In his review of the Whitney Biennial, Danto lambasted the themeless state of the artworld.
That kind of drawing went—well—against the grain of woodcut, and hence against the grain of Modernist theory, which demanded that each medium should seek what was essential to itself, eliminating everything else.
Relativist philosophies such as poststructuralism and existentialism were in full swing, critiquing the narratives and certainties which Western academia had previously held dear. Art is about art and what art means, but not in an essentialist way as in its middle, manifesto phase.
To borrow one of the many images Danto left us: The book nods in this direction by offering separate sections under those two headings. As of February"External links modified" talk page sections are no longer generated or monitored by InternetArchiveBot. Dickie defines an art work as an artifact 'which has had conferred upon it the status of candidate for appreciation by some person or persons acting in behalf of a certain social institution the artworld ' p.
The next thing was to translate them into woodcuts. The essays are at once repetitive and crucially under-inclusive; the arrangement is haphazard; and the number of essays that Danto, famous for his generosity, found impenetrable or just wrong is alarmingly high. Too pluralistic to be anti-aesthetic, Danto's philosophy of art simply made aesthetics irrelevant.
Danto was born in Ann Arbor, Michigan, and raised in Detroit. Similarly, what at the time was a discrete event, describable in purely physical, even atomistic, terms — the pressing of a trigger as Archduke Franz Ferdinand passed by — is now irrevocably the major starting point for the first world war.
His articles, and books such as The Transfiguration of the Commonplace: Nothing visible, nothing that can be spoken of in scientific terms.
What should it do. Cathedral builders in the thirteenth century did not know they were building Gothic cathedrals.
In a way, I feel like an old master.
I saw no place for what I did in the art of the sixties, Happily, I was flat out a philosopher then, and became an art critic exactly twenty years later, in Having blown open the definition of what it could be, art had undermined its own belief in linear progression.
These were shown at the Janis Gallery, and they caused a huge sensation. I loved making them, but anybody could have handled the business side. Summed up crudely, it resembles something like this: This is the kind of interpretive hypothesizing in which art criticism, according to Danto, always consists.
Danto responds, "in partial mitigation," that his reaction to the artist Bruce Nauman verged "on a kind of moral criticism" Another of the book's highlights, Lydia Goehr's essay on the idea of "pastness" in art and in history, would make more sense in nearly any other section than it does in "Aesthetics".
And that is the present and, I should say, the final moment in the master narrative.
Early in his autobiography, Danto notes that most philosophers enter the field because of "an inspired teacher" or a piece of writing that "opens their eyes to an undreamt of set of ideas" 7. In asking such questions, art had become self-conscious. As an artist, I was exceedingly sensitive to what it meant to live with a sense of history.
In our narrative, at first only mimesis [imitation] was art, then several things were art but each tried to extinguish its competitors, and then, finally, it became apparent that there were no stylistic or philosophical constraints.
Suddenly, Guston wanted to make art out of caricatures of members of the KKK, smoking cigars. Transfiguration could have been titled Analytical Philosophy of Art, to match Analytical Philosophy of HistoryAnalytical Philosophy of Knowledge and Analytical Philosophy of Actionwhich preceded it.
Auxier and Lewis Edwin Hahn eds. Interested readers can find Dickie's reply in the "Postscript" to his essay in the second edition of Danto and His Critics, a collection of essays published in And if so, what are the implications for art history and art-making.
The potential indiscernibility of artworks and mere objects is one of the few things Dickie and Danto agree about. Inde Kooning had done his paintings of frightening women, with heavy breasts and goggle eyes, and rows of menacing teeth.
So why not make art the way one liked. Second came Danto's theory of art history and his infamous "end of art" thesis, which held that art's developmental narrative ended once it turned its definitional project over to philosophy; the lack of stylistic imperatives in Danto's definition was well-suited to the radical pluralism that followed.
Arthur Danto's claim that the "end of art" has arrived was really an attempt to explain how art history came to an douglasishere.com reading Danto's essay, my initial response I perceived was that Danto was claiming art is douglasishere.com I thought, why are there still so many art makers or art majors here at Marywood if art were truly over?After further examining the essay and from class lectures, it was.
The End of Art: A Philosophical Defense Arthur C. Danto History and Theory, Vol. 37, No. 4, Theme Issue Danto and His Critics: Art History, Historiography and After the End of.
*This essay was subsequently published in the catalogue which accompanied the exhibition 'Arthur C. Danto's Woodblock Prints: Capturing Art and Philosophy' held at Southern Illinois University, Carbondale, August 24 – October 1, THE END OF ART: A PHILOSOPHICAL DEFENSE.
ARTHUR C. DANTO' ABSTRACT This essay constructs philosophical defenses against criticisms of my theory of the end of. Arthur Danto’s best-known essay, "The End of Art," continues to be cited more than it is understood. What was Danto’s argument? Is art really over? And if so, what are the implications for art.Arthur danto end art essay