Ontology, Criticism, and the Riddle of Art Versus Non-Art in The Transfiguration of the Commonplace

In this Reply to my Critics, I explain that The Transfiguration of the Commonplace was essentially a contribution to the ontology of art in which two necessary conditions emerge as essential to a real definition of the art work: that an artwork must (a) have meaning and (b) must embody its meaning. Many issues have emerged in the course of art\u27s history that are very much part of its practice but are not part of art\u27s essence. In response to Cynthia Freeland, I argue that though the book does not address art criticism, the two necessary conditions specify a viable rule for critical practice, as was recognized by Hegel. And in response to Ivan Gaskell, I argue that the definition of art arrived at in the book is capable of drawing a distinction between art works and artifacts

Determinism and Inevitability

Monroe Beardsley’s analysis of historical inevitability is simply an analysis of determinism. Thus, he has not specified what, in excess of determinism, is implied by assertions of historical inevitability

Da filosofia à crítica de arte

Nesse texto Arthur C. Danto apresenta o início de sua trajetória como crítico de arte a partir de sua colaboração com a revista The Nation, e aponta as bases de suas mais notórias ideias sobre a relação entre filosofia e crítica de arte

A arte e o 11 de setembro

Escrito dois meses após o ataque terrorista às torres gêmeas em Nova York, questiona se a finalidade da arte é sempre reagir aos acontecimentos pela prática artística ou se deve apenas corresponder à realidade da vida, mediante a preservação da memória e do modo como as sociedades lidam com a morte inesperada e sua inserção na vida pública