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Want to Read Currently Reading Read. Refresh and try again. Open Preview See a Problem? Thanks for telling us about the problem. Return to Book Page. After the End of Art: 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 Over a decade ago, Arthur Danto announced that art ended in the sixties. 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 philosophyDanto 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: Paperbackpages. Published November 29th by Princeton University Press first published To see what your friends thought of this book, please sign up. To ask other readers questions about After the End of Artplease sign up.
Lists with This Book. Sep 16, David Williamson rated it it was amazing Shelves: Philosophers tend to make the worst art theorist and artists tend to make terrible philosophers or at least when they try to put it into language. Danto on the other hand has actually read art theory and criticism, so does actually know what he is talking about. All in the name to be taken seriously! Jan 26, Jana rated it liked it Shelves: I wouldn’t say I “liked it,” but it merits 3 stars because the ideas though dated are relevant for artists as a record of what kind of muck we’ve since climbed out of.
I continue to have difficulty with this sort of application of theory because it lends itself so easily to the purposes of those who spout fundamentalist dogma I saw so many artists stifled because they came to art through theory ra I wouldn’t say I “liked it,” but it merits 3 stars because the ideas though dated are relevant for artists as a record of what kind of muck we’ve since climbed out of. I saw so many artists stifled because they came to art through theory rather than applying theory to artwhich turned me off all theory for a time.
That, and this sort of thinking was paralyzing my own art practice. Jul 01, Peter Landau rated it it was amazing. Art was no longer visual in the sense that a trained eye could determine its value. Art became about the question what is art?
Even Duchamp, whose Fountain, a urinal signed and mounted on a museum wall, and considered a precursor to art as idea, is really more about aesthetics. The Pop artists and those that followed were untethered from the history of art and therefore no longer had to abide by the rules. A lot of them are making interesting work. Ideas are great, but are the art? Ideas come and they go, but mostly they hide behind something, even words, and feel removed and distant.
Art is failure, while ideas tend to serve a purpose or an agenda. Not always, but more often than not. Who is that speaking to? Art has been a marketplace for a long time, but now ideas are making that market even more exclusive.
That would be impossible. The end of art is only just a little over 50 years old. Who knows, until the insightful mind of a future Danto comes to map it, because art appears closer in the rearview mirror. As I recall, a great book despite my predilection to not really give a crap about some deep, brooding, probing interrogation about a freakin’ Rothko painting or, God forbid, yet another Calder sculpture.
Después del fin del Arte. Arthur C. Danto | DESPUES DEL FIN DEL ARTE | Pinterest | Art
Perhaps my disinterest is due to my status as redneck Interestingly, he eschews a common formu As I recall, a great book despite danho predilection to not really give a crap about some deep, brooding, probing interrogation about a freakin’ Rothko painting or, God forbid, yet another Calder sculpture.
Whatever the case, he makes a compelling “narrative” for how art is now basically in a vacuum, only occasionally grounded by whatever socio-politico statement it may wish to proffer or, more often, a work simply relies on the Clement Greenburg criticized “far-out” aspect.
But, then again, I’m just a redneck Mar 16, James rated fjn liked it Shelves: This is where Danto discusses his version of Hegel’s “end of art” thesis. He first enunciated the thesis in a essay called “The End of Art”, and developed it more recently in this work. To explain this thesis it may help first to say what Danto does not mean by it.
He is not claiming that no-one is making art anymore; nor is he claiming that no good art is being made any more. But he thinks that a certain history of western art has come to an end, in about the way that Hegel suggested it wo This is where Danto discusses his version of Hegel’s “end of art” thesis. But he thinks that a certain history of western art has come to an end, in about the way that Hegel suggested it would.
He summarizes that history as follows: 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. There is no special way works of art have to be. And that is the present and, I should say, the final moment in the master narrative.
It is the end of the story” AEA p. Jul 06, JabJo rated it liked it. Reading this book was like having an enjoyable late night coffee with a friend, back-and-forthing about art till the wee hours. The first couple of chapters are a bit of a slog and often a bit repetitious—he explains his idea, then keeps rephrasing it Ok, I got it the first time! It always felt as though he would be interested to hear other people’s ideas.
Jul 24, E. I first ran into Danto when writing my thesis on post-modern film and have returned to him as a supplement to Gaddis’ JR and The Recogniitons in hopes of finding answers to some of the questions Gaddis raises about art in those novels. And that search has been both successful and not. Danto’s grand concept here is that art he means paintings mostly follows an historical narrative which is carried along by culture, and that, with the advent of Warhol, art reached the end of that narrative.
So w I first ran into Danto when writing my dsspues on post-modern film and have returned to him as a supplement to Gaddis’ JR and The Recogniitons in hopes of finding answers to some of the questions Gaddis raises about art in those novels.
So we’re now now being in what he calls the post-historical art afthur what I would have called post-modernism dantl that all that’s left to arise is the next grand narrative.
What ranto art is a far trickier nut to crack and is the crux on my current line of questioning about art which got me here in the first placeand the answer Danto provides is that it depends on context and the intentions of the artist with a lot of clarification in between. Overall, I thought this was insightful and illuminating if the slightest bit dated, and even if he very infrequently mentioned lit.
Sep 17, Bill Gusky rated desspues it was amazing. You need this book.
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Jan 07, Kate rated it it was amazing Shelves: Changed entirely how I think about art. It started me thinking for myself. Los impresionistas son ese parte aguas que desemboco en el plato de cereal.
Todas estas vanguardias tiene un punto de vista diferente del mundo, y todos estos artistas quieren expresarlo.
Despues del Fin del Arte : El Arte Contemporaneo y el Linde de la Historia
Ya van viendo los Lucky Charms? Aug 22, Stefani Tiff rated it it was amazing.
Danto was insightful and in many cases quite humorous which made the book far from boring but rather undeniably enjoyable. It had an almost theological intensity, and in another stage of civilization there would certainly have been burnings at stake.
Aug 13, John Arnold rated it liked it. Some understandable, some over my head. He gets into philosophy Hegel. It was worthwhile to read.
Sep 22, Robert rated it really liked it. Despyes my sister give this to me? I don’t know how I got hold of it. I was very interested in some version of Art History for a little bit. Something close to the version or vantage that makes art itself look an awful lot like art history.
Or maybe a philosophy professor recommended it.