In Victor Bockris’s biography Warhol, there is a chapter titled “The Birth of Andy Warhol: ” This obviously does not refer to Andy. Danto seems to veer toward such a definition of art in an earlier essay on the subject – “The Philosopher as Andy Warhol” included in the inaugural publication of. Meghan McCain enjoying a “spontaneous night in” with Arthur C. Danto. Arthur C . Danto’s new book on Andy Warhol had already become one of the most.
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Danto traces the evolution of the pop artist, including his early reception, relationships with artists such as Jasper Johns and Robert Rauschenberg, and the Factory phenomenon. He offers close readings of individual Warhol works, including their social context and philosophical dimensions, key differences with predecessors such as Marcel Duchamp, and parallels with successors like Jeff Koons.
You still need to have a good knowledge of art history and modern art, though. The space between the objects that Warhol duplicated and the art he produced in careful reproduction must be filled with an entire philosophy of art that simply could not have existed before Andy Warhol.
There’s nothing profound underneath – Andy Warhol: As an explanation to the uninitiated of Warhol’s artistic innovation: Danto is very clear about his sources and what is his opinion or not. Billy Name the “muddlehead?
Refresh and try again. He did do some great things, but he also seems to be one of the first artists who did not just push the envelope for the sake of art, but tried to explode it for the sake of fame and fortune.
Danto suggests that “what makes him an American icon is that his subject matter is always something that the ordinary American understands: SC57 One could argue that Warhol’s Soup Cans were, in effect, his version of Johns’ Flags – both being American icons although of a slightly different nature.
Most interesting was the topic, “What is art? Danto helps readers to understand dantoo only Warhol and his art, but what came just before and what has come since.
This book raised Andy Warhol’s importance to art in my eyes.
Arthur C. Danto Andy Warhol Review
The last chapter drew in religous examples and talked a little about the Catholic Imagination. Check out my detailed review over at http: It’s interesting how with time a myth gets built up about wafhol situation that people never really witness Well, I like – I guess, yeah.
Smith interview in which he says Sam Rosenberg was his “favorite or most memorable” teacher at Carnegie Tech and doesn’t remember being taught by Robert Lepper ; the Benjamin H. Critics often refer to Andy Warhol as the greatest artist of the second half of the 20th century, but Danto is the only author I am aware of who has defined this statement directly and methodically. Most importantly in this case: By “subtracting” does he mean subtracting both Warhol’s speed and Billy’s speed and that without the speed there is still the difference of Andy Warhol the genius vs.
Danto’s definition does, however, present its own set of problems. Selected pages Title Page.
Yale University Press Amazon. Also, the cult of celebrity was something that was central to Warhol’s work. Danto makes his argument well, although I’m not sure I learned anything. I have somehow made it through an entire undergrad education without really learning too much about Warhol a few days in Contemporary Art History, tops.
Review of Andy Warhol by Arthur C. Danto
My library Help Advanced Book Search. Subtracting the amphetamines leaves the difference between Warhol as a genius and Billy Name as muddlehead intact.
His interests span thought, feeling, philosophy of art, theories of representation, philosophical psychology, Hegel’s aesthetics, and the philosophers Maurice Merleau-Ponty and Arthur Schopenhauer.
Warhol was an early adopter in commenting through his art on this prefab culture and capitalist economy behind it.
Warhol was as afraid danho getting busted as anyone else. One specific Warhol project that POPism credits with having been influenced by amphetamine is the film, Sleepwhich Danto covers in his chapter on Warhol’s films titled “Moving Images. For instance, Danto draws too neat a line between Warhol’s pre- and post work although I give him credit for resisting the myth that the shift in Warhol’s artistic approach was caused en Arthur C.
Is there reason for another one? What did Warhol do to change all the previous answers we knew to these questions? Could art exist in a vacuum? He offers close readings of individual Danyo works, including their social context and philosophical dimensions, key differences with predecessors such as Dant Duchamp, and parallels with successors like Jeff Koons.