Animals, Ethics, and the Art World
Bibliographic Data
| ID | 5103449 |
|---|---|
| Authors | Ted Nannicelli (0000-0001-5909-5823, Routledge (United Kingdom), corresponding author) |
| Year | 2018 |
| Volume | 164 |
| Pages | 113-132 |
| Publication date | 2018-05-01 |
| Peer Reviewed | Yes |
| Open Access | No |
| Type | ARTICLE |
| Venue | October (JOURNAL) |
| Journal identifiers | ISSN: 0162-2870 • E-ISSN: 1536-013X |
| Publisher | MIT Press - Journals (PUBLISHER) |
| DOI | 10.1162/octo_a_00325 |
| OpenAlex | W2807216581 |
| Language | EN |
| Citations received | 1 |
| References cited | 8 |
This paper argues that debates over art exhibitions that make use of live animals, such as the Guggenheim Museum's 2017 Art and China After 1989: Theater of the World, are reflective of a schism between two general approaches to the ethico-political criticism of art. One of these approaches, the interpretation-oriented approach, is dominant in the art world and its adjacent institutions. The other, the production-oriented approach, is tacitly adopted by art-interested non-specialists. This rift explains why the use of animals in contemporary art-a practice that many art-interested people outside of the art world find bizarre and prima facie unethical-is so rarely discussed critically within art world institutions such as museums and journals. In an attempt to redress this oversight, the paper argues that the production-oriented approach is not only conceptually sound, but rationally preferable to the interpretation-oriented approach in many such cases
Aesthetics · Art · Art history · Art methodology · Art world · Contemporary art · Criticism · Exhibition · Interpretation (philosophy · Literature · Performance art · Political science · Politics · Redress · Schism · Sociology · Visual arts · Aesthetic Perception and Analysis · Ethics, Aesthetics, and Art · Law · Philosophy · Visual Culture and Art Theory
| Citation velocity | historical |
|---|---|
| Highly cited | No |