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lucasnemeth | 9 years ago
" Art history is generally thought of as a linear progression of one movement or style after another (Romanticism, Realism, Impressionism, Post-Impressionism, etc.), punctuated by the influence of individual geniuses (Delacroix, Courbet, Monet, Cézanne … ).
(...) The story Danto tells in “The End of Art” follows on from this model. According to Danto, the commitment to mimesis began to falter during the nineteenth century due to the rise of photography and film. These new perceptual technologies led artists to abandon the imitation of nature, and as a result, 20th-century artists began to explore the question of art’s own identity. What was art? What should it do? How should art be defined? In asking such questions, art had become self-conscious. Movements such as Cubism questioned the process of visual representation, and Marcel Duchamp exhibited a urinal as an artwork. The twentieth century oversaw a rapid succession of different movements and ‘isms,’ all with their own notions of what art could be. “All there is at the end,” Danto wrote, “is theory, art having finally become vaporized in a dazzle of pure thought about itself, and remaining, as it were, solely as the object of its own theoretical consciousness.” Warhol’s Brillo boxes and Duchamp’s readymades demonstrated to Danto that art had no discernible direction in which to progress. The grand narrative of progression — of one movement reacting to another — had ended. Art had reached a post-historical state. All that remains is pure theory:
Of course, there will go on being art-making. But art-makers, living in what I like to call the post-historical period of art, will bring into existence works which lack the historical importance or meaning we have for a long time come to expect […] The story comes to an end, but not the characters, who live on, happily ever after doing whatever they do in their post-narrational insignificance […] The age of pluralism is upon us…when one direction is as good as as another."
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