A Very Short Fact: On this day in 1924, American art critic and philosopher Arthur Danto was born in Ann Arbor, Michigan. Though known primarily as an art critic, Danto also made considerable contributions to the philosophy of history and the philosophy of action.
“Arthur Danto writes for the left-liberal magazine The Nation and is a very well-known philosopher and theorist of contemporary art, particularly of what he sees as the break in art production set in train by Andy Warhol. If Warhol’s Brillo Pad boxes cannot be visually distinguished from actual Brillo Pad boxes, he argues, it follows that art cannot be defined in terms of its visual distinctiveness, and must instead be characterized philosophically. […]
Danto’s After the End of Art claims that the character of art has changed radically since the 1970s and the last gasp of the avant-garde, and is now properly post-historical. Modernist and avant-garde views were tied to an idea of historical progress – towards formal abstraction, perhaps, or the merging of art and life. For Danto, in contrast, ‘life really begins when the story comes to an end’, and those who now expect art to progress have missed the point, which is that the final synthesis has been reached. While Danto does not mention him, this stance is close to that of Francis Fukuyama’s political views in his widely publicized book The End of History and the Last Man, and is based on the same Hegelian contention that, while of course events continue to occur, History has come to a close; that we are settled for ever with a version of the system which now sustains us. Similarly, for Danto, once art had passed through the black night of the 1970s (which he compares, with its dreadful politically engaged work, to the Dark Ages), it emerged onto the sunny Elysian Fields of universal permissiveness, never to leave. And in those fields, any mixing of styles or patching together of narratives is as good in principle as any other.” — From ‘Contemporary Art: A Very Short Introduction’ by Julian Stallabrass
[Pg. 111 — From ‘Contemporary Art: A Very Short Introduction’ by Julian Stallabrass.]
Image via Wikimedia Commons
