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After the End of Art

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Synopses & Reviews

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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.

Synopsis:

Originally delivered as the Mellon lectures on Fine Arts in 1995, these writings cover art history, pop art, "people's art", the future role of museums, and the critical contributions of Clement Greenberg. The author provides conversations on relevant aesthetic and philosophical aspects of art.

Synopsis:

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.

Table of Contents

List of Illustrations
Preface
Acknowledgments
Ch. 1Introduction: Modern, Postmodern, and Contemporary3
Ch. 2Three Decades after the End of Art21
Ch. 3Master Narratives and Critical Principles41
Ch. 4Modernism and the Critique of Pure Art: The Historical Vision of Clement Greenberg61
Ch. 5From Aesthetics to Art Criticism81
Ch. 6Painting and the Pale of History: The Passing of the Pure101
Ch. 7Pop Art and Past Futures117
Ch. 8Painting, Politics, and Post-Historical Art135
Ch. 9The Historical Museum of Monochrome Art153
Ch. 10Museums and the Thirsting Millions175
Ch. 11Modalities of History: Possibility and Comedy193
Index221

Product Details

ISBN:
9780691002996
Author:
Danto, Arthur Coleman
Publisher:
Princeton University Press
Author:
Danto, Arthur C.
Author:
Danto, Arthur Coleman
Location:
Princeton
Subject:
History - General
Subject:
Philosophy
Subject:
Art
Subject:
20th century
Subject:
Criticism
Subject:
Art, modern
Subject:
Criticism - General
Subject:
History : General
Subject:
General
Subject:
Art and architecture
Subject:
Criticism -- Theory.
Subject:
Postmodernism
Subject:
Art -- Historiography.
Subject:
Art-Theory and Criticism
Copyright:
Edition Description:
Trade paper
Series:
A. W. Mellon Lectures in the Fine Arts
Publication Date:
November 1998
Binding:
TRADE PAPER
Grade Level:
College/higher education:
Language:
English
Illustrations:
18 halftones
Pages:
262
Dimensions:
9 x 6 in 13 oz

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After the End of Art Used Trade Paper
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Product details 262 pages Princeton University Press - English 9780691002996 Reviews:
"Synopsis" by , Originally delivered as the Mellon lectures on Fine Arts in 1995, these writings cover art history, pop art, "people's art", the future role of museums, and the critical contributions of Clement Greenberg. The author provides conversations on relevant aesthetic and philosophical aspects of art.
"Synopsis" by , 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.

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