Последние издания книг Артура Данто

«Что такое искусство?» — книга арт-критика Артура Данто, в которой он ставит под сомнение популярную интерпретацию искусства как понятия, не имеющего конкретного смысла, и теоретизирует характеристики искусства, составляющие универсальное определение. Данто утверждает, что, несмотря на разнообразные подходы, произведение искусства определяется двумя основополагающими критериями: смыслом и воплощением, а также дополнительным критерием, — интерпретацией — которым наделяет его зритель. Опираясь как на философию, так и на историю искусства, Данто затрагивает различные жанры и эпохи — от платоновского определения искусства в «Государстве» до…

Коробка не могла бы стать искусством еще полвека назад, как не могло быть, при прочих равных, страховки авиаперелета в Средневековье или ластика для пишущей машинки у этрусков. Мир должен быть готов к некоторым вещам, и мир искусства в этом смысле ничем не отличается от реального мира. В этом и заключается роль художественных теорий, сегодня и во все времена: делать возможным мир искусства и само искусство. Артур Данто

What is it to be a work of art? Renowned author and critic Arthur C. Danto addresses this fundamental, complex question. Part philosophical monograph and part memoiristic meditation, What Art Is challenges the popular interpretation that art is an indefinable concept, instead bringing to light the properties that constitute universal meaning. Danto argues that, despite varied approaches, a work of art is always defined by two essential criteria: meaning and embodiment, as well as one additional criterion contributed by the viewer: interpretation. Danto crafts his argument accessibly, engaging with both philosophy and art across genres and eras, beginning with Plato's definition of art in The Republic and continuing through the progress of art as a series of discoveries, including such innovations as perspective, chiaroscuro, and physiognomy. Danto concludes with a fascinating discussion of Andy Warhol's famous shipping cartons, which are visually indistinguishable from the everyday objects they represent.

In a work of great wisdom and insight, art critic and philosopher Arthur Danto delivers a compact, masterful tour of Andy Warhol's personal, artistic, and philosophical transformations. Danto traces the evolution of the pop artist, including his early reception, relationships with artists such as Jasper Johns and Robert Rauschenberg, and the Factory phenomenon. He offers close readings of individual Warhol works, including their social context and philosophical dimensions, key differences with predecessors such as Marcel Duchamp, and parallels with successors like Jeff Koons. Danto brings to bear encyclopedic knowledge of Warhol's time and shows us Warhol as an endlessly multidimensional figure-artist, political activist, filmmaker, writer, philosopher-who retains permanent residence in our national imagination. Danto suggests that "what makes him an American icon is that his subject matter is always something that the ordinary American understands: everything, or nearly everything he made art out of came straight out of the daily lives of very ordinary Americans. . . . The tastes and values of ordinary persons all at once were inseparable from advanced art."

Mr. Danto argues that recent developments in the artworld, in particular the production of works of art that cannot be told from ordinary things, make urgent the need for a new theory of art and make plain the factors such a theory can and

An Incisive Account of the Bizarre, Often Bewildering Art World of Today
Arthur Danto's new collection finds him, and the art world, at a point when the art world has become pluralistic, even chaotic-with one medium as good as the next-when the moment for "next things" has passed.
Since 1984, when Danto-already an eminent philosopher--became "The Nation's" art critic, he has been one of the foremost theorists of contemporary art's history and evolution, and at the same time the most incisive and illuminating critic of new work. In his view, the historical development of art reached a kind of zenith in the pop period, most famously with Warhol's Brillo Boxes. Danto's five volumes of review essays (all published by FSG) form a kind of chronicle of the art world since the Brillo moment, and a running appraisal of the great variety of significant work made since then. In this new book, he shows how work that bridges the gap between art and life is now the definitive work of our time: Damien Hirst's arrays of skeletons and anatomical models, Barbara Kruger's tchotchke-ready slogans, Renee Cox's nude portrait of herself at the Last Supper. To the obvious question--is this stuff really art?--Danto replies with an enthusiastic yes, explaining, with a philosopher's clarity and an art lover's sense of delight, how these "unnatural wonders" show us who we are.

In this acclaimed work, first published in 1986, world-renowned scholar Arthur C. Danto explored the inextricably linked but often misunderstood relationship between art and philosophy. In light of the book's impact--especially the essay "The End of Art," which dramatically announced that art ended in the 1960s--this enhanced edition includes a foreword by Jonathan Gilmore that discusses how scholarship has changed in response to it. Complete with a new bibliography of work on and influenced by Danto's ideas, The Philosophical Disenfranchisement of Art continues to be of interest to anyone who thinks seriously about art, as well as to philosophers, aestheticians, and art historians.

Данто полагает, что задача философии не в том, чтобы размышлять или говорить о мире, а, скорее, в том, чтобы анализировать способы размышлений и высказываний о мире. Его книга - первый на русском языке анализ исторического мышления и языка,

Российскому читателю предстоит познакомиться с книгой, которая во многих отношениях окажется для него неожиданной. А.Данто задумывал и писал свою книгу о Ницше как философ-аналитик. Анализируя идеи и аргументы того или иного философа прошлого, американцы и другие англоязычные философы предпочитают полемизировать с ним как с современником.

Перед Вами — весьма любопытная книга, написанная в жанре, почти совсем неизвестном отечественной философской литературе, — в жанре беседы с философами. У этой книги есть одно ценное качество, за которое ей будут благодарны и философы, и люди, интересующиеся философией. Автор заставляет своих собеседников рассказывать о себе: кто где учился, работал, с кем дружил, кого читал и т. п. И за именами Куайна, Рорти, Патнэма появляются живые люди — со своей биографией, с характером и какими-то взаимными отношениями. Нам известны имена авторов книг и статей, творцов идей и концепций, с которыми мы соглашаемся или спорим, но нам порой совершенно не известны люди, стоящие за этими именами. Джованна Боррадори знакомит нас с ними.

In this collection of interconnected essays, Arthur C. Danto argues that Andy Warhol's Brillo Box of 1964 brought the established trajectory of Westen art to an end and gave rise to a pluralism which has changed the way art is made, perceived, and exhibited. Wonderfully illuminating and highly provocative, his essays explore how conceptions of art-and resulting historical narratives-differ according to culture. They also grapple with the most challenging issues in art today, including censorship and state support of artists.

Since 1984, when he became art critic for The Nation, Arthur C. Danto, one of America's most inventive and influential philosophers, has also emerged as one of our most important critics of art. As an essayist, Danto's style is at once rigorous, incisive, and playful. Encounters and Reflections brings together many of his recent critical writings—on artists such as Andy Warhol, David Hockney, and Robert Mapplethorpe; and on the significance of issues like the masterpiece and the museum. The result is a spirited brief from the front lines of current aesthetic and philosophical debate.