Arthur C. Danto fue un distinguido profesor de filosofía y un influyente crítico de arte. Su obra se involucró profundamente con la relación entre el arte y la vida, explorando el arte desde una perspectiva posthistórica y ofreciendo ensayos perspicaces en la cúspide de la estética y la filosofía. Danto era conocido por su agudo estilo analítico y su habilidad para conectar las innovaciones artísticas con preguntas filosóficas más amplias. Sus escritos a menudo desafiaron las nociones convencionales del arte y su papel en la sociedad.
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.
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
Over a decade ago, Arthur Danto proclaimed that art ended in the sixties, positioning himself at the forefront of a radical critique of contemporary art. This work presents Danto's comprehensive reformulation of his original insight, illustrating how art has diverged from the narrative course defined by Vasari during the Renaissance, particularly following the decline of abstract expressionism. He introduces a new type of criticism to help us navigate a posthistorical age, where artists may create works in the style of Rembrandt as visual puns, and where traditional theories struggle to differentiate between Andy Warhol's Brillo Box and its grocery store counterpart. Engaging in insightful discussions on pressing aesthetic and philosophical issues, Danto draws from his acute observations of today's art scene. Originally delivered as the Mellon Lectures on the Fine Arts, these writings explore art history, pop art, "people's art," the future of museums, and the critical insights of Clement Greenberg, who clarified modernism for audiences decades ago. Danto traces art history from a mimetic tradition to the modern era of manifestos, ultimately arguing that the advent of Pop art nullified previous historical understandings of art's means and ends. He contends that traditional aesthetics are inadequate for contemporary art, advocating for a philosophy of criticism that embraces the limitless possibilities of modern artistic expres
The Madonna of the Future finds Danto at the point where all the vectors of the art world those of traditional painting, Pop art, mixed media, and installation art; those of art and philosophy; those of the specialist who brings theory to bear on the work and the viewer who appreciates it primarily visually.
What is it to be a work of art? Part philosophical monograph and part memoiristic meditation, this book challenges the popular interpretation that art is an indefinable concept, instead bringing to light the properties that constitute universal meaning.
Since 1984, when he became art critic for The Nation, Arthur C. Danto, one of America's most inventive and influential philosophers, has also emerged as one of our most important critics of art. As an essayist, Danto's style is at once rigorous, incisive, and playful. Encounters and Reflections brings together many of his recent critical writings -- on artists such as Andy Warhol, David Hockney, and Robert Mapple-thorpe; and on the significance of issues like the masterpiece and the museum. The result is a spirited brief from the front lines of current aesthetic and philosophical debate
Arthur Danto's work has always affirmed a deep relationship between philosophy and art. These essays explore this relationship through a number of concrete cases in which either artists are driven by philosophical agendas or their art is seen as solving philosophical problems in visual terms. The essays cover a varied terrain, with subjects including Giotto's use of olfactory data in The Raising of Lazarus; chairs in art and chairs as art; Mel Bochner's Wittgenstein drawings; the work of Robert Motherwell, Andy Warhol, and Robert Irwin; Louis Kahn as "Archai-Tekt"; and visual truth in film. Also featured are a meditation on the battle of Gettysburg; and a celebration of the Japanese artist Shiko Munakata, an essay that is partly autobiographical.Arthur C. Danto is one of the most original and multitalented philosophers writing today, a thinker whose interests traverse the boundaries of traditional understandings of philosophy. Best known for his contributions to the philosophy of art and aesthetics, Danto is also esteemed for his work in the history of philosophy, the philosophy of history, philosophical psychology, and action theory. These two volumes, each with an introduction by the author, contain essays spanning more than twenty-five years that have been selected to highlight the inseparability of philosophy and art in Danto's work. Together they present the thinking of Arthur C. Danto at his very best.
