ââåworks of Art and Mere Real Thingsã¢â❠by Arthur Danto

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Start your review of The Transfiguration of the Commonplace: A Philosophy of Fine art

"Se a arte é às vezes uma metáfora da vida, então a familiar experiência artística de sairmos de nós mesmos - a conhecida ilusão artística - realiza uma espécie de transformação metafórica da qual somos objeto: a obra se refere afinal a nós, pessoas perfeitamente comuns transfiguradas em homens e mulheres excepcionais." "Se a arte é às vezes uma metáfora da vida, então a familiar experiência artística de sairmos de nós mesmos - a conhecida ilusão artística - realiza uma espécie de transformação metafórica da qual somos objeto: a obra se refere afinal a nós, pessoas perfeitamente comuns transfiguradas em homens east mulheres excepcionais." ...more

Nov 26, 2013 Jee Koh rated it actually liked it

In this work of philosophy, Danto wishes to define art, and to testify why contemporary art, having attained cocky-consciousness, is asking the same questions equally philosophy. His arroyo throughout the volume is to compare artworks with what he calls mere real things, when both are indiscernibly akin. The ii classes of things, every bit he argues, belong to dissimilar ontological realms, hence, the title of his book. The artist performs a transfiguration of the commonplace when he makes of his materials a w In this work of philosophy, Danto wishes to ascertain fine art, and to show why gimmicky art, having attained self-consciousness, is asking the same questions as philosophy. His arroyo throughout the book is to compare artworks with what he calls mere real things, when both are indiscernibly akin. The two classes of things, as he argues, belong to different ontological realms, hence, the title of his book. The artist performs a transfiguration of the commonplace when he makes of his materials a work of art. Danto has been criticized for his belief in duality, underlined by the Christian or Cosmic figure of transfiguration, and reiterated throughout the book in his references to the body and the soul. I am not sure if the two ontological realms are as separate as his tropes imply, for his argument proceeds by making nice distinctions between, first, a representation and an object, and, so, between a representation and an artistic representation. If the categories are finally dissimilar, they are also procedurally nested in ane another.

Very roughly, if I understand him rightly, the departure between a representation and an object is that the former is intended. The difference between a representation and an creative representation is that the latter is artistically intended, significant, the artist, with his knowledge of the artworld and art history, intends to brand a work of art. Then Andy Warhol's Brillo Box is a dissimilar thing from the Brillo box in the supermarket fifty-fifty though they look indiscernibly the same. In order for the viewer to grasp the artistic intention behind the fine art work, the viewer must know or come to sympathise the meanings that the artist infused into the work. The structure of the artwork is thus very shut to the structure of a metaphor.

So the artwork is constituted as a transfigurative representation rather than a representation tout court, and I retrieve this is true of artworks, when representations, in general, whether this is achieved cocky-consciously, as in the arch work I have been discussing, or naively, when the artist simply happens to vest his subject with surprising yet penetrating attributes. To understand the artwork is to grasp the metaphor that is, I retrieve, always at that place. (172)

Danto draws out many implications from the last statement, one of which has to do with the limits of art criticism:

The outset is that if the structure of artworks is, or is very shut to the construction of metaphors, and then no paraphrase or summary of the artwork can engage the participatory mind in at all the ways that it tin can; and no critical business relationship of the internal metaphor of the work can substitute for the work inasmuch as the clarification of a metaphor but does non have the power of the metaphor information technology describes, just as a description of a cry of anguish does not activate the same response as the cry of anguish itself. (173)

The task of art criticism is not only to interpret the metaphor just to provide the viewer with the necessary data to answer to the artwork, information lost to fourth dimension or unknown due to place.

Criticism then, which consists in interpreting metaphor in this extended sense, cannot exist intended as a substitute for the work. Its role rather is to equip the reader or viewer with the information needed to reply to the work's ability which, after all, can be lost as concepts change or be inaccessible because of the outward difficulties of the work, which the received cultural equipment is insufficient to accommodate. It is non only, every bit is then often said, that metaphors go stale; they go dead in a way that sometimes require scholarly resurrection. And information technology is the great value of such disciplines as the history of art and literature to brand such works approachable once more. (174)

The statement nearly art leads Danto to expound on a view nearly man.

