El fin del arte by Donald Kuspit is Art & Architecture En El fin del arte Donald Kuspit sostiene que el arte ha llegado a su término porque ha perdido su carga. Guasch, A.M. – , Arthur Danto and Donald Kuspit: Interviews on contemporary art Ortiz, G. – , Después del fin del arte: Danto entre el relativismo y el. Critical Donald kuspit el fin del arte by Donald Kuspit. Donald kuspit el fin del arte My Store Place your order online and pick it up within one hour. Critical.
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Valses de chopin youtube Errm twitter donald. DONALD KUSPIT EL FIN DEL ARTE PDF - kaz-news.info DONALD KUSPIT EL FIN DEL ARTE DOWNLOAD. PDF | The death of art has been a notion used in connection with the The idea of a ﬁnal end is then di cult to apply even to Hegel's time,. and so is .. Donald Kuspit writes ”Art be .. ¿Por qué el fin del arte concierne al arte en general ?. Queixas de urn critic° de arte A teoria da arte de Clement Greenberg . Laocoonte", de , embora este funcione como o acompanhamento .. Greenberguers, segundo Donald Judd), em "Uma visao do . reception of abstract-expressionism", Arts Magazine, ; D.B. Kuspit, Clement Greenberg Art.
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Rivista di estetica, n. For this reason, they exclusively base their understanding in the sense developed in that book, either the Hegelian, histo- riographical or postmodern sense. The former has clarified the different levels of language used by Danto and the second has tried to clarify the contradictions of Danto, distin- guishing between the ontological level and the historical one.
However, years later, when he confronts the need to explain the story as the way of narrating history, he rectifies his thinking.
Robert C. Solomon and Kathleen M. In the historiographical sense: Tozzi , Parselis and Bacharach And in the post- modern sense: Crowther , Herwitz , Wenninger , Ortiz It is precisely the fact of making a philosophical analysis of the history of art what allows him to apply the thesis of the narrative character of history and, thus, proclaim its end.
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Danto examines the history of art for the first time in his article The End of Art This reading of art history develops gradually toward greater awareness and reflexivity, as Hegel had said in the Phenomenology of Spirit and Lectures of Philosophy of History.
Following this reasoning, if art finds its essence, it stops being subordinate to philosophy. Danto believes that this has happened in his time because art has turned into philosophy. While Danto adopts this conception of the history of art which agrees with the artistic reality of his time, he does not assume the entire Hegelian dialectic system.
In fact, he does not consider that the progress of which he speaks has to do with the absolute spirit, but simply with the progress of art. Once published, the editor B. Lang sent the text to several academic provoking a response that had as a result a collaborative volume. However, Danto felt an obligation to clarify that neither this title was his nor it had any relationship whatsoever with what he wanted to transmit.
In this work, the history of art is perceived as an internal, rational, and progressive development.
The interpretation of the history of art in the Hegelian style is thus shown as a way in which art gains in knowledge and consciousness about its very essence until it reaches full self-consciousness.
But this is a stage which must be gone through in the painful ascent toward the final redeeming cognition. Danto places special emphasis on how this self-consciousness was acquired throughout the course of the twentieth century, during which there is an increasingly reflective and conceptual artistic development. Within the view of the history of art as a progressive process, Danto consid- ered that before art was transformed into philosophy it had suffered a strong subjugation by philosophy.
Since The Artworld Danto insists that artistic practice always involves an idea of what art is and that this theory influences the production of the work. For centuries, these theories were philosophical proposals that dominated it until art was able to take itself as object and reflect on the question of what art is. At this point, Danto distances himself from the way Hegel interprets consciousness since he makes his own description of the domination of the history of art was.
Danto understands that in the history of art this philosophical subjugation was influenced mainly by Plato, whose theories led to a conception of art as mimesis.
He focuses on how Plato doubly condemns art: for considering it merely a copy of real objects and therefore, for having a degraded ontological rank and because as mimesis it could not present the truth. After Plato, art was thus banished to the realm of the imaginative and sentimental, its cognitive role disappeared and was associated with the irrational.
