By Arthur C. Danto
After the top of paintings offers Danto's first full-scale reformulation of his unique perception, displaying how, with the eclipse of summary expressionism, artwork has deviated irrevocably from the narrative direction that Vasari helped outline for it within the Renaissance.
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Extra info for After the End of Art
The manifesto defines a certain kind of movement, and a certain kind of style, which the manifesto more or less proclaims as the only kind of art that matters. It is a mere accident that some of the major movements of the twentieth century lacked explicit manifestos. Cubism and fauvism, for example were both engaged in establishing a new kind of order in art, and discarded everything that obscured the basic truth or order the partisans supposed themselves to have discovered (or rediscovered). "ll Each of the movements was driven by a perception of the philosophical truth of art: that art is essentially X and that everything other than X is not-or is not essentially-art.
As it happened, relatively few philosophers of the time were ready to do this, just because so few of them could have imagined the possibility of art like that being produced in such dizzying disjunctiveness. The philosophical question of the nature of art, rather, was something that arose within art when artists pressed against boundary after boundary, and found that the boundaries all gave way. All typical sixties artists had that vivid sense of boundaries, each drawn by some tacit philosophical definition of art, and their erasure has left us the situation we find ourselves in today.
One way is really to eliminate whatever does not fit one's manifesto. Politically, this has its form in ethnic cleanSing. When there are no more Tutsis, there will be no conflict between Tutsis and Hutus.
After the End of Art by Arthur C. Danto