My view, in cursory, is an expansion of the Peircian thesis that "the man is the sum total of his language, because man is a sign. . . . information technology is not just what a human represents, merely is the style in which he represents it, which has to be invoked to explain the structures of his mind. This way of representing any he does stand for is what I have in mind by style. If a man is a system of representations, his manner is the manner of these. The style of a man is, to use the beautiful thought of Schopenhauer, "the physiognomy of the soul."

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Sempre en contra de la filosofia analítica excepte quan serveixi per fer-me trontollar la concepció que tenia de l'estètica. No vull estar d'acord amb el què s'hi diu, però alhora ho diu tan bé que costa. Mai havia estat tan contenta d'haver llegit Frege i Russell, cosa que, si em coneixeu, sabeu que diu molt del llibre.

Ara, també us diré una cosa: no calien quasi 300 pàgines.

Sempre en contra de la filosofia analítica excepte quan serveixi per fer-me trontollar la concepció que tenia de l'estètica. No vull estar d'acord amb el què s'hi diu, però alhora ho diu tan bé que costa. Mai havia estat tan contenta d'haver llegit Frege i Russell, cosa que, si em coneixeu, sabeu que diu molt del llibre.

Ara, també usa diré una cosa: no calien quasi 300 pàgines.

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Aug 24, 2017 Dora rated it information technology was amazing

I recollect information technology goes without saying that this is one of the capital works in the field of the theory of art. Notwithstanding, what I institute nearly valuable were the examples Danto provides in his unique, artistic however extremely logical and well-founded way. Past concentrating on several controversial artworks and giving a philosophical groundwork, he challenges the definition of art just likewise provides adequate alternatives. And he manages to do all of this in an entertaining way!

Nov 25, 2012 Drenda rated it actually liked it

Danto is request an interesting question in Transfiguration of the Commonplace: what is it that we are responding to when we have an artful feel? He pursues this question by investigating ii identical objects, one'south an art object while the other is not. In the history of art, artists have asked similar questions by dragging everyday objects into the museum, think of Duchamp and Warhol, simply Danto's imagined examples brand the question even purer. Nosotros have three fine art objects, ( all art objec Danto is asking an interesting question in Transfiguration of the Commonplace: what is it that we are responding to when nosotros accept an aesthetic feel? He pursues this question by investigating two identical objects, one's an art object while the other is not. In the history of fine art, artists have asked similar questions past dragging everyday objects into the museum, think of Duchamp and Warhol, merely Danto'south imagined examples brand the question even purer. Nosotros have three art objects, ( all art object examples are Danto'due south) the first a sheet of red rectangles, one next to each other, with the title "Kierkegaard's Mood", because the creative person was a fan of the existentialist who commented that all the turmoil of his agonized soul filtered down into a mood, a single color. The next is a sail of red rectangles, and in fact looks exactly like the starting time, just this creative person was from Moscow, and in calling his painting "Blood-red Square", produced an abstruse landscape of his native city. The third fine art object appears indistinguishable from the other two, but this creative person has read Indian philosophy and knows that the Samsara world is fondly called Ruby Dust in sure quarters, and it has the championship "Nirvana". Then there is the canvas in our garage since my high school fine art class, that I primed with red paint just never committed to painting. While this terminal looks exactly like the other three, it is not an art object, just a thing in the world. These examples nicely make the bespeak that an art piece of work is what information technology is considering of the traditions surrounding it, what the world was like around it, all this cognition edifice to our attitude toward it. How much departure does the object itself make? If we deport this case far enough, it makes no deviation at all.

One of the first thoughts one might have after this sort of practice is 'merely is this not relevant just to modern, non-representational art?' Danto would say no, that no fine art is truly 'realistic' in its depiction, being no mirror image of a thing in the earth. He would say that anything that was e'er considered art was embedded in the viewpoints and possibilities of its time: a portrait always says more about the artist and his milieu than the sitter. Moreover, Danto would maintain that all art, representational or not, has been tending this way since before, simply specially since, the time when a principal theme of fine art became the investigation of itself, what some would call the onset of Modernism. The point is that Danto'due south thrust is not to in anyway limit the contributions of artists in producing these infinitely interesting and manipulated art objects; the question becomes one of what the object needs to be, at a minimum, to be an art object.

