| Record ID | marc_columbia/Columbia-extract-20221130-004.mrc:518310333:3617 |
| Source | marc_columbia |
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LEADER: 03617mam a2200457 a 4500
001 1907767
005 20220609024029.0
008 960515t19971997njua b 001 0 eng
010 $a 96009027
020 $a0691011737 (alk. paper)
035 $a(OCoLC)ocm34782594
035 $9AMA2116CU
035 $a(NNC)1907767
035 $a1907767
040 $aDLC$cDLC$dNNC$dOrLoB-B
050 00 $aN7480$b.D33 1997
082 00 $a701/.18$220
100 1 $aDanto, Arthur C.,$d1924-2013.$0http://id.loc.gov/authorities/names/n50037385
245 10 $aAfter the end of art :$bcontemporary art and the pale of history /$cArthur C. Danto.
260 $aPrinceton, NJ :$bPrinceton University Press,$c[1997], ©1997.
300 $axx, 239 pages :$billustrations ;$c24 cm.
336 $atext$btxt$2rdacontent
337 $aunmediated$bn$2rdamedia
490 1 $aThe A.W. Mellon lectures in the fine arts ;$v1995
490 1 $aBollingen series ;$vXXXV, 44
504 $aIncludes bibliographical references and index.
505 00 $gCh. 1.$tIntroduction: Modern, Postmodern, and Contemporary --$gCh. 2.$tThree Decades after the End of Art --$gCh. 3.$tMaster Narratives and Critical Principles --$gCh. 4.$tModernism and the Critique of Pure Art: The Historical Vision of Clement Greenberg --$gCh. 5.$tFrom Aesthetics to Art Criticism --$gCh. 6.$tPainting and the Pale of History: The Passing of the Pure --$gCh. 7.$tPop Art and Past Futures --$gCh. 8.$tPainting, Politics, and Post-Historical Art --$gCh. 9.$tThe Historical Museum of Monochrome Art --$gCh. 10.$tMuseums and the Thirsting Millions --$gCh. 11.$tModalities of History: Possibility and Comedy.
520 $aOver 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 Vassari helped define for it in the Renaissance.
520 8 $aMoreover, 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.
520 8 $aHere we are engaged in a series of insightful and entertaining conversations on the most relevant aesthetic and philosophical issues of art, conducted by an especially acute observer of the art scene today.
520 8 $aOriginally 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 contributions of Clement Greenberg - who helped make sense of modernism for viewers over two generations ago through an aesthetics-based criticism.
650 0 $aArt$xHistoriography.$0http://id.loc.gov/authorities/subjects/sh85007487
650 0 $aPostmodernism.$0http://id.loc.gov/authorities/subjects/sh85105557
650 0 $aArt criticism$xPhilosophy.
830 0 $aBollingen series ;$v35:43.$0http://id.loc.gov/authorities/names/n42708592
830 0 $aA.W. Mellon lectures in the fine arts ;$v1995.$0http://id.loc.gov/authorities/names/n84735416
852 00 $bglx$hN7480$i.D33 1997
852 00 $bbar$hN7480$i.D33 1997
852 00 $bmil$hN7480$i.D33 1997
852 80 $bfax$hN6490$iD226
852 80 $bfax$hN6490$iD226