In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 39.2 (2005) 97-103 [Access article in PDF] MoMA as Educator: The Legacy of Alfred H. Barr, Jr. Ralph A. Smith Professor Emeritus University of Illinois at Urbana-Champaign Alfred H. Barr, Jr. and the Intellectual Origins of the Museum of Modern Art by Sybil Gordon Kantor. Cambridge: The MIT Press, 2002, xxv, 472 pp., $39.95. ISBN 0-262-11258-2 Sybil Kantor's history of (...) the intellectual origins of the Museum of Modern Art (MoMA) is an engaging account of Alfred Barr, Jr.'s, pivotal role in acquainting an American audience with the modernist movement in art that had developed in Europe and the Soviet Union in the first part of the twentieth century. Scrupulously documented, Kantor's narrative relies heavily on interviews with Barr's contemporaries, his publications, and his extensive correspondence. She also limns portraits of major figures who either influenced his ideas or were instrumental in establishing MoMA. Although the book is very informative about modern art, according to its author it is not intended to be strictly a history of that art. Rather, it is devoted to Barr's early development, his personal characteristics, his attitude toward the cultural and political climate of the times, his definitions of modernism and formalism, and finally, his legacy.Kantor traces Barr's career through the decade of the 1920s, which culminated in his being named the first director of MoMA in 1929; the expansive years of the 1930s and 1940s when, as Kantor puts it, Barr and the museum were at full throttle; and the later years when Barr was relieved of his director's responsibilities to allow him to spend more time on writing and the mounting of exhibitions. He retired from the museum in 1967, began to show signs of ill health in the mid-1970s, and died at the age of 79 in 1981. The Early Years Barr began his studies in the history of art at Princeton where he took courses with Frank Jewett Mather, who taught about modern art, and with Charles Rufus Morey, a distinguished medievalist whose teaching ranged beyond the architecture and sculpture of the Middle Ages to the other arts of that era. Morey's example of comprehensiveness would later stimulate Barr to think along similar lines about modern art and the organization of MoMA. At Harvard's graduate school Barr learned the skills of connoisseurship and museum management from Paul Sachs whose students went on to become directors of major museums across America. Sachs also encouraged Barr's interest in modern art and provided him with numerous letters of [End Page 97] introduction to scholars and museum directors — and occasionally withfunds for his travels.1 Lincoln Kirstein was a close friend, art critic, and earlyally, while Henry-Russell Hitchcock, Walter Gropius, and Philip Johnson significantly affected Barr's understanding of architecture. A large cast of artists, patrons, collectors, writers, trustees, and editors of "little magazines"(so-called because of their relatively small numbers of readers) also enter the scene and play various roles. A few words are in order about Barr himself who, Kantor says, exhibited more rebelliousness, a larger vision, and greater discipline than most of those around him. Barr the Man Kantor portrays a mind and sensibility possessed of exceptional discernment for the new, the difficult, and the worthwhile in the art of the early twentieth century. Barr's feeling for order, organization, and clarity of relations; his commitment to perfection, freedom, and truth; and his faith in the capacity of modern art to overcome prejudices and improve the taste of Americans are not merely reflections of the disciplinary habits inculcated by Barr's Presbyterian upbringing. They also reveal the classical tastes acquired through his art-historical studies and echo the temper of the age.The time — the 1920s through the 1940s — valued both the rationalism of science with its methods of problem solving and the insights of psychoanalysis with its probing of the irrational. Belief in the inevitable progress promised by advances in technology was, however... (shrink)

