Fiscaoeconomia

Yazarlar: Burçak İSMET ÖZSOY

Konular:İşletme

DOI:10.25295/fsecon.334861

Anahtar Kelimeler:Danto,Hegel,Pop Art,Warhol

Özet: This paper is a critique of the conception of art which is mainly based on Arthur Danto’s definition of art via Hegelian aesthetics. In 1964, when Danto encountered with Andy Warhol’s Brillo Box a renewed era for the definition of art has come. For Hegel one of the most crucial criteria for art-work is its indispensible adequacy between content and presentation. Although Danto as a philosopher is so much Hegelian by the time of modern art there emerges a historical shift within art and this article tries to reveal how Danto departs from Hegel through the philosophical question of what makes any work an art-work. When there renders no ‘bodily’ distinction between content and presentation, there emerges an essential question: According to what one of the Brillo boxes inside a grocery store is just an ordinary box while the other one is such a precious artwork in Soho Gallery.

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