By Daniel Herwitz, Michael Kelly
Arthur C. Danto is exclusive between philosophers for the breadth of his philosophical brain, his eloquent writing type, and the beneficiant spirit embodied in all his paintings. Any choice of essays on his philosophy has to interact him on these types of degrees, simply because this can be how he has constantly engaged the realm, as a thinker and person.
In this quantity, well known philosophers and paintings historians revisit Danto's theories of paintings, motion, and heritage, and the intensity of his innovation as a thinker of tradition. Essays discover the significance of Danto's philosophy and feedback for the modern paintings international, with his theories of conception, motion, ancient wisdom, and, most significantly for Danto himself, the conceptual connections between those themes. Danto himself maintains the dialog via including his personal statement to every essay, extending the talk with attribute perception, graciousness, and wit.
Contributors contain Frank Ankersmit, Hans Belting, Stanley Cavell, Donald Davidson, Lydia Goehr, Gregg Horowitz, Philip Kitcher, Daniel Immerwahr, Daniel Herwitz, and Michael Kelly, attesting to the far-reaching results of Danto's idea. Danto dropped at philosophy the artist's unfettered mind's eye, and his rules approximately postmodern tradition are digital highway maps of the current paintings global. This quantity will pay tribute to either Danto's terrific capability to maneuver among philosophy and modern tradition and his pathbreaking achievements in philosophy, paintings background, and paintings feedback.
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Extra info for Action, art, history : engagements with Arthur C. Danto
You can stop playing the game, but you cannot come out a victor. But I think his artistic passion inﬂects the way he viewed a ﬁlm that was deﬁnitely not Hollywood. The great merit of Stanley’s paper for me is its raising the issue of “the end of philosophy,” and in underscoring the way that we differ, I would say profoundly, in what he regards as “what seems right, and irreversibly innovative, in Wittgenstein’s later work and in the work of [his] teacher, J. L. ” This may be overstated—let’s say it is overstated and even in bad taste—but for better or worse, I believe it true, and what truth there is in it will explain the further differences that divide Stanley and me in the philosophy of art and probably everything else that interests us enough to philosophize about it.
But is that what has happened—that “artwork” has taken on an additional use as what Quine calls an individuating noun in contrast with its established existence as a bulk or mass noun, so that in addition to speaking of needing or copying some or more artwork, we can speak of an artwork and hence of a different artwork? ”—when in the 1960s painting came to (something like) an end, but art continued, was that art was suddenly replaced by incidents of artwork, as though the visual world, so far as the hand of man or woman was discernible, and as far as the eye can see, had taken on the value of decoration.
I admitted glumly that I had not. ” This version of shock therapy, I have come to think, going over it more than once, had a beneﬁcial effect upon me. I could not protest that I had written more than I had published, because I seemed to recognize that that might only prove the truth of Arthur’s surmise—not that I hadn’t in some sense written, but that what kept me from offering it to strangers was not simply my fear that it wasn’t good enough but, compounded with that, the fear that my pleasure in it would show— which for some reason would constitute a worse exposure.