1 of the essential statements in Transfiguration is to the event that 1 must know that something is art before y'all can respond to it as art. What is this maxim? I believe his intention is grasped when, afterward laying the appropriate groundwork, he supplies this definition of an artwork: 'works of fine art, in categorical contrast with mere representations, use the ways of representation in a manner that is not exhaustively specified when 1 has exhaustively specified what is being represented.' (p. 147). The way I translate this statement is to say that once you accept said everything that could exist said in everyday, not-aesthetic discourse most the art object, it is still not fixed by such language, that no one who enjoys the fine art object finds information technology described by such language. In order to adequately convey what the art object presents, ane must learn when to drop everyday language and adopt the linguistic communication of the art world.

Danto gives us a very good instance of such language in the utilise of the discussion 'powerful' when describing a canvas, say, a powerful painting of flowers. I call up of Redon. 1 would never say of an actual flower that it was powerful only a picture of a flower can be. Consider a youngster from a rural background with a relative who wishes to introduce him to the city. When taken to the museum, the child can only supply the linguistic communication of everyday objects to the artwork, and the simply pictures to which he tin use the word powerful are those with imposing contents: Titians, battle scenes, Hudson River Schoolhouse waterfalls. But slowly, after many examples supplied by his aunt, the youngster learns that pictures of nonspectacular things can exist powerful, things like a wilted flower. When he stands in front of an object, he is beginning to be able to choose which language to utilize; another way to say it, whether to utilise an aesthetic attitude or an everyday mental attitude.

Danto has a dandy deal of regard for Andy Warhol-his latest book beingness entirely about that artist-and he has described how he experienced something of an epiphany when starting time viewing Brillo Boxes. These look, of course, exactly like the boxes in the cleaning section of our local supermarket. Needless to say, many influences and weather attributed to Warhol'south productions: he came from a commercial fine art background and took (either ironically or not) glee in popular culture. Indeed, Danto tells the states that Warhol truly liked Campbell soups. But whether Warhol was conscious of information technology or non, Danto suggests that he helped to brand art and philosophy conscious that the art object could be whatever the artist wished to make employ of, considering information technology is how the art globe receives information technology that makes that production an artwork. The term "art world" is divers as those who accept been educated to interpret fine art.

Reading Danto was made especially interesting by having read The Sovereignty of Art by Christoph Menke not long before. Certainly, the two books share many basic bounds, the autonomy of fine art from everyday discourse existence the well-nigh bones. Beyond that, they share the belief that the artful response " targets the status of an object rather than its features".(Menke, p. 228 ) Since the artful response is an attitude not dependent on the features of the object, Menke builds to the possibility of transferring that aesthetic attitude to other arenas, to other discourses. Danto does not appear to share this concern just builds, instead, to the sense of equalitarianism that results from placing the emphasis on aesthetic feel rather than aesthetic production. Anyone who wants to put the piece of work into learning the linguistic communication of fine art shares in its power. It does not depend on talents or any other gift simply the ability to learn. In this there is some irony, every bit an essay by Danto provided the fodder for what is termed the Institutional Theory of Art. Roughly stated, this argues that anything is art that museum directors and academics say it is, the job for the rest of united states to supply the applause. However, Danto'south bespeak is much more extreme than this. He is talking well-nigh the differences between worlds rather than institutions and might be summarized with a point made by Wittgenstein: you tin can't have a private language and you can't have a individual globe, fine art world included. Gaining entrance to the art world demands socialization into its class of life, into a new language. Moreover, to a unique form of life, the only one that allows and perhaps encourages semantic deferral.

Supposing that I have provided at least a minimally satisfactory description of Danto'due south volume, I tin can feel sympathy with a reader who might advise that the elitism of the Institutional theory is but expanded here to include anyone who has been educated plenty in the cracking Western tradition to participate in its thought. And is non that tradition more often than not created by, and based on the assumptions of, white males with enough socio-economical ease to produce the canon? Whatsoever critic who relies a great deal on that canon, Harold Bloom being an obvious example, might be open up to outsider criticism without the concession that the features of the art object, which the tradition has polished and analyzed to ultimate refinement, is yet not the basis of its status as an art object. If, in the last assay, the result of aesthetic responding is an attitude, a stance, then the features that helped to produce that opinion tin can be rejected. This makes it ppossible, for case, that many feminists were produced by absorbing male person dominated literature. These aforementioned works, however, could encourage sexist rigidity in any reader fixated on its content. Danto's art object is 1 that can transcend its production, its course determined by its reception, and we, it readers, listeners, receivers, responsible for what that means.

