Publications

Academic

1. ‘Artistic (counter)speech’ [Winner of the ASA Social Justice & the Arts Prize] (accepted) Journal of Aesthetics and Art Criticism

2. ‘Lies in Art’ (2022) Australasian Journal of Philosophy 100 (1), 25-39: doi.org/10.1080/00048402.2020.1844772

3. ‘Novel Assertions: A Reply to Mahon’ (2022) British Journal of Aesthetics 62 (1), 115-124: doi.org/10.1093/aesthj/ayab017

4. ‘The Artistic Metaphor’ (2021) Philosophy 96 (1), 1-25: doi.org/10.1017/S0031819120000273

5. Review of Alice Procter, ‘The Whole Picture: The colonial story of the art in our museums & why we need to talk about it’ (2021) British Journal of Aesthetics 61 (3), 395-399: doi.org/10.1093/aesthj/ayaa056

Public engagement

6. ‘Should we censor art?: a philosophical guide on how to manage dangerous art’ (2021) Aeon https://bit.ly/3wg4hUO

7. ‘Conflicted art: how to approach works by morally bad artists’ (2019) Art Aesthetics Magazine https://bit.ly/3BEbEXa 

PhD Dissertation

Alterpieces: Artworks as Shifting Speech Acts

My thesis explores how the notion of a speech act – an utterance with a performative aspect – can illuminate art’s power to ‘speak’. I develop two broad arguments. First, artwork meaning is active. I argue that visual artworks, under certain conditions, are speech acts. They have propositional content, and they have a certain force: they can do things such as assert, protest, and criticise – things we would normally do with words. Second, artwork meaning is flexible. I argue that what an artwork says and does is affected by the context in which it’s displayed, and in particular, by its curation. This goes against a dominant view in the philosophy of art – what I call ‘Originalism’ – that the meaning of an artwork is fixed by factors which held at the time of the work’s creation, and so cannot change across time. I argue that this is mistaken: artworks can change in meaning.

Works in progress

On Immoral Artists

The Visual Slur

Keeping the Aesthetic Score

Lies and Uptake