By Arthur C. Danto
After the top of artwork 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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Additional resources for After the End of Art
Only when it became clear that anything could be a work of art could one think, philosophically; about art. Only then did the possibility arise of a true general philosophy of art. But what of art itself? What of "Art after Philosophy"-to use the title of Kosuth's essay-which, to make the point, may indeed itself be a work of art? " With that question the history of modernism was over. It was over because modernism was too local and too materialist, concerned as it was with shape, surface, pigment, and the like as defining painting in its purity.
It had lost its way because nothing at all like a discernible direction seemed to be emerging. If we think of 1962 as marking the end of abstract expressionism, then you had a number of styles succeeding one another at a dizzying rate: color-field painting, hard-edged abstraction, French neorealism, pop, op, minimalism, arte povera, and then what got to be called the New Sculpture, which included Richard Serra, Linda Benglis, Richard Tuttle, Eva Hesse, Barry Le Va, and then conceptual art. Then what seemed to be ten years of nothing much.
Since any image could be appropriated, it immediately follows that there could be no perceptual stylistic uniformity among appropriated images. One of my favorite examples is Kevin Roche's 1992 addition to the Jewish Museum in New York. The old Jewish Museum was just the Warburg mansion on Fifth Avenue, with its baronial associations and connotations of the Gilded Age. Kevin Roche brilliantly decided to duplicate the old Jewish Museum, and the eye is unable to tell a single difference. But the building belongs to the postmodern age perfectly: a postmodern architect can design a building which looks like a Mannerist chateau.
After the End of Art by Arthur C. Danto