2009/09/02 by Robert Stecker · 1 voice
Neuroscience · #Aesthetic Perception and Analysis
paper · doi:10.1093/oxfordhb/9780199279456.003.0007
openalex publication_date 2009/09/02 · openalex created_date 2016/08/23 · openalex updated_date 2026/06/18
The project of defining art most commonly consists in the attempt to find necessary conditions and sufficient conditions for the truth of the statement that an item is an <italic>artwork</italic>. That is, the goal is normally to find a principle for classifying all artworks together while distinguishing them from all non-artworks. Sometimes the goal is set higher. Some look for a ‘real’ definition: that is, one in terms of necessary conditions that are <italic>jointly</italic> sufficient for being an artwork. Sometimes the aim is to identify a metaphysical <italic>essence</italic> that all artworks have in common. This article surveys the main trends that mark the history of the project of defining art in the twentieth century before discussing the most important efforts in the past thirty years.