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This book uses an examination of the annual Turner Prize to defend the view that the evaluation of artworks is a reason-based activity, notwithstanding the lack of any agreed criteria for judging excellence in art. It undertakes an empirical investigation of actual critical practice as evident within published commentaries on the Prize in order to examine and test theories of critical evaluation, including the ideas of Noel Carroll, Frank Sibley, Kendall Walton and Suzanne Langer. Case studies of work by Turner Prize winners such as Steve McQueen, Martin Creed, Tomma Abts are used to explore definitions of art and concepts of artistic value and meaning. The book will be of interest to academics in the fields of aesthetics, contemporary art and cultural studies, but also to practitioners working in the arts, media and education.
Table des matières
1.- Turner Prize and the problem of evaluation.- 2. But is it Art?.- 3. Tomma Abts: form and value.- 4. Noel Carroll and the art of slapstick.- 5. But what does it mean?.- 6. Martin Creed: ideas in an empty room.- 7. Ideal critics and the uses of reason.
A propos de l'auteur
Dr Leslie Gillon is an academic and musician based within the School of Journalism Media and Performance at the University of Central Lancashire, UK. In addition to his work in the field of aesthetics and the visual arts, he is involved in practice-based research in music composition and performance.
Résumé
This book uses an examination of the annual Turner Prize to defend the view that the evaluation of artworks is a reason-based activity, notwithstanding the lack of any agreed criteria for judging excellence in art. It undertakes an empirical investigation of actual critical practice as evident within published commentaries on the Prize in order to examine and test theories of critical evaluation, including the ideas of Noel Carroll, Frank Sibley, Kendall Walton and Suzanne Langer. Case studies of work by Turner Prize winners such as Steve McQueen, Martin Creed, Tomma Abts are used to explore definitions of art and concepts of artistic value and meaning. The book will be of interest to academics in the fields of aesthetics, contemporary art and cultural studies, but also to practitioners working in the arts, media and education.
