Une Exploration de l'essence de l'art à la lumière de la situation contemporaine de l'art (original) (raw)
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An Exploration of the Essence of Art at the Light of the Contemporary Situation of Art
2019
Cette these cherche a repondre a une question fondamentale de la philosophie de l'art: qu'est-ce que l'art? Apres avoir examine les reponses des plusieurs theories de l’art, il propose que la definition de l’art proposee par Arthur Danto soit celle qui se conforme le plus a la realite de l’art, bien qu’elle souffre de certaines imperfections et insuffisances. Sur la base de cette conclusion critique ainsi que d'une analyse minutieuse de ce qui est considere actuellement comme un art, il tente de modifier la definition de Danto et de la transformer en une nouvelle definition, capable de mieux se conformer a la realite des phenomenes artistiques. La these d’abord presente la situation actuelle de l’art et les theories de l’art existantes qui n’ont pas reussi a rendre suffisamment justice a la totalite de ce qui est considere comme artistique. Par un regards critique de ces theories, la these tente de montrer que les conditions pour etre l’art qu’elles proposent sont so...
The development of the sense of “The End of Art” in Arthur Danto
Rivista di Estetica, 2018
The striking title The End of Art managed to draw attention to the philosophical work of Arthur Danto. However, the lack of a systematic development which could support this thesis made him face harsh criticism. However, strong foundations for his statements can be deduced from his writings. In this paper, I analyse how to understand the thesis of the ‘end of art’. It should be approached not as a monolitical notion but as a complex concept that combines three different senses: 1) the ‘end of art’ in the Hegelian sense: the conversion of art into philosophy, 2) the ‘end of art’ in the historiographical sense: as the end to the narratives of the history of art, and 3) the ‘end of art’ as the beginning of a new period in history, where Danto’s philosophy of art would be fully valid.
This paper deals with the artistic phenomenon stricto sensu, that is, insofar as a phenomenon independently of the uses that the word art might have in Spanish or its equivalents in other languages. The problem posited here is that of the identification of the phenomenon and to solve this problem we start from the hypothesis that a proper identification of this object of study can be achieved by means of defining the concept art through a confluence of its etymological study and the application of the classical form of logical definition: closes gender – specific difference. The goal pursued is identifying the phenomenon art in such a manner that renders it adequate to constitute an object of scientific study, which should be useful both for art scholars in general, as well as for the scholars of the various disciplinary, stylistic or historical manifestations of art, as well as for scholars of culture in the different approximations. The conclusion reached in this paper is that art, in general, can actually be defined, not through what its manifestation have as differences, but rather by what they have in common which is, precisely, the creation of forms to be absorbed by culture and materialized by society into what we call 'the artificial'.
Art or Works of Art: an ontological approach of Arthur Danto and Vilém Flusser
When we investigate what are the philosophical meanings of art or works of art, it is advisable to search for the background conceptions inherent to the practice and common language concerning art. In this paper, I suggest that there are at least two basic conceptions generally used to approach art: one, stricter and more restricted, considers art as a series of works of art circumscribed in the history of art, made by individuals known as artists, and frequently located in artistic institutions. The other, vaguer, but more comprehensive, considers art as the innovative or creative element existent in every human culture. The philosophy of art of Arthur Danto is presented as an example of ontological definition based on the first conception. The philosophy of Vilém Flusser, on the other hand, is a competent conceptual development centered on the second conception. Nevertheless, both of them are grounded in common language and practice, which includes both meanings of the word art. I propose that clarifying these different meanings, comprised by the same word “art”, is an interesting way to start a philosophical investigation about art.
Arthur Danto and the End of Art
Cambridge Scholars Publishing, 2019
To get a comprehensive understanding of the core concept of “the end of art”, this book analyses the intellectual trajectory of Arthur Danto, highlighting his successive achievements in philosophy of action, philosophy of history and philosophy of art. If, as Danto says, everything is extensively associated with everything else, it is impossible to avoid putting the philosophy of art in relation with his whole philosophical system.
Questions about the Art itself in the modern artworks
This article discusses one particular change in the development of Art in the twentieth century – the creation of Art as a reply to such questions as " Are there any substantial features of the work of art? " , " What is the difference between the works of art and nonartistic reality? " , " What does constitute the work of art as such? " Some contemporary artworks tell us merely about the nature of art. The attempt to conceive the works that belong to Biotechnological art, Social art, and Participatory art includes also a reflection on the question about the reasons which allow attributing these works to art. Creation includes consideration of what is possible in the art and notes on art history. The artworks combine the creation of artwork as such and questioning its content, meaning, form, and style. Art is perceived as an investigation of the status of the art object and the role of the artist himself.
Quand l'homme a voulu imiter la marche, il a créé la roue qui ne ressemble pas à une jambe. Guillaume aPollinnaire [1] This essay will be a work in progress contribution to an enduring argument on the making of art based knowledge. Its effort will be derivative (full of contradictions and pauses) but it will try to immerse itself on the debate defining the conceptual and methodological structure of PhD's in Arts (Art and Studio based PhD); something that is consensual among all parts involved in this debate is that it has been built on a disadvantaged standpoint because of its pioneering nature – ontological and methodological questions surface from its unfinished literature; as we go through the overwhelming literature produced by this debate – James Elkins has warned us that this is no longer a one man/woman job – one feels that the borderline separating scholar research on art making from artistic and creative practices hasn't been fully crossed and that the puzzlements and contradictions surrounding both territories have a likeness to an hybrid city with simultaneous and symmetrical development paces: if we enter through one of its sides it looks like we are coming into Klondike, with its encampments, ephemeral and precarious living conditions, with a lack of infrastructure but with an intuitive and mix and match capacity to expand its conceptual expectations –like in Ilya Kabakov's immersive installation C'est ici que nous vivons (Centre Georges Pompidou – mnam, 1995) we see a city fully involved in the construction of a new city, of a new community and inevitably implicated on its own demise; the building yard and the monument have still the same face value. But if we enter through a different direction we find a Chicago like environment,