1. Art and Theory Arthur C. Danto

2. Two influential articles The Artworld (1964) The End of Art (1986)

3. Main thesis of The Artworld In order that anything be art a theory is necessary This is revealed by the analysis of visually indiscernable things which are different They are different because of the “theory” that constitutes them, not by any intrinsic, visual property

4. Two theories Modes of looking at paintings –Imitation theory (IT) Paintings are imitations of nature/reality –Reality theory (RT) Paintings present real forms and colours, they are “non-imitations” Development analogous to development in history of science –Theory – Deviations - New theory

5. Is of artistic identification Newtons First Law (A) Newtons Third Law (B) Artistic identifications, not interpretations This is this

6. Testadura and the artist Testadura: There is no artwork, all he sees is paint The artist: That black paint is black paint Danto: “We cannot help [Testadura] until he has mastered the is of artistic identification and so constitutes it a work of art” (139)

7. Danto’s idea of the Artworld “To see something as art requires... an atmosphere of artistic theory, a knowledge of the history of art: an artworld.” (140)

8. The role of theory “What in the end makes the difference between a Brillo box and a work of art consisting of a Brillo Box is a certain theory of art. It is the theory that takes it up into the world of art and keeps it from collapsing into the real object which it is... Of course, without the theory, one is unlikely to see it as art...”

9. Some elementary logic Valid argument –If we have a work of art, then we have theory –If not theory –Then not work of art Conclusion –It is the work of art (the practice) that implies the theory, not the theory that implies the work of art.

10. The style matrix G = Representation F = Expression Available styles –Representational expressionism (Fauvism) –Representational non-expressionism (Ingres) –Non-representional expressionism (Abstract expressionism) –Non-representational non-expressionism (Hard edge abstraction)

11. The End of Art Four perspectives on the History of Art –1. Representational –2. Expressionistic –3. Modern –4. Post-historical

12. Representation History of art is a progress aiming at always more exact representation (imitation) of reality –Perspective in the Renaissance –Photography in the 19th century –Cinema in the 20th century Linear development A certain history of art is finished

13. Expression History of art as record of expressions, No linear, historical development Collection of different expressions Taste and mode determine preferences

14. Modern History of art is the story art in search of its own self understanding This self-understanding is art’s realisation of its own philosophical nature Art becomes its own theoretical self- understanding as art

15. The End of Art The historical role of art has been to create a philosophy of art –Art moves away from the realm of objects into the realm of theory and ideas (e.g. Duchamp) – Art gradually relies more and more on theory –Art becomes theory A certain historical development has come to a close

16. Before and after the End of Art The avant-garde-oriented understanding of art –The modernist ethic –The analogy with science –Making art is contributing to a progress –Only those who contribute to the progress are true artists –Results in the evolution of art into philosophy What happens after the End of Art? –Emergence of a free, post-historical art