Action, art, history : engagements with Arthur C. Danto
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Contents:
Allegorically speaking, he escaped his chains and emerged from the cave Plato describes for us in Republic, to the light of day. Without the constraint of historical taste, the world of art is unified by the meanings embodied within artworks by their creators. His theory is also able to account for the radically different forms and functions of the art of the past, for the art of each age is tied to a form of meaning that is historically in- dexed.
It is through an understanding of the changing concepts of the artworld that the works of the past are to be interpreted. Otherwise, there is no accounting for differences in styles that reemerge in history, exhibiting common visual characteristics, yet manifesting fundamentally different cultural meanings.
Action, Art, History
The artworld accounts for historical continuity, insofar as the concepts mani- fested through it are linked to a time and place and are interpretable. Danto has argued that art cannot be pure expression, for the expression of today cannot be contrasted or interpreted in terms of the expression of yesterday. It is with theory that Danto interpreted the life and work of Andy Warhol. Art as embodied meaning applies universally to all art of all times, and the temporally indexed intention of the artist endows the artwork with a meaning that prevents it from col- lapsing into the realm of everyday objects.
His understanding of the indiscernible provides the theorist and critic alike a gateway, so to speak, which only becomes explicit when the two worlds, the world of the eve- ryday and the world of art, meet. I have inveighed against the isolation of artworks from the historical and generally causal matrices from which they derive their identities and struc- tures. His criticism is informed by, but does not actually constitute, philosophy. True, his aim in ———————— 5 Action, Art, History, quoted, p. In this symbiotic relationship, artists embody the augured meanings of post-history in their art, and philosophers interpret the artworld concepts manifested in their works.
Author: Michael Kelly | Interaction Design Foundation
It is in the pivotal role that Warhol played in forming the world of art we know today, that we see the relevance of theory and style, philosophy and art. Hegel, Aesthetics: Lectures on Fine Art, trans. Knox, Oxford, Ox- ford University Press, , p. See A. Likewise, Warhol fits the mold of the artist who embodies the artwork with the meanings endowed by history. Carlin Romano notes this opposition in his article, Looking Beyond the Visible. This duality can also be ———————— 10 The Transfiguration of the Commonplace, quoted, p. Rollins ed. It is able to re- solve both the failure of mimetic theory, the notion that art strives to mirror the object it depicts, as well as the relativism of theories that re- duce all art to expression — thereby placing art on the continuum of the living, but incommensurable, expression of artists.
His thought requires that there be genuine historical continuity, and indeed a kind of progress. The progress in question is not that of an increasingly refined technology of perceptual equivalence. Rather there is a kind of cognitive progress, where it is under- stood that art progressively approaches that kind of cognition. When the cognition is achieved, there really is no longer any point to or need for art. For Hegel, the opposition between the universal and the par- ticular — the content or meaning of art and its physical manifestation or embodiment — is resolved into the non-material expression of philoso- phy.
As Danto defines style, the subjective consciousness of the artist cannot know its own style save through presenting it to others. The ontology of the artwork is not continuous with its interpretation, for art must be interpreted in order for it to exist fully actualized.
Yet Danto defines the artwork in an essential manner that necessitates, but does not include, its interpretation. Thus, the ability to discern art from non-art is dependent on a common layer that the artwork and the viewer inhabit. Not wanting to adopt the metaphysics of the Absolute, which unifies the dualities of subject and object, the artworld adopts the dimensions of the Absolute on a cultural level.
But, Danto concedes ———————— 15 The Artworld, quoted, p. But without an absolute consciousness, the intersubjective interaction necessary for forming and recognizing artworld theories must be viewed as a social activity. The world is not always cooperative in such attempts. But the analogy of systematizing the world in which we live while we are in it is reminiscent of the paradoxes Kant draws out in his antinomies Kant is willing to live with this opposition, which in some manner is articulated in his notion of the aesthetic idea, the counterpart of the rational idea.
Though no intuition can adequately express the rational ———————— 17 Ibidem. Reason places demands on our ordering of appearance into a unified experience. But Kant re- fuses explicitly to acknowledge the sociological implications of his ac- count of aesthetic experience, leaving the reader to question how one develops the sense of taste necessary to raise a judgment to the level of the Beautiful. But Hegel, like Danto, is concerned with the object of art in terms of its historically changing morphology, as well as its ontological status.
