After the End of Art: Contemporary Art and the Pale of History - Updated Edition 阿里云 lit azw3 txt pdf caj 下载 在线

Over a decade ago, Arthur Danto announced that art ended in the sixties. Ever since this declaration, he has been at the forefront of a radical critique of the nature of art in our time. After the End of Art presents Danto’s first full-scale reformulation of his original insight, showing how, with the eclipse of abstract expressionism, art has deviated irrevocably from the narrative course that Vasari helped define for it in the Renaissance. Moreover, he leads the way to a new type of criticism that can help us understand art in a posthistorical age where, for example, an artist can produce a work in the style of Rembrandt to create a visual pun, and where traditional theories cannot explain the difference between Andy Warhol’s Brillo Box and the product found in the grocery store. Here we are engaged in a series of insightful and entertaining conversati*** on the most relevant aesthetic and philosophical issues of art, conducted by an especially acute observer of the art scene today.

Originally delivered as the prestigious Mellon Lectures on the Fine Arts, these writings cover art history, pop art, “people’s art,” the future role of museums, and the critical contributi*** of Clement Greenberg—who helped make sense of modernism for viewers over two generati*** ago through an aesthetics-based criticism. Tracing art history from a mimetic tradition (the idea that art was a progressively more adequate representation of reality) through the modern era of manifestos (when art was defined by the artist’s philosophy), Danto shows that it wasn’t until the invention of Pop art that the historical understanding of the means and ends of art was nullified. Even modernist art, which tried to break with the past by questioning the ways of producing art, hinged on a narrative.

Traditional noti*** of aesthetics can no longer apply to contemporary art, argues Danto. Instead he focuses on a philosophy of art criticism that can deal with perhaps the most perplexing feature of contemporary art: that everything is possible.

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Arthur C. Danto, Johnsonian Professor Emeritus of Philosophy at Columbia University, is Art Critic for The Nation. His books include The Transfiguration of the Commonplace, Embodied Meanings, Beyond the Brillo Box, and Encounter and Reflecti***, winner of the National Book Critics Circle Prize in Criticism.

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20世纪六十年代的艺术史发展最终改变了全球各地的艺术创作传统和体制。当然也有些国家，如***和中国因为政治原因，一开始不能进入到全球的艺术系统中，因此也没有经历这种历史的早期阶段。

我们已真正进入了一个多元主义的时期。不存在一个正确的创作艺术的方式。

我们不再是因为历史而成为那样的人，而是历史由我们来创造。

我们已经进入“后历史”时期出现的极端多元主义。-学生去上来被看为艺术家，教师只是帮助他们实现创意。并找到哪些手段来表现他们感兴趣传达的意义。

艺术成为在某种程度上属于一切人的东西。艺术世界自身已经没有中心。

当中国的艺术家得到越来越多的自由时，它会发现自己已然是国际艺术界的一部分。

多元主义意味着人们可以仍然是传统艺术家，但只是作为一种选择。

今天无论如何与世界相隔离，艺术世界都是一个单一的巨大共同体。也许，这是因为意义的存在定义了艺术，而意义不需要任何特殊的语言。它们被体现在超越了其他方面把我们分开的语言的对象中。

《美得滥用》--试图解释美如何以及为什么不再是艺术家的核心关注点。它也试图重新定义我们与艺术的关系，因为艺术并不是审美的向我们呈现。

在某种程度上，艺术中的真比美更重要。它之所以重要，是因为意义重要~！艺术家都有意通过作为视觉思想的例证的艺术品来揭示意义。艺术家已经成为哲学家过去担任的角色，指引着我们思考他们的作品所表达的东西。这样，艺术事实上就是关于经验了艺术的那些人，它也关于我们是谁，我们如何生活。