Danto considers this proposal as a strategy by which philosophy wanted to guarantee the exclusivity of truth. As Hegel pointed out, this transformation of art into philosophy carried with it the consequence that art came to its end.
The culmination of this process can be said to be twofold: first, the emergence of photography, and especially 6 Danto This consideration could have been motivated, at this point, by the reading of Nietzsche and his criticism of the Platonic tradition, especially the exegesis of the birth of the tragedy. In second place, the work of Warhol, Brillo Box, represented for Danto the great milestone in the history of art. Firstly, because being indiscernible of its commercial counterpart over- rides the mimetic conception of art.
But above all, because it adequately states the question of art.
The Brillo Box leads art to its self-consciousness by posing questions about the nature of art. The very way of posing the question opens the answer: the essence of art lies in being different from the reality. The discovery of the essence caused an important change in the art: the works of art can now have any appearance while continue to maintain the same essence. When the essence of art was governed by mimesis, the visual, perceptive criterion might have been sufficient to determine what art was.
But Danto realized that this criterion had been exhausted. In this way, it also stimulated a new level of philo- sophical awareness. This implies a Hegelian a new interdependence between philosophy of art and history of art. The emergence of the philosophy of art was only possible once art found its essence. At this point, art stop to asking about what it consider and began to consider itself on the level of philosophy. It would be a philosophical definition that would not correspond to any particular movement or poetics, but take over the deep essence of art.
However, although he never rejected that it was possible, Danto soon abandoned the task of proposing a complete essential definition.
There are Hegelian traces in his conception of the work of art as an embodied meaning or in the conjunction of a timeless essentialism coupled with a contextual historicism. After this, Danto was not trying to say that no more works of art were going to be produced. Neither did he claim that those made could no longer be good works of art, nor that the historical context would not affect art.
He referred to the fact that its production would no longer be determined by a single nar- rative or way of understanding art. Supported by the Hegelian point of view, he considered that once a clarification of the concept had been reached and once art had been emancipated from philosophy, it could not return to a new subjection.
In this sense, only within a narrative understanding of history, with beginning and end, the end could be proclaimed.
Danto not only affirmed that an art narrative had ended, but the history of art as such. The relation between essentialism and historicism has been discussed in depth in Kelly In this book Danto tries to demonstrate how the theories of art have been changing and directing artistic practice in different directions for many centuries.
He explains that the history of art, because of a mimetic conception, has been understood as a progression towards artistic perfection. On the other hand, the Platonic philosophy mainly influenced what is referred to as the classical age.
This vision was revived in the Renaissance, where it became the legitimizing narrative of a whole culture and of the history of its art. On the other hand, the scientific study of the history of art, based on this mimetic conception, established different stages according to the characteristics and technical advances that made up different styles over time.
Once it was possible to establish a history of art according to this concept, it also introduced the possibility of foreseeing the end of this stage. At this point it is important to note the interest of Danto in the studies of H. Belting on ancient religious images The German historian showed that these sacred images, although they had artistic value, were revered but not aesthetically admired.
It was not until around that they were given a new appraisal. He also signals their exhaustion, pointing to the end of the history of art.
In his development of this idea, Danto considers that in the evolution of the narratives of art there are three fundamental milestones: Vasari, Greenberg and the manifestos of the artistic avant-garde. In his Life of the Best Italian Architects, Painters and Sculptors, Vasari made a historical study in which he tried to give account of the advances that had oc- curred in art through the biographical analysis of several artists.
The second key moment in the development of the history of modern art is modernism. To analyze this current, Danto carries out an interesting reflection on the modern as something distinct from the old and the contemporary.Rivista di estetica, n.
For this reason, there is an intrinsic relationship between the fact of establishing a condition of possibility of art and the fact that the narratives are finished. Danto is aware that it is not enough to open his eyes in front of a work of art. But the true philosophical discovery, I think, is that there really is no art more true than any other, and that there is no one way art has to be: all art is equally and indifferently art.
Danto considers this proposal as a strategy by which philosophy wanted to guarantee the exclusivity of truth.