By Arthur C. Danto
After the tip of paintings offers Danto's first full-scale reformulation of his unique perception, displaying how, with the eclipse of summary expressionism, paintings has deviated irrevocably from the narrative direction that Vasari helped outline for it within the Renaissance.
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Extra resources for After the End of Art
And he helieved that other artists were leading false lives if the art they made was on a f~llse path. Clement Greenberg, in an essay he ch .. r .. cterized as .... n historical apology for abstract art"- THREE DECADES AFTER THE END OF ART • • • 27 INSTALLATION PHOTOGRAPH. 1ST INTERNATIONAL DADA EXHIBITION. BERLIN 19Z!. PHOTO CREDIT: JOHN BLAZEJEWSKI. " In 1940, when this was published, the only "true road" for art was abstraction. "9 "The one thing to say about art is that it is one thing," Ad Reinhardt wrote in 1962.
The period from Hegel down, so far as the philosophy of art as practiced by philosophers was concerned, was singularly barren, making of course an exception for Nietzsche, and perhaps for Heidegger, who 32 • CHAPTER TWO argued in the epilogue to his 1950 'The Origins of the Artwork" that it was far too early to say whether Hegel's thought was true or false: The judgment thar Hegel passes in these statements cannot be evaded by pointing out thar since Hegel's lectures in aesthetics were given for the last rime in the winter of r828-r829 ....
This returns me to the symbolic importance of 1984 in world history. D. 1000 was the nonending of the world, contrary to what visionaries had supposed guaranteed by the Book of Revelations. What did not happen in 1984 was the establishment of a political state of world affairs of the sort George Orwell's novel 1984 forecast as all but inevitable. Indeed, 1984 turned out to be so different from what 1984 predicted for it that one cannot but wonder, a decade later, how a prediction regarding the end of art stands lip against historical THREE DECADES AFTER THE END OF ART • 23 reality as we experience it a decade after it was made: if the flattening out of the curves of artistic production and demand do not count against it, what can?
After the End of Art by Arthur C. Danto