Couples and Families
Hills and Islands
Stones and Trees
For more info and direct links, see my academia.edu page
“Bodies of Work,” British Journal of Aesthetics, Vol. 59, 2019.
“Definición de estética cotidiana,” Revista KEPES, 2017, translated by Horacio Perez-Henao.
“Aesthetic Choice,” British Journal of Aesthetics, Vol. 57, 2017.
“Art and Well-Being,” Estetika, vol 54, no 2, pp 189-211, 2017.
“Norms of Cultivation,” Contemporary Aesthetics, Vol 13, 2015
“The Point of Everyday Aesthetics,” Contemporary Aesthetics, Vol 12 (2014)
“The Definition of Everyday Aesthetics,” Contemporary Aesthetics, Vol 11, 2013
“A New Problem for Aesthetics,” Contemporary Aesthetics, Vol 9, 2011.
“Aesthetic Experience in Everyday Life: A Reply to Dowling,” British Journal of Aesthetics, Vol 51, 2011.
“On the Old Saw ‘I Know Nothing About Art but I Know What I Like’,” Journal of Aesthetics and Art Criticism, Vol 68, No. 2, 2010
“Acquired Taste,” Contemporary Aesthetics, Vol 5, 2007
“Why Artists Starve,” Philosophy and Literature, Vol 31, No. 1, April 2007.
"Living in Glass Houses: Decoration, Neatness and the Art of Domesticity," INTIMUS: Interior Design Theory Reader, edited by Mark Taylor and Julieanna Preston, Wiley, 2006. Also in The Aesthetics of the Human Environment, edited by Allen Carlson and Arnold Berleant, Broadview Press, 2007. Originally published in The Journal of Aesthetics and Art Criticism, Special Issue on Environmental Aesthetics, Vol. 56, No. 2, spring 1998. Discusses how interior decoration, cleaning and the ordinary process of inhabiting domestic space may be seen as artistic practices.
“Front Yards” The Environment and the Arts, edited by Arnold Berleant, Ashgate Press, 2002. Offers a new interpretation of the suburban front yard as a genre of gardening art.
“Martin Puryear’s Cane Project,” exhibition essay, Temple Gallery, Philadelphia, PA, November 2001. Interpretation of Puryear’s illustrations for Jean Toomer’s classic Cane.
“Morris in Mexico,” Copper, Stone & Fire: James Metcalf, Ana Pellicer and the Artisans of Santa Clara del Cobre, Temple Gallery, Philadelphia, PA, September 2000. Links the practice of Metcalf and Pellicer to William Morris’s political understanding of artisanal practice.
"The Aesthetics of Collecting," Philosophy and Literature, Vol. 23, 1999. Describes the ways in which collecting may be seen as an artistic practice.
“Lost Tribes and Aesthetic Adventures,” exhibition essay for Lost Tribes and Aesthetic Adventures: The Picture Stores of Ben Katchor, Temple Gallery, Philadelphia, PA, October 1999. Critical appreciation of the MacArthur Award winning comic book artist.
"Of Bookworms and Busybees: Cultural Theory in the Age of Do-It-Yourselfing," Journal of Aesthetics and Art Criticism, Vol. 57, No. 2, spring 1999. Argues that the leading models of cultural practice in Cultural Studies fail to account for quasi-artisanal consumer practices like do-it-yourselfing.
"Artistic Dropouts," Aesthetics: The Big Questions, edited by Carolyn Korsmeyer, Blackwell, 1998. An examination of the reasons why adolescents lose interest in fine art and the practices in which they eventually invest aesthetic energy.
"Re-Thinking Site-Specificity in Public Art: Some Critical and Philosophical Problems,"Art Criticism, Vol. 12, No. 2, fall 1998. Provides a taxonomy of site-specific qualities and argues against the view that site-specific works of art cannot be moved without being destroyed.
Kevin Melchionne is an artist who writes about aesthetics. Raised in Connecticut, he studied painting and philosophy. He spent two years reading philosophy in Paris, while continuing to paint. He eventually entered the graduate program in philosophy at Stony Brook University on Long Island and wrote his dissertation on the aesthetics of everyday life. His current research is on art, well-being and aesthetic choice. Melchionne lives and works in New Rochelle, New York.