PERHAPS A GIFT VOUCHER FOR MUM?: MOTHER'S DAY
Hans Maes received his PhD from the University of Leuven, Belgium, and conducted postdoctoral research at the University of Helsinki, Finland, and University of Maryland, USA. He is currently Lecturer in History and Philosophy of Art at the University of Kent and Associate Director of the Aesthetics Research Group. He has authored papers on a variety of subjects in aesthetics, including the role of intention in the interpretation of art, the notion of free beauty, and the relation between art and pornography. In 2010 he was elected President of the Dutch Society for Aesthetics. Jerrold Levinson is Distinguished Professor of Philosophy at the University of Maryland, College Park, where he has taught since 1976. He is the author of Music, Art, and Metaphysics (Cornell University Press, 1990), The Pleasures of Aesthetics (Cornell University Press, 1996), Music in the Moment (Cornell University Press, 1998), L=art, la musique, et l=histoire (Editions de l'eclat, 1998), La musique de film: fiction et narration (Presses Universitaires de Pau, 2000), and Contemplating Art (OUP, 2006), as well as editor of Aesthetics and Ethics (CUP, 1998) and The Oxford Handbook of Aesthetics (OUP, 2003), and co-editor of Aesthetic Concepts (OUP, 2001).
Maes and Levinson's book demonstrates clearly the wide range of current issues that connect aesthetics with pornography, and will be a landmark collection on the topic. Christopher Bartel, British Journal of Aesthetics There is much to like about this collection. First...it is the first of its kind. Second, the collection connects debates about pornography in analytic feminist philosophy and aesthetics-something that surprisingly seldom happens, but that could be extremely fruitful. Mari Mikkola, European Journal of Philosophy Art and Pornography is a very successful venture into a new region of aesthetics...The book not only joins in the existing discussion-it succeeds in setting new standards for it. Pornography was largely treated as a fairly homogeneous phenomenon in the past, but the insightful unpacking of the concept offered by the authors, the instructive examples and analyses of less straightforward works, the exploration of its subgenres, and the attention given to artworks with clearly pornographic content leave a much more varied and interesting landscape. Such diversification opens multiple new avenues for research, and as the dispute over whether pornography can be art strongly leans toward a positive answer, the book provides an inspiration for inquiring into the value, characteristics. creation, and reception of pornographic art. Simon Fokt, Journal of Aesthetics and Art Criticism
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