After The End Of Art

This thesis analyzes the development venation of Hegel–Adorno–Danto’s theory: end of the art, and putting Danto’s ending words into his art philosophy and the cultural context of that time. By reading up The Philosophical Disenfranchisement of the Art and After the End of Art: Contemporary Art and the Pale of History, it explores Danto’s change of his theory and directions and tries being more closed to the original meaning of Danto’s theory- the end of art.Except the introduction and the epilogue, this thesis is divided into three chapters. The first chapter“the theory venation of the end of art”, thinks that the end of art is an ancient topic. Hegel, who guided Danto to explore the end topic, must be mentioned so that the thought of the end of art can be better understood. This chapter gives a frame of the end of art thought from Hegel to Adorno then to Danto. This venation gives an idea that art can be doubted and the end of art can be widely discussed when revolution happens in the society and art form comes to historical turn.The second chapter mainly introduces three connotations that Danto endowed at the beginning of his theory of the end of art, they were named: art turns to philosophy, art end theory and the end of the possibility of art progress. First, in the art practice in 1960 s, art and theory needed each other. Art began to depend on theory, so philosophical problems about art essence was mentioned, which is the main basis of art turns to philosophy. Second, art ended in its mature period, the age of cheering for art has been past. So any work of art in Brillo Box 1964 is meaningless. Third, because the development of a series of pioneer art practice, there are no art works that can make human surprised, the possibility of art essence has been used up without places for progress and developments.The third chapter analyzes Danto’s different statements of the end of art theory in different periods, from which the three aspects of Danto’s theory change comes: the end of grandiose narration, discovery Greenburg and philosophy to life. When the first argument was mentioned in 1894, Danto put the main part into the theoretical direction of the philosophy of art and spread his discussion from the point of art history. Until 1995 Mellon Lectures, the end of grandiose narration became the core of the statement. Until The Abuse of beauty,the radical spearhead of Danto’s end of art has been subsided, thinking that art thought has the value that philosophical thought doesn’t. The importance of a context to a theory can be found by reflecting the diverse cultural context of that time. At the same time, Danto’s theory of end of art can be deeply understood.