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May 13, 2018 Crito rated it really liked information technology

Danto is refreshing because he'due south a philosopher who actually knows his shit when it comes to art, every bit opposed to one who is "intrinsically philistine" and "singularly insensitive to art" similar Kant (Danto'southward words, not mine), or other figures like Schopenhauer and Nietzsche who were consumers and admirers of art but fell short of a truthful art theory or art history understanding of information technology. More beauteous all the same is he'due south an Analytic but he defies the unfair caricature of analytics as unpersonable gremlins wri Danto is refreshing considering he's a philosopher who actually knows his shit when it comes to art, as opposed to one who is "intrinsically philistine" and "singularly insensitive to art" like Kant (Danto's words, not mine), or other figures like Schopenhauer and Nietzsche who were consumers and admirers of art simply fell short of a true art theory or fine art history agreement of it. More beauteous still is he'due south an Analytic but he defies the unfair caricature of analytics as unpersonable gremlins writing entire books in notation; in fact yous could likely not even know until y'all attain the last chapter when he really shows his powerlevel, which is still approachable in its own right. He'south consistently engaging and always has examples and scenarios to illustrate the problems and arguments he concerns himself with.
Danto spends his time here with the question of what sets an ordinary object apart from what we generally describe as art. Nosotros note a general Wittgensteinian family resemblance between the course of art objects, but what is the defining feature? It tin can't exist material. If coincidentally, using the same ready of paints on the same size canvass, I paint a large yellowish circumvolve with a groundwork of blue and say information technology is a ball in a puddle, and then you paint a large yellow circle with a background of blue and say it is the sunday in the sky the day of Kennedy'southward assassination, materially they are identical but manifestly they are dissimilar paintings arising independently from specific ideas. Even the blazon of representation is entirely different; mine is some ball in some pool, and yours is very specific, the dominicus in the sky in one particular bespeak in fourth dimension and history. And merely for one last improver say there's a camp advisor painting a target for darts, she paints a big yellow circle on a blue background so the target sticks out, but before she can pigment the interior of the target she gets word from the higher-ups that they don't want kids playing with darts later what happened concluding year, then the project is abandoned. You would never mistake this for our corresponding puddle and bump-off artworks, this is a "mere thing." It does not have that dimension the artworks take, in the same way a spasm of the hand doesn't have the dimension of waving hi to someone.
Then the question is what is "that" dimension which separates ball from dominicus, and those from dartboard. Danto doesn't think "representation" is comprehensive plenty considering, maybe atomically, not everything in the work, exist it every note or brushstroke, tin take a one to i correlation in a representative fashion (there'southward far more to it, but this volition suffice). Danto thinks it is closer to say information technology'south a mode of expression, in which in that location is a joining between metaphor, rhetoric, and style. "Expression" tickles my confirmation bias because that'south the word I've e'er liked to use, just I'k not sure if this ends upwardly every bit completely satisfying an caption. Or at least it isn't compelling as Danto's elaborations of the bug and arguments against what fine art tin can't exist. That's really the all-time part, and Danto engages with a actually broad and various range of thinkers on the discipline. And information technology'southward peppered with small funny trivial observations, similar when people mistake describing a painting for a value judgement on information technology (sure that story is dark, brooding, and ominous, only is information technology good?). Overall this was neat, it's a deliberate antitoxin to the pre-20th century understandings of art, both in terms of philosophers and of common regressive perspectives. I'll be sure to check out more Danto soon. Strong Recommendation. ...more

