arthur c danto

[…] ci sono due modi di liberarsi dal conflitto. Uno è eliminare fisicamente tutto ciò che non si adegua a uno specifico manifesto. Politicamente, questo si concretizza nella pulizia etnica. […] L'alternativa è vivere insieme senza bisogno di reciproche epurazioni, di ribadire l'importanza di essere in un modo o nell'altro […] La vera questione è che tipo di persona sei. La critica morale sopravvive nell'epoca del multiculturalismo come la critica d'arte sopravvive nell'epoca del pluralismo. […] Sarebbe davvero bello credere che il pluralismo del mondo dell'arte di oggi rispecchiasse il futuro politico che ci attende.
—  Arthur C. Danto, Dopo la fine dell'arte. L'arte contemporanea e il confine della storia
Bowie’s Top 100

The legend, David Bowie, passed away at the age of 69 after an eighteen-month battle with cancer. He will be greatly missed. To celebrate his life, listed below are his top 100 books. 

-Interviews with Francis Bacon by David Sylvester

-Billy Liar by Keith Waterhouse

-Room At The Top by John Braine

-On Having No Head by Douglas Harding

-Kafka Was The Rage by Anatole Broyard

-A Clockwork Orange by Anthony Burgess

-City of Night by John Rechy

-The Brief Wondrous Life of Oscar Wao by Junot Diaz

-Madame Bovary by Gustave Flaubert

-Iliad by Homer

-As I Lay Dying by William Faulkner

-Tadanori Yokoo by Tadanori Yokoo

-Berlin Alexanderplatz by Alfred Döblin

-Inside The Whale And Other Essays by George Orwell

-Mr. Norris Changes Trains by Christopher Isherwood

-Halls Dictionary of Subjects And Symbols In Art by James A. Hall

-David Bomberg by Richard Cork

-Blast by Wyndham Lewis

-Passing by Nella Larson

-Beyond The Brillo Box by Arthur C. Danto

-The Origin of Consciousness In The Breakdown Of The Bicameral Mind by Julian Jaynes

-In Bluebird’s Castle by George Steiner

-Hawksmoor by Peter Ackroyd

-The Divided Self by R.D. Laing

-The Stranger by Albert Camus

-Infants Of The Spring by Wallace Thurman

-The Quest For Christa T by Christa Wolf

-The Songlines by Bruce Chatwin

-Nights At The Circus by Angela Carter

-The Master And Margarita by Mikhail Bulgakov

-The Prime of Miss Jean Brodie by Muriel Spark

-Lolita by Vladimir Nabokov

-Herzog by Saul Bellow

-Puckoon by Spike Milligan

-Black Boy by Richard Wright

-The Great Gatsby by F.Scott Fitzgerald

-The Sailor Who Fell From Grace With The Sea by Yukio Mishima

-Darkness At Noon by Arthur Koestler

-The Waste Land by T.S. Elliot

-McTeague by Frank Norris

-Money by Martin Amis

-The Outsider by Colin Wilson

-Strange People by Frank Edwards

-English Journey by J.B. Priestley

-A Confederacy Of Dunces by John Kennedy Toole

-The Day Of The Locust by Nathanael West

-1984 by George Orwell

-The Life And Times Of Little Richard by Charles White

-Aopbopaloobop Alopbamboom: The Golden Age of Rock by Nik Cohn

-Mystery Train by Greil Marcus

-Beano (comics, 1950s)

-Raw (comics, 1980s)

-White Noise by Don DeLillo

-Sweat Soul Music: Rhythm and Blues and the Southern Dream of Freedom by Peter Guralnick

-Silence: Lectures and Writing by John Cage

-Writers At Work: The Paris Review Interviews edited by Malcolm Cowley

-The Sound of the City: The Rise of Rock and Roll by Charlie Gillete

-Octobriana and the Russian Underground by Peter Sadecky

-The Street by Ann Petry

-Wonder Boys by Michael Chabon

-Last Exit to Brooklyn by Hubert Selby, Jr.

-A People’s History of the United States by Howard Zinn

-The Age of American Unreason by Susan Jacoby

-Metropolitan Life by Fran Lebowitz

-The Coast of Utopia by Tom Stoppard

-The Bridge by Hart Crane

-All The Emperor’s Horses by David Kidd

-Fingersmith by Sarah Waters

-Earthly Powers by Anthony Burgess

-The 42nd Parallel by John Dos Passos

-Tales of Beatnik Glory by Ed Saunders

-The Bird Artist by Howard Norman

-Nowhere To Run: The Story of Soul Music by Gerri Hirshey

-Before the Deluge by Otto Friedrich

-Sexual Personae: Art and Decadence From Nefertiti to Emily Dickinson by Camille Paglia

-The American Way of Death by Jessica Mitford

-In Cold Blood by Truman Capote

-Lady Chatterly’s Lover by D.H. Lawrence

-Teenage by Jon Savage

-Vile Bodies by Evelyn Waugh

-The Hidden Persuaders by Vance Packard

-The Fire Next Time by James Baldwin

-Viz (comics, early 1980s)

-Private Eye (satirical magazine, 1960s-1980s)