SummaryAn account is given of one of the most heated controversies in nineteenth-century British geology—the battle between Archibald Geikie and John Judd concerning the interpretation of the Palaeogene igneous rocks of the Inner Hebrides, particularly those of the Cuillins and the Red Hills of Skye. The controversy erupted in the first instance over the question of the respective ‘territories’ of the two geologists, then developed into disagreement as to the origin of the plateau lavas of Skye: were they formed from (...) fissure eruptions (Geikie's view) or from the outpourings of great volcanoes (Judd's view)? Debate then focused on the question of the relative age of the gabbro of the Cuillins and the granite (granophyre) of the Red Hills. A certain locality at Druim Hain (Druim an Eihdne) at the junction between the two rock-types became crucial for the dispute. Following earlier observers, Judd held that the granite was older and had been intruded by the gabbro. Geikie took the opposite view. Geikie's work relied particularly on field observations, for which he was assisted by several other geologists. Judd, who worked by himself, rested his argument more on the evidence furnished by petrology, using thin sections. Both geologists were influenced by Ferdinand von Richthofen. Geikie's work appeared to be vindicated in his own lifetime by the map work of Alfred Harker, which effectively closed the controversy. But later commentators such as Walker hold that in a sense both were correct. There were indeed great volcanoes active in the Inner Hebrides in the Palaeogene, as well as fissure eruptions. Moreover, recent mapping does not support all the observations of Geikie and Harker. The controversy illustrates different styles in nineteenth-century geology, with petrological arguments, based on the examination of thin sections, pitted against field observations. It may also be seen as being linked with the ongoing rivalry in the nineteenth century between the members of the Geological Survey (particularly the Directors General) and the ‘amateur’ university geologists. Geikie prevailed in the debate in part because he was able to draw on more resources for its prosecution, being helped by various friends and members of the Geological Survey. The study draws on the newly discovered Geikie archive at Haslemere, which contains his complete outgoing official correspondence, and 27 of his field notebooks, previously missing. With the help of this material, it is possible to gain a clearer insight into the methods deployed by Geikie in his fieldwork, and his ways of working and thinking. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Quest for the Historical Abstract ExpressionismDaniel A. SiedellAbstract Expressionism:The International Context, by Joan Marter and David Anfam. Piscataway, NJ: Rutgers University Press, 2007, 320 pp. $26.95, paper.Abstract Expressionism, by Debra Bricker Balken. London: Tate, 2005, 80 pp. $9.60, paper.Reading Abstract Expressionism: Context and Critique, by Ellen Landau. New Haven, CT: Yale University Press, 2005, 768 pp. $45.00, paper.What makes any definition of a movement in art dubious is (...) that it never fits the deepest artists in the movement—certainly not as well as, if successful, it does the others.—Harold Rosenberg, 1952From the moment of its inception in the 1940s, "Abstract Expressionism" has been the subject of reframings, redefinitions, and revisions. This is because it is more than the sum total of artworks and artists traditionally recognized as part of the movement. It is a constitutive part of postwar American cultural life, and it has shaped how we understand art and the role of the artist. It has also shaped the practice of art criticism and defined the role of the art critic. Because it is part of the United States' creation myth of a distinctive postwar "American identity," it also possesses significant symbolic value. And this symbolic value is why it has been such a popular subject for art museum exhibitions for nearly half a century. The fact that in the last ten to fifteen years, major art museums have mounted major exhibitions of the work of key figures in the movement, like Jackson Pollock (including a feature film starring Ed Harris), Mark Rothko, Willem de Kooning, and Barnett Newman, and that auction prices for these artists reach tens of millions of dollars, suggest that, no matter how contested and complicated the concept of "Abstract Expressionism" is, the artists associated with the movement remain relevant.1Abstract Expressionism is not merely big business for museums, collectors, and auction houses. It has also been big business for scholars. The symbolic power of Abstract Expressionism and its influence on shaping and [End Page 107] forming contemporary artistic and critical practice has made the movement an important subject for historical and critical scrutiny. The publication of Irving Sandler's The Triumph of American Painting in 1970 was the first book-length study on Abstract Expressionism, and it marked the gradual beginning of the movement's transformation from a living entity to a more reified subject palatable for academic inquiry. Blending Alfred H. Barr's formalism with an historian's interest in subject matter and iconography and a critic's access to the artists, The Triumph of American Painting provided a taxonomy of sources and influences. Sandler's book, in part, provoked the publication of Serge Guilbaut's How New York Stole the Idea of Modern Art in 1983 (written in 1978 as a doctoral dissertation), which initiated nearly fifteen years of serious and provocative scholarship on Abstract Expressionism. Guilbaut's radical revisionist approach to the