The End of Art: A Philosophical Defense.
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Danto’s investigations into history, progress, and art theory, coalesced into his best-known essay, “The End of Art.” Before tackling “The End of Art,” we need to briefly consider how the history of art is traditionally understood.
The reason,Kuhns argues,that Danto finds it so easyto pronouncethe end ofart is that. Danto'sperspective is that of a philosopher, andtherefore, in Kuhns' view,Danto's. perspective isanarrow andpartial one thatallows him to see only partofthevariegated. whole of art.
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Last Friday, Arthur C Danto, one of the most important American philosophers and art critics of the second part of the 20th century, died at the age of 89. Danto was born in Ann Arbor in 1929, and raised in Detroit. After studying with the great French philosopher Maurice Merleau-Ponty in Paris.
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Art criticism. Arthur Danto was an art critic for The Nation from 1984 to 2009, and also published numerous articles in other journals. In addition, he was an editor of The Journal of Philosophy and a contributing editor of the Naked Punch Review and Artforum. In art criticism, he published several collected essays.
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Danto’s main argument in this essay is that in the contemporary situation, only the community of art professionals associated with a number of institutions can distinguish between art and non-art. Aesthetics, he argues, has become a completely autonomous area of knowledge.
Arthur Danto The Journal of Philosophy, Vol. 61, No. 19, American Philosophical Association Eastern Division Sixty-First Annual Meeting. (Oct. 15, 1964), pp. 571-584.. as art, on a footing with the Transfiguration (not to speak of a Landseer stag), required not so much a revolution in taste as a.
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Arthur C. Danto in “The Artworld” provides us with the argument that, “To see something as art requires something that the eye cannot descry-an atmosphere of artistic theory, a knowledge of the history of art: an artworld.” Danto shows us the importance of the artworld in order to know that a work of art is more than just what we can.
Abstract In this article I examine the relationship between Arthur Danto's philosophy of art and his practice of art criticism. Danto has said that he included many actual examples of discussions of art in The Transfiguration of the Commonplace because of the feeling that, previously, philosophers had theorized about art in a vacuum. And since the time of publishing that book, he has written.
The thirty-third volume of the Library of Living Philosophers is dedicated to the life and thought of Arthur Danto, the philosopher and art critic who died last October. The book is a mixed bag. This might be inevitable in a collection of twenty-seven essays and responses.