Arthur C. Danto byl uznávaným profesorem filozofie a vlivným uměleckým kritikem. Jeho práce se hluboce zabývala vztahem mezi uměním a životem, zkoumala umění v posthistorické perspektivě a nabízela pronikavé eseje na pomezí estetiky a filozofie. Danto byl známý svým bystrým analytickým stylem a schopností propojovat umělecké inovace s širšími filozofickými otázkami. Jeho eseje často zpochybňovaly tradiční představy o umění a jeho roli ve společnosti.
V knize, která vznikla na základě přednášek pronesených v rámci prestižního cyklu na počest A. W. Mellona, se americký filozof Arthur C. Danto vrátil k jedné z nejprovokativnějších tezí, které pronesl, totiž že umění dospělo ke konci. Tento konec v jeho pojetí neznamená, že se umění přestalo vytvářet, ale že v šedesátých letech 20. století opustilo tradiční dějiny založené na pokroku. Pokud tomu tak je, vyvstává otázka, jak o současném umění přemýšlet jinak než v pojmech tradičního narativu. Tato publikace představuje v určitém smyslu odpověď: uvažuje o úloze muzea, roli estetiky, nutnosti změnit charakter kritiky, a především o svobodě, kterou přinesl pluralismus umění.
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