-Selected Poems by Frank O’Hara

-The Trial of Henry Kissinger by Christopher Hitchens

-Flaubert’s Parrot by Julian Barnes

-Maldodor by Comte de Lautréamont

-On The Road by Jack Kerouac

-Mr. Wilson’s Cabinet of Wonders by Lawrence Weschler

-Zanoni by Edward Bulwer-Lytton

-Transcendental Magic, Its Doctrine and Ritual by Eliphas Lévi

-The Gnostic Gospels by Elaine Pagels

-The Leopard by Giusseppe Di Lampedusa

-Inferno by Dante Alighieri

-A Grave For A Dolphin by Alberto Denti di Pirajno

-The Insult by Rupert Thomson

-In Between The Sheets by Ian McEwan

-A People’s Tragedy by Orlando Figes

-Journey Into The Whirlwind by Eugenia Ginzburg


“The truth is of course is that there is no journey. We are arriving and departing all at the same time.” -David Bowie

Andy Worhol, ‘Brillo Box (Soap Pads)’, 1964

“Warhol’s boxes were life-like illusions and fundamentally different from Duchamp’s ready-mades for two important reasons. Firstly these trompe-l’oeil boxes were handmade wood constructions with silkscreen ink and house paint as opposed to the ‘originals’ whose labels were made with offset lithography on cardboard, and secondly, “…they were empty inside, filled with nothing but air, as hollow as the rhetoric so boldly emblazoned upon them.” 

Danto argues that Warhol’s Brillo Boxes of 1964 were literally three dimensional photographs of the products—an extension of what Andy had done with the Soup Cans— stacked in columns just as if they were for sale. Perceived and exhibited, the “Brillo Box” became, in Danto’s eyes, the first “post-historical work” that demands something other than eyes. Danto’s question was no longer “What is art?” but rather “Given two indiscernible objects, one a work of art and the other not, wherein are they different?” The reference is, of course, to his grocery boxes as against their counterparts in the real world. Warhol’s boxes are silkscreen photographs of the latter, in three dimensions, and for all intensive purposes perfect copies of the originals. Danto declares we have reached “the end of art”, at the time when the line between art objects and ordinary objects are invisible.” - Freize Magazine, Living in Worhol’s World by Arthur C Danto

anonymous asked:

Az a baj veled, hogy nem vagy képes normálisan válaszolni semmire. Általában elvont félmondatokat írsz le amiknek önmagában semmi értelme nincsen, vagy bedobsz egy két nevet. Próbállak megérteni téged, de ha már hozzászólsz dolgokhoz, szállj le picit az átlagemberek közé és magyarázd el hogy mit miért gondolsz, ne csak odavess néhány félmondatot azt jelképezve hogy te mennyivel többet tudsz. Kurvára lenézel másokat ami egy ilyen értelmes embertől különösen fájó.

Anon, nem akartalak bántani. Azért válaszoltam így, mert szerintem azona dolgon vitázni, hogy van-e vizuális megkülönböztetőjele a művészetnek a 21. században hülyeség. Danto érvelése (Danto, Arthur C. “A közhely színeváltozása.” (1996). illetve analitikusan kifejtve a definíciót: Danto, Arthur. “The artworld.” The journal of philosophy (1964): 571-584.) szerintem helyes. Aki egyszerűen odaírja, hogy ez szemét, de semmiben nem reflektál a művészet filozófiai kontextusára, azzal mit kezdjek? Nem azt írta, hogy szerinte a művészet a tárgyak dologiságának a felmutatása kéne, hogy legyen (mint Heidegger írná: Heidegger, Martin, et al. A műalkotás eredete. Európa Könyvkiadó, 1988.) nem beszélt a művészet immanens szabályellenes montázselvűségéből fakadó formai követelményekről (aminek egyébként a kiinduló műalkotás nem felelt meg) mint Adorno tette volna (Adorno, Theodor W., Gretel Adorno, and Rolf Tiedemann. Ästhetische theorie. Frankfurt a. M.: Suhrkamp, 1970.), de még csak a  szimulákrumról (Baudrillard, Jean. “A szimulákrum elsőbbsége.” Kiss Attila Atilla et al.(szerk.): Testes könyv. Ictus, Szeged (1996): 161-193.) vagy a késő kapitalizmus kulturális logikájáról (Jameson, Fredric. Postmodernism, or, the cultural logic of late capitalism. Duke University Press, 1991.) sem beszélt.

Amikor a biológusok a hajukhoz kapnak, hogy miket mondanak a kreacionisták, na, pontosan ugyanezt érzi akár egy közepesen művelt ember is, amikor mindenki összevissza elkezd beszélni a művészetről, pusztán azért, mert látott már három festményt.

The great historian Fernand Braudel disdained what he regarded as the surface events of history as traditionally conceived — treaties, wars, the death of kings, coups d’état, the rise and fall of empires, the flourishing and passing away of schools of art — in favor of life as lived by ordinary men and women at a level where nothing much changed for periods vast in relationship to the agitated chronology of surface history. Historical existence during what he famously termed the longue durée — stretches of time so protracted that one could not speak of them as punctuated by historical events — takes place on a level of consciousness so remote from the courts and corridors of power that what happens to the rich and famous at the top is as distant and mythic as the bickering gods was to the grunts and bumpkins of ordinary Troy. Far, far beneath the agonies of Hector and Menelaus, life went on as it has and would go on, though the stories of those events would, in time, begin to shape the consciousness of the longue durée. Braudel saw himself writing a kind of non-eventful history, a history with respect to which the structures of narrative would be inappropriate. No doubt even in history so construed, there are points of change, when one longue durée gives way to another, but even then there may still be a deeper level at which nothing changes at all, and ordinary persons today are in effect strict contemporaries of the Cro-Magnons. If so, our common humanity must be defined in its terms, as must the possibility of transcultural, as well as transtemporal understanding.

—Arthur C. Danto. “Kimura/Berlinart.” The Nation. July, 1987.