What Art Is

What Art Is

Arthur C. Danto

Language: English

Pages: 192

ISBN: 0300205716

Format: PDF / Kindle (mobi) / ePub


What is it to be a work of art? Renowned author and critic Arthur C. Danto addresses this fundamental, complex question. 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.

Invitation to Philosophy: Issues and Options (9th Edition)

The Imaginary Museum of Musical Works: An Essay in the Philosophy of Music

Hunger for Aesthetics: Enacting the Demands of Art (Columbia Themes in Philosophy, Social Criticism, and the Arts)

Feeling Beauty: The Neuroscience of Aesthetic Experience

Aesthetics and Philosophy of Art (Contemporary Philosophy: A New Survey, Volume 9)

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

philosophers I had been addressing in The Body/Body Problem. My analysis had been offered as a way of narrowing the gap between the body as philosophically construed and the body as artists have come to think about it—and perhaps it was time that philosophy began to take up the kinds of issues that even the earnest students of Klagenfurt had decided to devote a summer institute to. So for better or worse I decided to accept some of these invitations, and to see what I might say that would help

inspiration to use backlighting came, after all, from bus stops. Meanwhile, it is clear why photography was denied the status of art, mainly through the fact that everything that seemed to make painting an art was subtracted from what we may as well call pictography: for manual skill you needed nothing more than the ability to push a button or squeeze a bulb. That meant that the hand was as pictographically irrelevant as the foot. All that was needed now was to make the eye irrelevant, which

on. What accounted for the difference? The big mantra in the art world was Frank Stella’s sullen “What you see is what you see.” But there was not a lot of difference between what you see when you see a Brillo Box by Warhol and the Brillo boxes designed by James Harvey for the Brillo people to use for moving their products about. So: why weren’t they artworks if Andy’s Factory-produced boxes were? I have answered this in my first chapter, so what I want to do now instead is to marvel at the way

this agrees quite closely with what Kant says about free beauty. But Kant had two conceptions of art, and his second theory of artworks cannot support his reasons for taking up judgments of beauty in the first place, namely the parallels they suggest with moral judgments, and their universality, which made beauty, he thought, the symbol of morality. Late in Critique of Judgment he introduces a new concept—the concept of spirit—which has little to do with taste, nor does it touch in any way the

Aesthetics (Hegel), 118, 123 Léger, Fernand, 24 Leibniz, Gottfried Wilhelm, 93 Leonardo da Vinci, 99 LeWitt, Sol, 34 Lichtenstein, Roy, 43, 44–45 Linich, Billy, 146 Lisanby, Charles, 133 lithography, 18 Locke, John, 82 Lumière brothers, 3, 4 machines, 89, 93, 96–97 Mademoiselle Pogany (Brancusi), 17 Magruder, Agnes, 16 Malanga, Gerard, 36, 114, 146, 147 Malevich, Kazimir, 11 Manet, Edouard, 9, 32, 64, 107, 108–10, 111 Mannerism, 56, 60, 69 Mantegna, Andrea, 80, 84 “Man with

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