ARTHUR DANTO THE ABUSE OF BEAUTY PDF

As such, one cannot grasp what is at stake in it without taking both its claims and its tone seriously. Although welcome, I argue that his attempt to carry this through is compromised by his countervailing tendency to conceive the aesthetic in non-cognitive terms. Danto concludes that, though necessary to life, beauty is not necessary to art; I conclude that, on this account, only an aesthetic art makes a warranted claim on our attention. Most users should sign in with their email address.

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As such, one cannot grasp what is at stake in it without taking both its claims and its tone seriously. Although welcome, I argue that his attempt to carry this through is compromised by his countervailing tendency to conceive the aesthetic in non-cognitive terms.

Danto concludes that, though necessary to life, beauty is not necessary to art; I conclude that, on this account, only an aesthetic art makes a warranted claim on our attention. Most users should sign in with their email address. If you originally registered with a username please use that to sign in.

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Citing articles via Web of Science Books Received. Antisubjectivism and the End of Art: Heidegger on Hegel.

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The Abuse of Beauty: Aesthetics and the Concept of Art

Would you like to tell us about a lower price? If you are a seller for this product, would you like to suggest updates through seller support? Danto simply and entertainingly traces the evolution of the concept of beauty over the past century and explores how it was removed from the definition of art. Beauty then came to be regarded as a serious aesthetic crime, whereas a hundred years ago it was almost unanimously considered the supreme purpose of art. Beauty is not, and should not be, the be-all and end-all of art, but it has an important place, and is not something to be avoided. Danto draws eruditely upon the thoughts of artists and critics such as Rimbaud, Fry, Matisse, the Dadaists, Duchamp, and Greenberg, as well as on that of philosophers like Hume, Kant, and Hegel.

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Traditional beauty in contemporary art is still regarded by some as unfashionable. Nation art critic Danto philosophy, emeritus, Columbia Univ. Arthur C. Danto simply and entertainingly traces the evolution of the concept of beauty over the past century and explores how it was removed from the definition of art. Beauty then came to be regarded as a serious aesthetic crime, whereas a hundred years ago it was almost unanimously considered the supreme purpose of art. Beauty is not, and should not be, the be-all and end-all of art, but it has an important place, and is not something to be avoided.

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It is a curious fact that while my philosophy of art aspires to the kind of timelessness at which philosophy in general aims, it is so much the product of its historical moment that it can easily be considered to have relevance chiefly to the art that occasioned it. The art itself was the product of various avant-garde art movements of the early s, mainly in and around New York City. Most of the art, moreover, could hardly have been made at a much earlier date. Consider the celebrated Brillo Box of Andy Warhol, which has figured so prominently in my thought and writing. It was made and exhibited in , and appropriated the format of a commercial shipping carton, which pre-existed it for little more than a year. The designer of that carton, himself an artist, drew upon stylistic paradigms from contemporary abstract painting.

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