•  125
    Forgery and Appropriation in Art
    Philosophy Compass 5 (12): 1047-1056. 2010.
    Although art forgery is documented throughout the history of Western art, philosophical discussion of the problems of art forgery is a relatively recent matter, beginning largely in the latter half of the twentieth century. Arising even more recently is the practice of creating ‘appropriation art’, a topic that has so far been largely ignored in aesthetics but which raises some challenging questions especially when compared with forgery. This article introduces some of the philosophical problems…Read more
  •  97
    Aesthetic Supervenience Revisited
    British Journal of Aesthetics 52 (3): 301-316. 2012.
    In this paper, I hope to reintroduce debate on the issue of aesthetic supervenience, especially in light of work undertaken by metaphysicians in recent years. After providing a brief walkthrough of some of the major views on supervenience generally, including several important metaphysical distinctions, I build upon views by Jerrold Levinson, John Bender, Nick Zangwill, and Gregory Currie, to develop a realist thesis of strong local supervenience, such that aesthetic properties of artworks and o…Read more
  •  76
    Art Forgery: The History of a Modern Obsession
    British Journal of Aesthetics 52 (4): 427-430. 2012.
  •  52
    Art Forgery: The History of a Modern Obsession
    British Journal of Aesthetics 52 (4): 427-430. 2012.
  •  51
    Toward an Ontology of Authored Works
    British Journal of Aesthetics 51 (2): 185-199. 2011.
    In 2003, a photograph taken by Richard Prince, Untitled (Cowboy) , sold at auction for $332,300. Some might be surprised that a photograph could garner such a sum, but, in this case at least, none more so than Jim Krantz. Krantz might be allowed a certain level of incredulity, for Prince's photograph was a photograph of another photograph, this one taken by Krantz himself. As far as copyright is concerned, Krantz's photograph and Prince's are the same work, and so Krantz is almost certainly infr…Read more
  •  39
    Using Things as Art
    Grazer Philosophische Studien 96 (1): 56-80. 2019.
    Secured to a table in my living room is an antique apple peeler—a cast iron 19th century mechanical contrivance that I gave my wife for her birthday some years ago. This thing is not art. At the very least, I do not believe it is art. Yet my wife and I do not use it as an apple peeler; we use it as art. Indeed, my living room is filled with things that we are using as art—some artifacts, some natural objects—but my living room is not filled with art. This is not, I think, all that unusual a phen…Read more
  •  36
    When is a work of art finished?
    Journal of Aesthetics and Art Criticism 66 (1). 2008.
  •  35
    Authorship, Co‐Authorship, and Multiple Authorship
    Journal of Aesthetics and Art Criticism 72 (2): 147-156. 2014.
    In this article, I use the example of the novel Micro, authored by Michael Crichton and Richard Preston, to tease out the relationships between an author and his work and with other authors of that work. The case presents a complication for a number of contemporary views on authorship and co-authorship, which suggest that Crichton is either not an author of the novel or an author but not a co-author—both, I suggest, are counterintuitive views. After working through the leading views on the topic…Read more
  •  20
    The Co‐Author Is Dead; Long Live the Co‐Author: A Reply to Killin, Bacharach, and Tollefsen
    Journal of Aesthetics and Art Criticism 73 (3): 337-341. 2015.
  •  15
    When Is a Work of Art Finished?
    Journal of Aesthetics and Art Criticism 66 (1): 67-76. 2008.
  •  14
    Performance Hero
    Contemporary Aesthetics 7. 2009.
  •  14
    The Problem of Tragedy and the Protective Frame
    Emotion Review 9 (2): 140-145. 2017.
    We explore the classical philosophical problem of the “paradox of tragedy”—the problem of accounting for our apparent pleasure in feeling pity and terror as audiences of staged tragedies. After outlining the history of the problem in philosophy, we suggest that Apter’s reversal theory offers great potential for resolving the paradox, while explaining some of the central intuitions motivating philosophical proposals—an ideal starting point to bridge a narrowing gap between philosophy and psycholo…Read more
  •  14
  •  10
    Expressing Ideas: A Reply to Roger A. Shiner
    Journal of Aesthetics and Art Criticism 68 (4): 405-408. 2010.
  •  9
    Ontology and the Challenge of Literary Appropriation
    Journal of Aesthetics and Art Criticism 71 (2): 155-165. 2013.
  •  8
    On Canon
    Contemporary Aesthetics 16 (1). 2018.
  •  8
    A Reply to Paisley Livingston
    Journal of Aesthetics and Art Criticism 66 (4): 395-398. 2008.
  •  7
    Why Can't You Take a Joke? The Several Moral Dimensions of Pilfering a Ha‐Ha
    Journal of Aesthetics and Art Criticism 78 (4): 465-476. 2020.
    ABSTRACT This article investigates the moral wrongness of joke theft. Working through a trove of real-world cases, and using the sitcom The Marvelous Mrs. Maisel as a touchstone, I argue, ultimately, for a pluralist approach, contending that there are several wrongs that may be present in any case of joke theft, but which cannot be reduced to each other and which are collectively irreducible to any sort of “superwrong.”
  •  6
    Culture clashes -- Ontology, copyright, and artistic practice -- The myth of unoriginality -- Authorship, power, and responsibility -- Toward an ontology of authored works -- The rights of authors -- The rights of others -- Appropriation and transformation -- Afterword.