Catherine Pickstock. Fred Rush clarifies Danto's debts and differences from Hegel. Too pluralistic to be anti -aesthetic, Danto's philosophy of art simply made aesthetics irrelevant. Arthur Danto - unknown. Likewise, Warhol fits the mold of the artist who embodies the artwork with the meanings endowed by history. Commendably, Danto has realized that pluralism has already mani- fested itself in the style of the post-historical world of art, but there was a conversation.
In par- ticular, I will examine the pragmatic aesthetics of John Dewy. He argues that the theory of knowl- edge, in the philosophical tradition, is in need of reconstruction. In light of this new focus, one of the tasks of philosophy is to resolve the separation of social forms of knowledge from the lived experience. From a pragmatic perspective, it would be logical for Danto to have seen Andy Warhol as the philosopher who transfigured the common- place into the realm of art. But the relationship of aesthetic theory to artistic practice is problematic, for theories of art lead art production away from the genu- ine aesthetic experience.
Art in the contemporary world manifests a conceptual complexity that belies the true nature of aesthetic experience. Art theory, in turn, is formed based on the analysis of those rarified works collected for display in museums. Thus, art theory blocks the actual theoretical understanding of the aesthetic experience because, as a society, we have fetishized the object, and not the actual aesthetic phe- nomenon.
Action, Art, History. Engagements with Arthur C. Danto. Edited by Daniel Herwitz and Michael Kelly. Columbia University Press. Action, Art, History. Arthur C. Danto is unique among philosophers for the breadth ofhis philosophical mind, his eloquent writing style, and thegenerous spirit embodied in all his wo.
The story I allude to, of Andy Warhol as the champion of pragmatic philosophy, is not farfetched. His early works, charming, expressive, well executed, and fitting neatly into pre artworld categories, had no impact on ———————— 22 Ibidem, pp. Warhol was a commercial artist, and his works were deemed unworthy of the imprimatur of high art. Warhol despaired, believing for a time he could have no place in the world of contemporary art, but his perseverance broke through the barriers placed before him.
As we know, Warhol succeeded, but not on the terms of those who would not allow him into the academy. The artworld was not disclosed to Warhol such that his work anticipated the next level.
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His aesthetic performance changed the theory of art, resolving the problem, as Dewey put it, of the art on which theory was based by creating a new art for a new theory. The marriage of theory and practice, it ———————— 25 A. Or could it? To address this question, I conclude with some general remarks that address how a pragmatic rendition of aesthetic experience might proceed. Rather, it is the attempt to detranscendentalize the use of reason by relocating the ideas of reason in social practice.
In this aim, critical theorists do share common ground with pragmatists More options. Find it at other libraries via WorldCat Limited preview. Bibliography Includes bibliographical references. Danto's Action, by Donald Davidson Response 3. Crossing Paths, by Stanley Cavell Response 4. Ankersmit Response Contributors explore the importance of Danto's philosophy and criticism for the contemporary art world, along with his theories of intention, perception, how the structure of action relates to the structure of knowledge, epistemology, creation, duplication and identity, and other topics.
Danto continues the conversation by adding his own responses to each essay. Danto is unique among philosophers for the breadth of his philosophical mind, his eloquent writing style, and the generous spirit embodied in all his work. Any collection of essays on his philosophy has to engage him on all these levels, because this is how he has always engaged the world, as a philosopher and person.
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In this volume, renowned philosophers and art historians revisit Danto's theories of art, action, and history, and the depth of his innovation as a philosopher of culture. Essays explore the importance of Danto's philosophy and criticism for the contemporary art world, along with his theories of perception, action, historical knowledge, and, most importantly for Danto himself, the conceptual connections among these topics.
Danto himself continues the conversation by adding his own commentary to each essay, extending the debate with characteristic insight, graciousness, and wit. Danto brought to philosophy the artist's unfettered imagination, and his ideas about postmodern culture are virtual road maps of the present art world. This volume pays tribute to both Danto's brilliant capacity to move between philosophy and contemporary culture and his pathbreaking achievements in philosophy, art history, and art criticism.
Subject Danto, Arthur C. Bibliographic information. Browse related items Start at call number: B D A63