May eleven, 2020 Teodora Lovin rated it it was amazing

Citită imediat după cartea lui de Duve (deși a fost scrisă cu câțiva ani înaintea ei), cartea lui Arthur C. Danto caută să dea o definiție artei luând prin eliminare elementele compoziționale, stilistice și, de ce nu, metafizice ce creează o operă de artă.
Privit în paralel cu "În numele artei", studiul său e ceva mai compact și mai bine centrat pe ceea ce îl interesează pe el - arta modernă, de la Duchamp încoace, și problematica unui element definitoriu pentru ceea ce (mai) înseamnă arta în ge Citită imediat după cartea lui de Duve (deși a fost scrisă cu câțiva ani înaintea ei), cartea lui Arthur C. Danto caută să dea o definiție artei luând prin eliminare elementele compoziționale, stilistice și, de ce nu, metafizice ce creează o operă de artă.
Privit în paralel cu "În numele artei", studiul său e ceva mai meaty și mai bine centrat pe ceea ce îl interesează pe el - arta modernă, de la Duchamp încoace, și problematica unui element definitoriu pentru ceea ce (mai) înseamnă arta în genere. Mai exact, și Danto si de Duve pornesc de la pisoarul duchampian, considerându-fifty pilonul care a demarcat o artă bazată mai degrabă pe istoricul său de arta conștientă de sine.
Spunând "aceasta este artă", artistul de fapt se angajează într-un demers în care obiectul artistic trece de la distincția suport-conținut la fuziunea dintre cele două - de acum, ceea ce era suport devine parte din arta în sine.
Problema apare însă când linia de demarcație dintre artă și not-artă devine fragilă și separă mai degrabă arbitrar cele două zone. De aici și complexitatea artei moderne care iese din tiparele canonice ale unui obiect creative, pe care Danto o interoghează pas cu pas ajungând într-un final la concluzia că arta modernă due east angaja(n)tă sau nu va fi deloc. ...more

Terminei de reler, agora em português e muito detidamente, nessa bela edição, essa obra prima da filosofia da arte. Escrito na década de 80 mas mergulhado na cena da arte pop dos Estados Unidos da década de 60-70, especialmente da pintura, o livro propõe uma ontologia da obra de arte própria, em torna da ideia de que uma obra de arte tem um assunto, colocado de modo representacional e sob um certo estilo, convidando-nos à prática da interpretação, a partir de um contexto artístico. As obras se c Terminei de reler, agora em português east muito detidamente, nessa bela edição, essa obra prima da filosofia da arte. Escrito na década de eighty mas mergulhado na cena da arte pop dos Estados Unidos da década de 60-seventy, especialmente da pintura, o livro propõe uma ontologia da obra de arte própria, em torna da ideia de que uma obra de arte tem um assunto, colocado de modo representacional e sob um certo estilo, convidando-nos à prática da interpretação, a partir de um contexto artístico. Equally obras se colocam num mundo da arte, e portanto, são objetos intencionais (que incorporam seu conteúdo) que por tal, saiem practise nossa realidade cotidiana, separam-se da maneira como trataríamos objetos cotidianos.

Aqui Danto avança seu famoso método dos indiscerníveis eastward procura dar alcance máximo à seu representacionalismo. A condução exercise livro é muito interessante, supostamente baseada em Diderot (Jacques, o fatalista) e inspirada por diálogos platônicos. É divertida de ler, com uma camada que não exige tanto practise leitor desavisado/artista, ao mesmo tempo que numa leitura detida apresenta ideias intrincadas e passagens complexas. Geralmente propõe uma situação imaginária, com elementos reais ou puramente de experimento mental, e assim traz à luz um problema quanto à natureza da arte, que discute e argumenta em torno, para avançar algum ponto ou arquitetar um recúo estratégico a fim de avançar mais em seguida. Assim, no fluxo da leitura, com bone exemplos especialmente preparados, resgates históricos (também de filosofia: Poética east Retórica de Aristóteles, Íon de Platão, O nascimento da tragédia, de Nietzsche etc), é bastante convincente, due east independentemente das suas pretensões universais, certamente nos ilumina sobre a arte contemporânea e o impulso artístico em geral, especialmente quando pensamos nos desdobramentos practise seu exemplo predileto: aquele de dois objetos perceptivamente idênticos, um dos quais é arte due east o outro não.

Também é interessante como o livro dialoga com o Linguagens da Arte, exercise Nelson Goodman, que também recomendo muito, embora mais explicitamente técnico.

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Sep 04, 2019 Zo rated it it was amazing

