Art and Theory

1. Art and Theory Arthur C. Danto

2. Two influential articles • The Artworld (1964) • The End of Art (1986)

3. Main thesis of The Artworld • In order that anything be art a theory is necessary • This is revealed by the analysis of visually indiscernable things which are different • They are different because of the “theory” that constitutes them, not by any intrinsic, visual property

4. Two theories • Modes of looking at paintings • Imitation theory (IT) • Paintings are imitations of nature/reality • Reality theory (RT) • Paintings present real forms and colours, they are “non-imitations” • Development analogous to development in history of science • Theory – Deviations - New theory

5. Is of artistic identification • Newtons First Law (A) • Newtons Third Law (B) • Artistic identifications, not interpretations • This is this

6. Testadura and the artist • Testadura: There is no artwork, all he sees is paint • The artist: That black paint is black paint • Danto: “We cannot help [Testadura] until he has mastered the is of artistic identification and so constitutes it a work of art” (139)

7. Danto’s idea of the Artworld • “To see something as art requires ... • an atmosphere of artistic theory, • a knowledge of the history of art: • an artworld.” (140)

8. The role of theory • “What in the end makes the difference between a Brillo box and a work of art consisting of a Brillo Box is a certain theory of art. • It is the theory that takes it up into the world of art and keeps it from collapsing into the real object which it is ... • Of course, without the theory, one is unlikely to see it as art ...”

9. Some elementary logic • Valid argument • If we have a work of art, then we have theory • If not theory • Then not work of art • Conclusion • It is the work of art (the practice) that implies the theory, not the theory that implies the work of art.

10. The style matrix • G = Representation • F = Expression • Available styles • Representational expressionism (Fauvism) • Representational non-expressionism (Ingres) • Non-representional expressionism (Abstract expressionism) • Non-representational non-expressionism (Hard edge abstraction)

11. The End of Art • Four perspectives on the History of Art • 1. Representational • 2. Expressionistic • 3. Modern • 4. Post-historical

12. Representation • History of art is a progress aiming at always more exact representation (imitation) of reality • Perspective in the Renaissance • Photography in the 19th century • Cinema in the 20th century • Linear development • A certain history of art is finished

13. Expression • History of art as record of expressions, • No linear, historical development • Collection of different expressions • Taste and mode determine preferences

14. Modern • History of art is the story art in search of its own self understanding • This self-understanding is art’s realisation of its own philosophical nature • Art becomes its own theoretical self-understanding as art

15. The End of Art • The historical role of art has been to create a philosophy of art • Art moves away from the realm of objects into the realm of theory and ideas (e.g. Duchamp) • Art gradually relies more and more on theory • Art becomes theory • A certain historical development has come to a close

16. Before and after the End of Art • The avant-garde-oriented understanding of art • The modernist ethic • The analogy with science • Making art is contributing to a progress • Only those who contribute to the progress are true artists • Results in the evolution of art into philosophy • What happens after the End of Art? • Emergence of a free, post-historical art