subject—which sought to reinterpret the entire development of Abstract Expressionism as an aesthetic weapon of the Cold War—provoked a slew of responses from art historians eager to either jump on the careening bandwagon of Marxist social histories of modern art or hunker down in the trenches to protect hard-won scholarly turf. The latter was the response of a loose federation of art historians eager to forge a scholarly orthodoxy. This emergent paradigm is revealed in a 1988 special issue of Art Journal called "Abstract Expressionism: New and Improved," coedited by Stephen Polcari and Ann Gibson. This issue included essays by those art historians who understood themselves as part of a "new generation" of scholars characterized by their collective desire to transcend the polemics and limitations of those critics and curators whose distorted picture of the movement would be restored to clarity through scholarly distance, a distance that a "new synthesis" of Abstract Expressionist "art, culture, history, and society together, not separately" would produce.2 Sandler and Guilbaut were swiftly dismissed by these art historians of the "new and improved," the former because of his formalism and close proximity to the artists—many of whom he knew personally—the latter because of his Marxism... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Symposium: The Future of the Art Museum: Curatorial and Educational Perspectives:IntroductionDaniel A. SiedellIntroductionThere are few futures pondered more often than the art museum's. The new millennium has spawned a veritable cottage industry of such prognostication. Most of it has occurred from the perspectives of building expansion, audience growth, and collection development. These are not, by any means, unimportant considerations. However, such sustained attention to them by directors, marketers, board (...) members, collectors, and the mass media tend to obscure the fact that these areas of concern are not ends in themselves. A new museum wing, higher attendance, and more gifts of art to the collection mean little unless they serve to facilitate specific curatorial and educational ends, which themselves are in the service of expanding and deepening their capacity to enhance the experience of art. The future of the art museum rests on the ability of curators and educators to develop new and more robust curatorial and educational work that is responsive to both the larger culture and to the vocational standards of their respective professions. Curators and educators need, then, to be more self-critical of their practices.This symposium brings together a few of these professionals to reflect on the future of the art museum from the perspective of those involved in the day-to-day production, presentation, and interpretation of works of art. It is occasioned by the publication of David Carrier's book, Museum Skepticism: A History of the Display of Art in Public Galleries, recently published by Duke University Press, and more specifically, Carrier's conclusion, which offers its own reflection on the future of the art museum. A frequent contributor to the Journal of Aesthetic Education, Carrier is a philosopher and art critic whose interests range widely from the art criticism of John Ruskin and Adrian Stokes to the writing of art history and the paintings of Sean Scully.1 Carrier's book, written while a scholar in residence at the Getty Center for the History of Art and the Humanities, explores the history and philosophy of art museums from the point of view of the narratives on which they rely as well as produce. And it is narratives that art educators and curators produce, affirm, and expand when they curate exhibitions and do educational programming.Because they are "public" institutions (even when they are private organizations) and serve many competing audience constituencies, art museums [End Page 1] often suffer from an acute identity crisis, even while they build large expansions, engage in aggressive campaigns to court collectors, placate increasingly more powerful governing boards, and expand their programming to the point that it ceases to be education. The business of the art museum often masks these deep crises, which eventually become a neurosis that plagues curatorial and educational practice. A symptom of this illness can be seen in the misplaced tension between curators and educators as a battle between the "scholars" and the "popularizers," the "elites" and the "community."In 1946 Alfred H. Barr Jr. of the Museum of Modern Art presented a paper called "Research and Publication in Art Museums."2 In it Barr not only recognizes the importance of museum scholarship; he argues that such scholarship, unlike that of the academic art historian, must engage and interact with "the man off the street." Indeed, Barr passionately believed that museum scholarship not only could but should engage a broader and more diverse public all the while remaining committed to scholarly ideals. Barr acknowledges the tensions between museums as "popular community centers" and museums as places of "research and publication." But, he continues, "Both can be done provided we have enough faith to believe in the values of both and enough skill to persuade others to agree with us."3 Barr's expansive definition of scholarship is instructive and a challenge. "By publication I mean not only the scholarly treatise but also the popular article or book, the classroom or public lecture, the gallery talk, publicity releases."4 For Barr, scholarship is not merely a curator's or educator's opportunity to address her professional colleagues and strengthen guild rank; it is a value that is infused throughout all work... (shrink)

