Arthur C. Danto was een vooraanstaand professor in de filosofie en een invloedrijk kunstcriticus. Zijn werk verdiepte zich in de relatie tussen kunst en leven, onderzocht kunst vanuit een posthistorisch perspectief en bood inzichtelijke essays op het snijvlak van esthetiek en filosofie. Danto stond bekend om zijn scherpe analytische stijl en zijn vermogen om artistieke innovaties te verbinden met bredere filosofische vraagstukken. Zijn geschriften daagden vaak conventionele ideeën over kunst en de rol ervan in de samenleving uit.
This text examines the small woven and wrought works artist Sheila Hicks has produced over years. Focusing on 100 Hicks miniatures from many public and private collections, it includes three informative essays as well as illustrations of the artist's related drawings, photographs and chronology.
Seven influential modern thinkers explore the origins of their philosophical contributions through a series of insightful essays. A. J. Ayer discusses the foundations of his logical positivism, while Martin Buber reflects on his understanding of existence. The collection also features perspectives from esteemed figures like Bertrand Russell, Albert Einstein, and Jean-Paul Sartre, each delving into the intellectual journeys that shaped their ideas and legacies in philosophy.
Originally delivered as the prestigious Mellon Lectures on the Fine Arts in 1995, After the End of Art remains a classic of art criticism and philosophy, and continues to generate heated debate for contending that art ended in the 1960s. Arthur Danto, one of the best-known art critics of his time, presents radical insights into art’s irrevocable deviation from its previous course and the decline of traditional aesthetics. He demonstrates the necessity for a new type of criticism in the face of contemporary art’s wide-open possibilities. This Princeton Classics edition includes a new foreword by philosopher Lydia Goehr.
From the 1990s until just before his death, the legendary art critic and philosopher Arthur C. Danto carried out extended conversations about contemporary art with the prominent Italian critic Demetrio Paparoni. Art and Posthistory presents these rich dialogues and correspondence, testifying to the ongoing importance of Danto's ideas.
"Art/Artifact presents 160 objects of art and ethnography selected from the Buffalo Museum of Science, the Hampton University Museum (Virginia), and the American Museum of Natural History (New York City). All three are anthropology museums founded in the 1860s with distinguished African collections. The essays examine the shifting definitions of art and artifact, and deal with the question of how we look at objects from cultures whose classification systems differ from our own. They ask what transforms an ordinary object, or mundane materials, into a work of art: a pile of tires in front of the Whitney Museum is viewed as art where the same pile in a gas station clearly is not."--Back cover
Danto argues that recent developments in art-in particular the production of works that cannot be told from ordinary things-make urgent the need for a new theory of art. He demonstrates the relationship between philosophy and art and the connections that hold between art, social institutions, and art history.
"Arthur C. Danto's five volumes of review essays form a chronicle of the art world in our time, and a running appraisal of the great variety of significant work made in our midst." "In this new book, Danto shows how work that bridges the gap between art and life is now the definitive work of our time: Damien Hirst's arrays of skeletons and anatomical models, Barbara Kruger's tchotchke-ready slogans, Renee Cox's nude portrait of herself presiding at the Last Supper. To the obvious question - is this stuff really art? - Danto replies with an enthusiastic yes, explaining, with a philosopher's clarity and an art lover's delight, how these "unnatural wonders" show us who we are."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved
Arthur C. Danto traces the evolution of the concept of beauty during the 20th century and explores how it was removed from the definition of art. schovat popis
Arthur C. Danto is professor emeritus of philosophy at Columbia University. He is the art critic for the Nation and has served as president of the American Philosophical Association.
Over a decade ago, Arthur Danto announced that art ended in the sixties. Ever since this declaration, he has been at the forefront of a radical critique of the nature of art in our time. After the End of Art presents Danto's first full-scale reformulation of his original insight, showing how, with the eclipse of abstract expressionism, art has deviated irrevocably from the narrative course that Vasari helped define for it in the Renaissance. Moreover, he leads the way to a new type of criticism that can help us understand art in a posthistorical age where, for example, an artist can produce a work in the style of Rembrandt to create a visual pun, and where traditional theories cannot explain the difference between Andy Warhol's Brillo Box and the product found in the grocery store. Here we are engaged in a series of insightful and entertaining conversations on the most relevant aesthetic and philosophical issues of art, conducted by an especially acute observer of the art scene today. Originally delivered as the prestigious Mellon Lectures on the Fine Arts, these writings cover art history, pop art, "people's art," the future role of museums, and the critical contributions of Clement Greenberg--who helped make sense of modernism for viewers over two generations ago through an aesthetics-based criticism. Tracing art history from a mimetic tradition (the idea that art was a progressively more adequate representation of reality) through the modern era of manifestos (when art was defined by the artist's philosophy), Danto shows that it wasn't until the invention of Pop art that the historical understanding of the means and ends of art was nullified. Even modernist art, which tried to break with the past by questioning the ways of producing art, hinged on a narrative. Traditional notions of aesthetics can no longer apply to contemporary art, argues Danto. Instead he focuses on a philosophy of art criticism that can deal with perhaps the most perplexing feature of contemporary art: that everything is possible.
