Paintings (and sculpture) could be allegorical, such as Botticelli’s “.The idea of art being mimetic was upset in the modern era when abstraction, impressionism, minimalism, pop art, and photography overturned notions of what art is and could be. In an.The point here is not to dissect or contest Adajian’s or Armstrong’s cases, but rather to show just how difficult it is to define art, especially when considering the entire history of what we consider to be art.For centuries, the mimetic quality of art, that is, its representation of nature and the known visible world, made art easy to define. Could a painting of a feeling or emotion, rather than a landscape, be considered art? “The truly astonishing history rather has to do with representing human beings through their inner states—suffering in the crucifixion, hunger in the Christ child nursing, and, above all, love in the way the Madonna holds the child.” It is Fra Angelico who, for example, “represents persons in ways that are to be understood only with reference to their inner states.” In other words, the conveyed meaning is one that is visibly hidden but instinctually perceived.Nothing else in the human experience of aesthetics comes close to creating such unseen—but wholly felt and understood—meaning. Danto argues that despite vari
Interpreting art, then, is a deeply involved exercise, even if it happens in the blink of an eye (snap judgment; visceral reaction). Fifty years after he encountered Warhol’s “Brillo Box” we have,http://plato.stanford.edu/archives/win2012/entries/art-definition/,Against The Totalitarian Language of History,Review: Outside the Lines, by Ameera Patel. 3 There, he already presents the history of art as the intertwining of a succession of philosophical theories that have been determining what the essence of art ought to be. Art, according to Kant, uses experience to carry us beyond experience.
The camera freezes moments that happen quicker than the human eye can see, but the photograph doesn’t capture the whole essence of the moment. To do so, the viewer relies on a well of experience, emotions, history, knowledge, and argument to come to a decision, or at least to approximate one. The photographer can represent only what is there, whereas the painter is free to use his imagination and show things in ways other than how they are or were.” The camera captures optic truth, but not visual truth. “Brillo Box” looks like a facsimile of a commercial Brillo box. If Duchamp’s “Fountain” forced the public to rethink the meaning of art, it was Warhol’s “Brillo Box” that made us reconsider the difference between art and reality.The 1964 “Brillo Box” is made of plywood and is brightly screen printed with the logo and advertising mark-ups of the Brillo soap pad company. Is a photograph of a landscape art? Stieglitz’s photograph was entered into the Society’s exhibition, and the rest is art history.Duchamp’s readymades demanded artists and critics ask new questions about what art is. Works of art, he contends, are embodied meanings.
Meaning—embodied meaning—became the grander question.Then came Warhol, and in Danto’s book, the most thoroughly engaging and clear argumentation for a definition of art I have yet to encounter. Even if you stuffed Warhol’s box with Brillo pads, his would still be called art while the Brillo factory boxes full to the brim would not.
“Nature’s pencil simply traces what is set before the lens, without creative imagination. Embodiment is not clearly defined, but one can think of embodied meanings like one thinks of a person’s character: it is there, a foundational property, deeply hidden, manifesting in personality.To support his thesis, the author relies heavily on Duchamp and Warhol, two artists who cracked wide open the philosophical debate on what is art. With the concept of art broadening, what is it that makes everything under the widening umbrella art?
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