Whether “biomimetic” or “bioinspired,” the projects of bioengineering tend to refer their devices or inventions to the biological systems that provide models or originals for detachable functionalities. And yet, they do not satisfy the picturing relation of original and copy. They are mimetic or imitative in the sense of reenacting a function in a different setting with its own principles of composition or its own parameters that select for salience. The taking up of salient features for the purposes of producing (...) a performance of functionality results not in the copy of an original but in its parody. Parodies are not judged for their veracity but for their effectiveness. They have a heuristic value in the context of design and for knowing the world through making and building. In somewhat experimental fashion, this paper seeks to develop a vocabulary for the parodistic qualities of Synthetic Biology, genome editing, or other bioengineering practices. In order to do so, it introduces categories from aesthetics to qualify modeling relations, one of these categories being the notion of “parody” itself. (shrink)

Arts and Humanities in Higher Education, Volume 21, Issue 3, Page 240-262, July 2022. Although the art historical canon has been the subject of fierce debate, it remains an essential construct, shaping textbooks and survey courses. Visual representations of the canon often illustrate these narratives. Students encounter diagrams in their studies and it is important to make them aware of the illusion of scientific objectivity. This paper proposes the use of the computer ontology, as a modeling tool with which students (...) can make translations of existing diagrams. This forces them to reconsider the modeling decisions underlying traditional representations. The article takes as its case study the translation of Alfred Barr’s diagram of Modern Art, using the free tool Protégé. An analysis of this process allows us to consider the ambiguous meanings of nodes, relationships and dimensions of the model. Asking students to actively recreate this network of information is shown to be a valuable addition to traditional survey courses on Modern Art. (shrink)

When the Bloomsbury critics, Roger Fry and Clive Bell, introduced an aesthetically-conservative English public to recent Parisian avant-garde painting, they explained its disconcerting imagery by way of a late-nineteenth-century metaphysical tradition which had long intrigued musicians and Symbolist writers on the European continent. The Post-Impressionist aesthetic they devised advocated a direct response to the formal ingenuity of the work of art without recourse to prior knowledge and it emphasized the significance of visionary genius albeit to the detriment of narrative acuity (...) and technical accomplishment, values hitherto upheld by the Edwardian art Establishment. The provocation was calculated, the author suggests, and its domestic ramifications were predictable: the reaction of an Anglo-conformist public in New York, on the other hand, was anything but. Recreating an Anglo-American dialogue inspired by Fry and Bell, and framed within a period encompassing Fry's Manet and the Post-Impressionists exhibition in 1910 and Alfred Barr Jr's Cubism and Abstract Art exhibition in 1936, the author demonstrates how key components of Bloomsbury's aesthetic bypassed a pre-existent modernist practice in New York and were taken up instead by an urban intelligentsia which adapted them to the requirements of an increasingly professionalised institutional practice during the 1920s. (shrink)

This chapter constructs a libertarian view that grants the main moral of Frankfurt-style cases, and offers a resolution of the problem of present luck. Attention to how human beings may develop from neonates who do not even act intentionally into free, morally responsible human agents proves instructive in developing the resolution.

This chapter develops compatibilist replies to the most popular styles of argument for incompatibilism, and concludes that these arguments leave compatibilism in the running. Differences among various kinds of compatibilism, including semicompatibilism, are examined.