I was adequately skeptical of this text at get-go because so much of the initial discussion seemed concerned with questions of definition that rested on unfair assumptions about conceptual rigidity. But even in those early pages Danto's thought is total of fascinating connections between different areas of philosophy/art, and his use of thought-experiments is always stimulating. And as the text progressed I idea it stopped spending also much time on those assumptions and turned into an incredibly ri I was fairly skeptical of this text at first considering then much of the initial discussion seemed concerned with questions of definition that rested on unfair assumptions about conceptual rigidity. But even in those early pages Danto'south idea is full of fascinating connections between dissimilar areas of philosophy/art, and his utilize of idea-experiments is e'er stimulating. And equally the text progressed I thought information technology stopped spending too much time on those assumptions and turned into an incredibly rich exploration of aesthetics, how to call back about fine art, and how to talk near art. His accent on the importance of intentionality, context, and belief in imbuing artworks with meaning aligned with my pre-existing beliefs, yet he manages to push those thoughts into more than refined and nuanced form than I had thought possible. The work ends up being far less of a definition of what art is so a stimulating meditation on the means human perception can be shaped/warped in different ways and through unlike contexts, with art every bit the paradigmatic example. The final two chapters crescendo into a cute and profound discussion of the power of art, the function of criticism, and the nature of taste. I retrieve his give-and-take could serve as a guiding post for rethinking how humanistic education works in many cases, and it is pertinent to thinking most how to anticipate AI-produced fine art as well. Then, while at times he falls back on a logician'south conceptual rigidity that can be frustrating, the work ends up being a smashing case of what philosophy can do. By bringing in various philosophical tools as well as domain-knowledge he doesn't end up "revealing truths" or "advancing cognition," merely instead providing clarity and depth to the understanding of a deeply important topic. ...more than

Oct ten, 2014 Ann Michael rated it it was amazing

I was non, I admit, expecting to savour this book but just to acquire from it. Danto, however, is a surprisingly entertaining philosophical writer. I love that he takes his championship from a fictional book (from Muriel Sparks' The Prime of Miss Jean Brodie). As a philosophy of Art, Danto's theories work quite well as a groundwork for thinking almost what art "is" or may be, and what it is not, and where the difficulties prevarication in discerning between those purported opposites.

My favorite chapters are 4 and 5

I was not, I admit, expecting to enjoy this book merely just to acquire from information technology. Danto, nevertheless, is a surprisingly entertaining philosophical writer. I love that he takes his championship from a fictional book (from Muriel Sparks' The Prime of Miss Jean Brodie). As a philosophy of Art, Danto's theories work quite well equally a groundwork for thinking about what art "is" or may be, and what it is not, and where the difficulties prevarication in discerning between those purported opposites.

My favorite chapters are 4 and 5, on the aesthetics, work, estimation, and identification of art. Danto combines common sense with high-flown and historical philosophical ideas almost art, and I would cite his work every bit a kind of take-downwardly for deconstructionist theories.

While some of his contemporary examples (humorous and relevant) are dated, heavily using 1960s and 1970s pop civilisation and artworld commentary and examples...well, I am of that era, and those worked for me. A younger person might have to employ a fleck of research to nail downwards those analogies, but it would be worth the effort.

Much food for thought here, for those who spend mental free energy on intellectual ideas nearly beingness, fine art, and expression.

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Jun 23, 2013 Harvey rated information technology really liked it

- Duchamp was the offset to perform the subtle miracle of transforming, into works of fine art, objects from commonplace existance (a bicycle cycle, a pipe, a urinal, etc) and Warhol was probably the best known (his Brillo Boxes for example) only artists such as these (and hundreds like them, and inspired by them) have made the art world revisit the historic period-old adage "What is fine art?"
- Danto is a bright academic (Art Critic for The Nation Mag, Professor of Philosophy/Fine art/History), and I don't for a s - Duchamp was the get-go to perform the subtle miracle of transforming, into works of art, objects from commonplace existance (a bicycle cycle, a pipe, a urinal, etc) and Warhol was probably the all-time known (his Brillo Boxes for example) just artists such as these (and hundreds like them, and inspired by them) have made the fine art world revisit the historic period-sometime aphorism "What is art?"
- Danto is a brilliant academic (Art Critic for The Nation Mag, Professor of Philosophy/Art/History), and I don't for a second pretend to fully sympathise every one of his Mathematical Art/Philosophical Art/Conceptual Art/Social Art theories, but I honestly enjoyed this book, although information technology was challenging at times.
- I thought information technology was fascinating. ...more

Oct eleven, 2009 Lauren Albert rated it it was astonishing

A wonderful book. My re-create is at present brindled with mail service-information technology flags. I wish I had a Kindle re-create so that I could easily copy quotes. Anyway, whether you hold or disagree with Danto, his discussions of what makes art, fine art are smart and comprehensive. He is also that rare matter--a philosopher who gives examples! He brings abstractions about art downwards-to-world using existent or hypothetical examples. There are definitely more difficult parts merely I found it a lot more readable than almost contemporary philosophy. A wonderful volume. My re-create is at present brindled with post-it flags. I wish I had a Kindle copy so that I could easily re-create quotes. Anyway, whether you hold or disagree with Danto, his discussions of what makes fine art, art are smart and comprehensive. He is also that rare thing--a philosopher who gives examples! He brings abstractions virtually art down-to-earth using existent or hypothetical examples. At that place are definitely more difficult parts only I plant it a lot more readable than most contemporary philosophy. 8/09 ...more