今天，批评家的任务是解释、阐释作品，帮助观众理解作品所试图表达的东西。

20世纪上半叶经历了数百个运动一立体派、野兽派、构成主义、至上主义、未来主义、达达、超现实主义、表现主义、抽象艺术一一每一个运动都有自己的宣言。所有这一切都消失了。艺术史不再受到某种内在的必然性驱动。人们感觉不到任何的叙事方向。p5

我们已经真正地进入了一个多元主义的时期。不存在一个正确的创作艺术的方式。p6

今天的艺术评更关注于这些意义是否同时具有真实性，而不是关注传统的视觉愉悦的观照。艺术家已经成为哲学家过去担任的角色，指引着我们思考他们的作品所表达的东西。这样，艺术事实上就是关于经验了艺术的那些人。它也关于我们是谁、我们如何生活。

这就意味着艺术批评家的任务已经在批评家只靠眼睛来决定某物是否好与不好的那个时候起发生了改变。批评家过去自豪于他们的好眼力”，凭借这个基础，他们可以判断某物是否伟大或是否好。今天，批评家的任务是阐释、解释作品，帮助观众理解作品所试图表达的东西。阐释包括将作品的意义与传达意义的对象联系起来。批评家在帮助观众理解作品的时候，通过参照这些艺术家力图表达的东西，也帮助他们理解他们自己和他们的世界。今天的艺术不是单单为了鉴赏家或收藏家。它也不是仅仅为了那些与艺术家享有共同文化和民族性（ nationality）的人。艺术世界的全球化意味着艺术向我们表达的是我们的人性。p8

像里德一样的画家们渴去这样做的程度，就证明了当代画家离开现代主义的正统美学多么远，后者坚持媒介的纯粹性，这是它的决定性内容。p3

我的文本始终是关注现代主义的终结，而且它致力于减轻最终已经适应了侮辱的敏感性，现代主义不断施加给艺术的传统美学姿态以这种侮辱。本书还力图讲一讲在后历史现实中寻求快乐的意义是什么。如果作为一种历史事实，知道它一直朝前走的方向，那么我们会有定的满足的。如果赞美以前各时期的艺术，无论它的确有多么光荣，都是在展开一种有关艺术的哲学本质的幻觉。当代艺术的世界就是我们付给哲学阐释的代价，但是当然了，这仅仅是对哲学的贡献之一，就这种贡献而言，后者欠了艺术的债。p5

书籍介绍

Over a decade ago, Arthur Danto announced that art ended in the sixties. Ever since this declaration, he has been at the forefront of a radical critique of the nature of art in our time. After the End of Art presents Danto’s first full-scale reformulation of his original insight, showing how, with the eclipse of abstract expressionism, art has deviated irrevocably from the narrative course that Vasari helped define for it in the Renaissance. Moreover, he leads the way to a new type of criticism that can help us understand art in a posthistorical age where, for example, an artist can produce a work in the style of Rembrandt to create a visual pun, and where traditional theories cannot explain the difference between Andy Warhol’s Brillo Box and the product found in the grocery store. Here we are engaged in a series of insightful and entertaining conversati*** on the most relevant aesthetic and philosophical issues of art, conducted by an especially acute observer of the art scene today.

Originally delivered as the prestigious Mellon Lectures on the Fine Arts, these writings cover art history, pop art, “people’s art,” the future role of museums, and the critical contributi*** of Clement Greenberg—who helped make sense of modernism for viewers over two generati*** ago through an aesthetics-based criticism. Tracing art history from a mimetic tradition (the idea that art was a progressively more adequate representation of reality) through the modern era of manifestos (when art was defined by the artist’s philosophy), Danto shows that it wasn’t until the invention of Pop art that the historical understanding of the means and ends of art was nullified. Even modernist art, which tried to break with the past by questioning the ways of producing art, hinged on a narrative.

Traditional noti*** of aesthetics can no longer apply to contemporary art, argues Danto. Instead he focuses on a philosophy of art criticism that can deal with perhaps the most perplexing feature of contemporary art: that everything is possible.