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An art world, as with any segment of society, is defined in terms of mutually understood conventions (social norms, roles, and institutions) that are the basis for cooperative activity between members of a group who may not interact directly.
Arthur Coleman Danto (January 1, 1924 – October 25, 2013) was an American art critic, philosopher, and professor at Columbia University.He was best known for having been a long-time art critic for The Nation and for his work in philosophical aesthetics and philosophy of history, though he contributed significantly to a number of fields, including the philosophy of action.
Representation is the use of signs that stand in for and take the place of something else. [1] It is through representation that people organize the world and reality through the act of naming its elements. [1]
Arthur Danto argued for a "institutional definition of art" in the 1964 essay "The Artworld" in which Danto coined the term "artworld" (as opposed to the existing "art world", though they mean the same), by which he meant cultural context or "an atmosphere of art theory". [90]
"Fin de siècle" (French: [fɛ̃ də sjɛkl] ⓘ) is a French term meaning “end of century,” a phrase which typically encompasses both the meaning of the similar English idiom turn of the century and also makes reference to the closing of one era and onset of another. Without context, the term is typically used to refer to the end of the ...
A theory of art is intended to contrast with a definition of art. Traditionally, definitions are composed of necessary and sufficient conditions, and a single counterexample overthrows such a definition. Theorizing about art, on the other hand, is analogous to a theory of a natural phenomenon like gravity.
The use of appropriation has played a significant role in the history of the arts (literary, visual, musical and performing arts). In the visual arts, "to appropriate" means to properly adopt, borrow, recycle or sample aspects (or the entire form) of human-made visual culture. Notable in this respect are the readymades of Marcel Duchamp.
Artworks, Heidegger contends, are things, a definition that raises the question of the meaning of a "thing", such that works have a thingly character. This is a broad concept, so Heidegger chooses to focus on three dominant interpretations of things: Things as substances with properties, [5] or as bearers of traits.