Libertarians hold that free action and moral responsibility are incompatible with determinism and that some human beings occasionally act freely and are morally responsible for some of what they do. Can libertarians who know both that they are right and that they are free make sincere promises? Peter van Inwagen, a libertarian, contends that they cannot—at least when they assume that should they do what they promise to do, they would do it freely. Probably, this strikes many readers as a (...) surprising thesis for a libertarian to hold. In light of van Inwagen's holding it, the title of his essay—‘Free Will Remains a Mystery’—may seem unsurprising. (shrink)

This chapter focuses on a pair of topics in moral psychology that are linked to motivation and evaluation: weakness of will and first-person moral ought beliefs.

David Pears's recent essay, "How Easy is Akrasia?, '' is, in significant part, a refutation of an argument against the possibility of a certain sort of incontinent action. The kind of incontinent action in question is, in Pears's words, "underivative brazen akrasia, which is commonly taken to be akrasia with the fault located between the last line of an agent's reasoning and his action" (p. 40). The argument which he attacks is attributed to Donald Davidson. The purpose of this note (...) is, not to quarrel with Pears, but rather to supplement his interesting essay. In Section I, drawing upon some of Davidson's views on intending and unconditional practical judgments, I construct a stronger argument for the impossibility of the type of akratic action at issue than the one which Pears refutes. In Section II, I explain why even the stronger argument fails and sketch out some implications of its failure for a causal theory of action. (shrink)

Leicht verständliche Einführung in Fragestellungen und Probleme der Ethik und Metaethik von dem Antipoden Wittgensteins in dessen Cambridger Zeit. – Ewings Buch erfuhr im englischen Original zehn Auflagen und erscheint hier zum ersten Mal auf Deutsch. - Wenn ein Philosoph (wie in Cambridge in den 1940er-Jahren geschehen) öffentlich bezweifelt, dass sein Universitätskollege überhaupt »einen Geist besitze« und dessen ethische Theoreme mit einer »aus drei Stücken Matsch« geformten Kugel vergleicht, sein Gegner hingegen vor Studenten bekennt, dass er kein Wort von dem (...) verstehe, was der andere vertrete, und dessen Anhänger in eine Reihe mit marxistischen und römisch-katholischen Glaubenseiferern stellt, muss mehr dahinterstecken als eine sorgsam gepflegte Feindschaft. In der Tat grenzte sich Letzterer, der englische Philosoph A.?C. Ewing, scharf von der Position des Ersteren, des zehn Jahre älteren Ludwig Wittgenstein, ab. Ewing, der seine Position selbst als eine Art analytischen Idealismus bezeichnete, führte seine Kritik des Logischen Positivismus und des sprachanalytischen Konventionalismus damals in die akademische Isolation, während Wittgensteins Denken enormen Einfluss gewann. Heute hingegen werden viele Überzeugungen Ewings wieder wie selbstverständlich diskutiert. Ewings Ethik steht in einer über G.?E. Moore und W.?D. Ross bis zu Henry Sidgwick zurückreichenden Tradition britischer Moralphilosophie. Für diese sind moralische Urteile von ganz eigener Art und können objektiv wahr sein. Ihre Rechtfertigung beruht zuletzt auf intuitiver Erkenntnis; unsere normativen Begriffe lassen sich auf wenige Grundbegriffe zurückführen. »Ethik. Eine Einführung« behandelt zahlreiche Grundprobleme der normativen Ethik und Metaethik wie den Konflikt zwischen Konsequentialismus und Deontologie, den Stellenwert moralischer Intuitionen, das Wesen und die Objektivität moralischer Urteile, die Definierbarkeit von »gut« und »sollen«. Als Einführung in die Ethik konzipiert und glänzend geschrieben, erfuhr der Band zahlreiche Auflagen und liegt hier zum ersten Mal in deutscher Übersetzung vor. (shrink)

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain (...) in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. (shrink)