalist objection derived from the premise that meanings are directly and autonomously given by language or artworks. The study discloses how disregarding the authorial intentions of the artist can cause contested interpretations, which can ultimately lead to epistemic injustices. I conclude that if art is to be socially valued and have social impact, then audiences ought to consider the author's artistic intentions. The article 'I See Red' expands the argument of 'The decommission of I See Red' in an examination of the ways in which art can contribute to truth-telling about colonial courthouses and Indigenous dispossession. The Agency Condition of Countermodernity Intentionalism states that any aesthetic value in an artwork is underpinned by artistic intention as a causal agent. I have been committed to providing evidence in support of the Agency Condition since 'Here Lies Truth', an article that uses my artwork Here Lies Truth to investigate whether art can negotiate contested conceptions of truth when contributing to debates of global significance. To avoid the promotion of misinformation or propaganda, this research abides by the moral rule that any messages I communicate through art ought to be truthful. The Agency Condition is also the impetus for the Still Lives - A Beautiful Science project presented in the 'Still Lives' publication. This project responds to an objection based on the premise that the author's agency lacks epistemic authority over what the artist intends. I demonstrate that the strategies followed in Still Lives were aimed at ensuring that the messages communicated via my artworks were factual and verifiable. Still Lives incorporated the disciplines of art, law, science, philosophy and the humanities, in a three-day multiplatform event illustrating the multifaceted ways in which art can contribute to society. In summation, the thesis demonstrates that, despite their contested history, the principles of intentionalism can provide guidance for ethical and socially engaged artistic practices in the twenty-first century.

Electronic reproduction.
Ann Arbor, Mich. :
ProQuest,
2023

Mode of access: World Wide Web

ISBN: 9798371941220Subjects--Topical Terms:

3561426
Art galleries & museums.
Index Terms--Genre/Form:

542853
Electronic books.

The Normative Functions of Artist Intentions in a Twenty-First Century Contemporary Art Practice.
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