A good book most art (Danto emphasizes on visual arts), from the view of analytic philosophy. Information technology has some very interesting arguments about the questions of imitation in art or the cognitive ability of the work of art.
The only thing that really didn't like is that the volume is so dedicated to clarify the details of the relation between noesis and art, that it forgets to include the aesthetic part of it. Considering the fact that art is a chief aesthetic phaenomenon, the book fails (in my opin A skilful book most fine art (Danto emphasizes on visual arts), from the view of analytic philosophy. It has some very interesting arguments about the questions of faux in art or the cognitive power of the work of art.
The but thing that really didn't like is that the book is so dedicated to clarify the details of the relation between noesis and art, that information technology forgets to include the aesthetic office of it. Considering the fact that art is a master aesthetic phaenomenon, the book fails (in my opinion) to evangelize a convincing answer about what makes a commonplace item, a slice of art.
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December 27, 2010 Michael rated it really liked it

Danto is a corking explainer of art. I recently started pedagogy an Fine art Appreciation course at ITT for our Multimedia/Visual Communications students, and I was surprised at how much of Danto's understanding and approach to art accept been incorporated into my fundamental understanding of how to await at and understand art. Danto is a nifty explainer of art. I recently started teaching an Fine art Appreciation class at ITT for our Multimedia/Visual Communications students, and I was surprised at how much of Danto's understanding and arroyo to art take been incorporated into my fundamental understanding of how to look at and empathise art. ...more

Aug 04, 2008 Lynn marked it as to-read

Eek. I need a lexicon and a notebook for this i just Danto articulates and defends his philosophy of fine art very concisely. More than to come simply information technology might accept a while. Although thin, this ane is hefty...

The fundamental question this book addresses is "What is art?" Danto provides a few answers, but leaves the field open for estimation. I expected to be infuriated past his ideas but concluded up completely devoted. Whatever volume that makes you desire to make is a practiced ane. The fundamental question this book addresses is "What is art?" Danto provides a few answers, but leaves the field open up for interpretation. I expected to be infuriated past his ideas just ended up completely devoted. Any book that makes yous desire to make is a skilful one. ...more

May 08, 2012 Jess rated information technology really liked it

I detect Danto's theories to exist, at times, problematic, but he is an engaging author (something of a rarity amongst virtually art philosophers these days, I find) and although I initially borrowed this for what proved to exist a rather tiresome essay, I enjoyed reading it. I detect Danto's theories to exist, at times, problematic, just he is an engaging writer (something of a rarity amongst most art philosophers these days, I find) and although I initially borrowed this for what proved to be a rather tiresome essay, I enjoyed reading it. ...more

hmmm.. i'm not certain I concord with Danto. hmmm.. i'yard not sure I agree with Danto. ...more

Sep 10, 2009 Ryder rated information technology information technology was amazing

The first art philosophy book I read that seemed to make sense.

Dec 24, 2008 Ryan rated it information technology was amazing

I had an Aesthetics course this semester past, and though this text mis-translates a Borges story, it still manages to be very proficient. (Wow, this shows just how long ago I've looked at this site.) I had an Aesthetics class this semester past, and though this text mis-translates a Borges story, it still manages to exist very good. (Wow, this shows just how long agone I've looked at this site.) ...more

Mar 05, 2007 gabrielle rated it actually liked it

I call back his theory leaves a lot to be desired, and has several holes. But, overall, it is a skillful read and adequately entertaining.

Dec 03, 2010 John Herman rated information technology information technology was amazing

Revolutionary volume. Philsosophy finally caught up with 20th century art.

Arthur C. Danto was Johnsonian Professor Emeritus of Philosophy at Columbia Academy and art critic for The Nation. He was the author of numerous books, including Unnatural Wonders: Essays from the Gap Betwixt Art and Life, Later the End of Art, and Across the Brillo Box: The Visual Arts in Mail service-Historical Perspective.

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Source: https://www.goodreads.com/book/show/137926.The_Transfiguration_of_the_Commonplace

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