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Making Sense of ‘Popular Art’
APA 6th Edition
Davies, D. (2019). Making Sense of ‘Popular Art’. Croatian Journal of Philosophy, 19 (2 (56)), 193-215. Preuzeto s https://hrcak.srce.hr/253605
MLA 8th Edition
Davies, David. "Making Sense of ‘Popular Art’." Croatian Journal of Philosophy, vol. 19, br. 2 (56), 2019, str. 193-215. https://hrcak.srce.hr/253605. Citirano 17.05.2022.
Chicago 17th Edition
Davies, David. "Making Sense of ‘Popular Art’." Croatian Journal of Philosophy 19, br. 2 (56) (2019): 193-215. https://hrcak.srce.hr/253605
Davies, D. (2019). 'Making Sense of ‘Popular Art’', Croatian Journal of Philosophy, 19(2 (56)), str. 193-215. Preuzeto s: https://hrcak.srce.hr/253605 (Datum pristupa: 17.05.2022.)
Davies D. Making Sense of ‘Popular Art’. Croatian Journal of Philosophy [Internet]. 2019 [pristupljeno 17.05.2022.];19(2 (56)):193-215. Dostupno na: https://hrcak.srce.hr/253605
D. Davies, "Making Sense of ‘Popular Art’", Croatian Journal of Philosophy, vol.19, br. 2 (56), str. 193-215, 2019. [Online]. Dostupno na: https://hrcak.srce.hr/253605. [Citirano: 17.05.2022.]
The aims of this paper are twofold: first, to identify a sense of ‘popular art’ in which the question, ‘can there be popular art?’ is interesting and the answer to this question is not obvious; second, to propose and defend a challenging but attractive answer to this question: challenging in that it draws some distinctions we might not initially be inclined to draw, and attractive in offering a productive way of thinking about the ontology, epistemology, and axiology of the kinds of artifacts proposed as examples of ‘popular art’. I take the ‘interesting’ question to be whether, given a way of distinguishing artworks from other kinds of artifacts, there can be artworks that meet the conditions set out by Noel Carroll for what he terms ‘mass art’. I sketch a way of thinking about the distinction between artworks and other artifacts—what I term the neo-Goodmanian approach—and then explore the implications of the neo-Goodmanian approach for the existence of ‘popular art’, and vice versa. In so doing, I subsume these issues under a more general problem for the neo-Goodmanian—what I term the problem of ‘fast art’. I argue that, while the neo-Goodmanian can embrace artworks that are ‘popular’ in the sense of being targeted at a wide audience, she should insist that there cannot be artworks that meet all of Carroll’s requirements for being ‘mass art’.
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