•  7
    Assessing the Intellectual Value of New Genre Public Art
    Open Philosophy 2 (1): 22-29. 2019.
    Suzanne Lacy introduced the term ‘New Genre Public Art’ (NGPA) to refer to art practices that depart from those traditional of public art (such as installing works in parks and plazas) and focus instead on the direct engagement of artists with audiences to deal with pressing socio-political issues. In this paper, I argue that some works of NGPA should be valued for the intellectual value grounded in their artistic features, not dissimilarly to works of conceptual art. In developing my argument, …Read more
  •  33
    Arte Conceptual
    Enciclopedia de la Sociedad Española de Filosofía Analítica. 2018.
    La categoría ‘arte conceptual’ se aplica a una gran cantidad de obras de arte contemporáneo. El artista Sol LeWitt introdujo el término en la jerga del arte al describir obras de arte donde “la idea o el concepto es el aspecto más importante de la obra” (LeWitt 1967: 79, traducción mía). Inicialmente, el término se utilizó para referirse a obras producidas entre finales de los años sesenta y principios de los setenta por artistas como Sol LeWitt, Robert Barry, Lawrence Weiner, On Kawara, Joseph …Read more
  • Introduzione
    with Quattrocchi Davide and Gabriele Tomasi
    In Elisa Caldarola, Davide Quattrocchi & Gabriele Tomasi (eds.), Wittgenstein, l’estetica e le arti, Carocci. 2013.
  • La rappresentazione pittorica
    Aesthetica Preprint 2010 11-19. 2010.
  • Pictorial Representation and Abstract Pictures
    Proceedings of the European Society for Aesthetics 2 46-61. 2010.
  •  5
    This volume collects fifteen essays debating the value of museums, the ontology and epistemology of exhibited objects, and museum ethics. The essays stem from talks originally given at a conference at the University of Glasgow in 2013 by philosophers working both within and outside the analytic tradition, museum scholars, and museum practitioners. The collection succeeds in showing that we need a philosophy of museums to improve our understanding of such institutions.
  •  72
    Ernst H. Gombrich on Abstract Painting
    Aisthesis: Pratiche, Linguaggi E Saperi Dell’Estetico 8 (2): 77-86. 2015.
    Ernst H. Gombrich criticized abstract painting with several remarks scattered around his wide oeuvre. I argue that his view of abstract paintings is coherent with the account of pictorial representation he put forward in Art and Illusion, show some limits of such view, and maintain that, although several of Gombrich’s criticisms of abstract painting should be rejected, some of his remarks are insightful and worth of consideration
  •  100
    Ugo Nespolo: a proposito di rappresentazioni
    Rivista di Estetica 58. 2015.
    An analysis of three pictorial works by Ugo Nespolo is put forward: "Barbe posticce" (1977); "Guardar Manzoni" (1974); "Il museo: Fontana" (1975). It is claimed that such works embody meditations on the concept and the varieties of representation, that they prompt critical reflections on the role of museums in art-making, and that they suggest an alternative route to that of the 'dematerialization' of the art object for the understanding of contemporary art.
  •  14
    Pictorial Representation and Abstract Pictures
    Dissertation, Università degli Studi di Padova. 2011.
    This work is an investigation into the analytical debate on pictorial representation and the theory of pictorial art. My main concern are a critical exposition of the questions raised by the idea that it is resemblance to depicted objects that explains pictorial representation and the investigation of the phenomenon of abstract painting from an analytical point of view in relation to the debate on depiction. The first part is dedicated to a survey of the analytical debate on depiction, with spec…Read more
  •  21
    Wittgenstein, l'estetica e le arti (edited book)
    with Davide Quattrocchi and Gabriele Tomasi
    Carocci. 2013.
    In his writings Wittgenstein has touched some key aspects of aesthetic experience, of the experience of art, and of the dynamics of culture. Moreover, several lines of research in these fields have emerged and are still emerging from the roots of Wittgenstein's thought. This volume collects a number of essays on these topics by renowned international scholars (such as H.-J. Glock, J. Hyman, S. Majetschak, J. Schulte, A. Voltolini, and W. Vossenkuhl) and younger researchers. Our aim is to documen…Read more
  •  32
    Focussing on some claims addressed by Richard Wollheim and Clement Greenberg I investigate how the concepts of depicted figure, background of a pictorial scene and ground of a picture are relevant for an understanding of the relation between figurative and abstract pictures, especially when it comes to consider whether abstract pictures can be said to represent pictorially
  •  8
    Review of Alberto Voltolini's "A Syncretistic Theory of Depiction" (review)
    Notre Dame Philosophical Reviews 226. 2016.
    Review.
  •  23
    Caricatures and Prop Oriented Make-Believe
    Ergo: An Open Access Journal of Philosophy 3. 2016.
    A caricature can reveal an aspect of its subject that a more faithful representation would fail to render: by depicting a slow and clumsy person as a monkey one can point out such qualities of the depicted subject, and by depicting a person with quite big ears as a person with enormous ears one can point out that the depicted person has rather big ears. How can a form of representation that is by definition inaccurate be so representationally powerful? Figurative language raises a similar puzzle…Read more
  •  42
    Understanding Resemblance in Depiction: What Can we Learn from Wittgenstein?
    Aisthesis: Pratiche, Linguaggi E Saperi Dell’Estetico 6 (1): 239-253. 2013.
    Wittgenstein’s remarks on “seeing-as” have influenced several scholars working on depiction. They have especially inspired those who think that in order to understand depiction we should understand the specific kind of visual experience depictions arouse in the viewer (e.g. Gombrich [1960], Wollheim [1968; 1987]). In this paper I would like to go a different way. My hypothesis is that certain of Wittgenstein’s claims both in the Tractatus and in his later writings resonate well within the contex…Read more
  •  15
    Rappresentazione pittorica
    Aphex 11. 2015.
    Le immagini sono rappresentazioni visive: quello che mostrano ai nostri occhi è rilevante per la comprensione di ciò che rappresentano. Le rappresentazioni pittoriche sono immagini che rappresentano visivamente aspetti visibili di altri oggetti: per questo motivo, ci sembra spesso che queste immagini assomiglino agli oggetti che rappresentano, ci sembra di riconoscere tali oggetti guardando le immagini che li rappresentano e può anche capitarci che ci sembri di avere un'esperienza degli oggetti …Read more