David Bourget (Western Ontario)
David Chalmers (ANU, NYU)
Rafael De Clercq
Jack Alan Reynolds
Learn more about PhilPapers
Philosophy and Social Criticism 25 (6):1-28 (1999)
This article takes its shape from a recent conference at the School of Visual Arts in NYC on the theme, 'Tradition and the New: Educating the Artist for the Millennium'. Central to the way the conference was advertised and described was an implicit tendency to view tradition as wholly separate from the new. While the conference did not itself make a theoretical argument for the opposition of tradition and the new, Arthur Danto's recent elaboration of a thesis of the 'end of art' does provide such a theoretical underpinning for the opposition that the conference seemed to presuppose. Danto's thesis of the end of art offers a compelling view of 'what' and 'where' art is today, but it also has troubling implications for how our relation to the past is configured and, in Danto's view of art's having come to an end, for what it means that we are now living in 'post-historical' times. That is, as a compelling contemporary reading of the history of art, Danto's thesis seems to be more implicated in the very modernist project that he, in other ways, seeks to move effectively beyond. This article, then, explores the problem of counterposing tradition and the new, specifically, in Danto's thesis, but also more generally. In the first part of the article, I present Danto's end of art thesis. Next, I will offer a counterweight to this tendency to separate tradition and the new by examining the concept of 'effective history', focussing here on the writing of Hans-Georg Gadamer. Gadamer's insights, which I will link to Nietzsche, provide a way of moving beyond some of the problematic implications of Danto's thesis, and also illuminate some of the ethical dimensions at stake. In concluding, I will look at some contemporary examples where the notion of effective history can be productively applied. Key Words: art theory effective history end of art hermeneutics modernism tradition.
|Keywords||No keywords specified (fix it)|
|Categories||categorize this paper)|
Setup an account with your affiliations in order to access resources via your University's proxy server
Configure custom proxy (use this if your affiliation does not provide a proxy)
|Through your library|
References found in this work BETA
No references found.
Citations of this work BETA
No citations found.
Similar books and articles
Lars Aagaard-Mogensen (ed.) (1976). Culture and Art: An Anthology. Humanities Press.
Arthur C. Danto (1998). The End of Art: A Philosophical Defense. History and Theory 37 (4):127–143.
Spencer K. Wertz (2007). The National Endowment for the Arts and its Opposition: Danto's Argument for Art for Our Sake. Journal of Aesthetic Education 41 (3):111-117.
David Carrier (1998). Introduction: Danto and His Critics: After the End of Art and Art History. History and Theory 37 (4):1–16.
Martin R. Seel (1998). Art as Appearance: Two Comments on Arthur C. Danto's After the End of Art. History and Theory 37 (4):102–114.
Arthur Coleman Danto (1992). Beyond the Brillo Box: The Visual Arts in Post-Historical Perspective. Farrar Straus Giroux.
Risto Pitkänen (2010). Art and its History. Nordic Journal of Aesthetics 21 (39).
Added to index2009-01-28
Total downloads21 ( #88,356 of 1,140,267 )
Recent downloads (6 months)1 ( #142,694 of 1,140,267 )
How can I increase my downloads?