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Acknowledgements<br />Preface<br /><b>1 Meaning, Interpretation, and Picturing</b><br />1 Representations and pictures<br />2 Theories of picturing<br />3 Intentions and transparency in pictures and photographs<br />4 Indiscernible counterparts<br />5 Fine art<br /><b>2 Art as Expression</b><br />1 Overview of expression theories<br />2 Tolstoy's account of expressive art<br />3 Collingwood's account of expressive art<br />4 The expressive persona <br />5 Expression as arousal<br />6 Revising the arousal theory<br />7 Expression as cognitive recognition<br /><b>3 Meaning and Creativity</b><br />1 Plato on creativity<br />2 Kant on genius<br />3 Metaphorical exemplification<br />4 Hegel and Marx<br />5 Material bases of creativity<br />6 Feminism and creativity<br /><b>4 Fakes, Originals, and Ontology</b><br />1 Multiples and singularities<br />2 Abstract objects<br />3 Problems and implications<br />4 Fakes and originals<br />5 Objections and alternatives<br /><b>5 Authenticity and Cultural Origins</b><br />1 Two kinds of contextualism<br />2 Four kinds of appropriation<br />3 Moral concerns<br />4 Culture<br />5 Authenticity<br />6 Modernity and authenticity<br /><b>6 Defining Art</b><br />1 Philosophical definition<br />2 Historical background <br />3 Functional definitions<br />4 Institutional definitions <br />5 Historical definitions<br />6 The cluster account<br /><b>7 Aesthetics</b><br />1 Aesthetic judgments and properties<br />2 Supervenience<br />3 Two complications<br />4 Aesthetics and nature <br />5 Formalism and detachment <br />6 Making special <br />7 Pleasure and appreciation<br /><b>8 Beyond the Fine Arts</b><br />1 Popular and mass art<br />2 Standard criticisms of popular art<br />3 Social consequences of popular culture<br />4 Gender and race<br />5 Everyday aesthetics<br /><b>9 Artistic and aesthetic value</b><br />1 Three kinds of value<br />2 The uniqueness thesis<br />3 Value empiricism<br />4 Instrumental value <br />5 An alternative analysis<br />6 Appreciation<br />7 Cognitive value<br /><b>10 Conclusion</b><br />References<br />Index<br />

"A valuable introduction which is unusual in both offering students extremely clear accounts of philosophers’ efforts in the field and also highly provocative and relevant questions for them to use as ways of digesting the material."<br /> <i><b>Consciousness, Literature and the Arts</b></i><br /> <br /> "Gracyk's <i>Philosophy of Art</i> mingles deft presentation of philosophical positions with insightful examples of artworks that illustrate or challenge those positions. This clear and methodical introduction considers fine art as well as popular culture, and the text is interspersed with thought-provoking exercises. An excellent read for students and professionals alike."<br /> <b>Carolyn Korsmeyer, University at Buffalo (SUNY)</b> <p>"Gracyk's book introduces classical questions in philosophy of art and fresh contemporary issues that will capture the interest of undergraduates. Written in a clear, accessible style, it is replete with examples drawn from the fine arts and popular culture. Gracyk succeeds in being both rigorous and engaging. Highly recommended."<br /> <b>James O. Young, University of Victoria</b></p> <p>"With its fresh and even-handed approach to the most recent developments, its delightful use of example, and its clean prose, this book is the perfect introduction to how to use philosophy to think clearly, creatively, and deeply about art and the aesthetic."<br /> <b>Dominic McIver Lopes, University of British Columbia</b></p>

<b>Theodore Gracyk </b>is department chair and professor of philosophy at Minnesota State University.

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