Arthur C. Danto was born in Ann Arbor, Michigan, in 1924, and grew up in Detroit. After spending two years in the Army, Danto studied art and history at Wayne University (now Wayne State University) and then at Columbia University.
From 1949 to 1950, Danto studied in Paris on a Fulbright scholarship, and in 1951 returned to teach at Columbia, where he is currently Johnsonian Professor of Philosophy.
Since 1984, he has been art critic for The Nation, and in addition to his many books on philosophical subjects, he has published several collections of art criticism, including Encounters and Reflections: Art in the Historical Present (Farrar, Straus & Giroux, 1990), which won the National Book Critics Circle Award for Criticism; Beyond the Brillo Box: The Visual Arts in Post-Historical Perspective (Farrar, Straus & Giroux, 1992); Playing With the Edge: The Photographic Achievement of Robert Mapplethorpe (University of California, 1995); and, most recently, The Madonna of the Future: Essays in a Pluralistic Art World (Farrar, Straus & Giroux, 2000). He lives in New York City.
Few of the good things that reward the rising--or risen--young artist have not fallen to John Currin in recent days.
I have always marveled at the way in which Abstract Expressionism was able to transform a disparate group of painters, none of whom had shown any particular promise of artistic greatness, into fi
While filming in Western Australia in May 1999, the critic Robert Hughes
survived--barely--a head-on collision with another car.
One of the great benefits conferred by Modernism on our appreciation of
traditional painting is that there is little inclination any longer to
ascribe optical abnormalities to artists whose rep
In Plato's Republic, Socrates illustrates his theory of the parts
of the soul with the story of Leontius, who saw some corpses rotting
outside the walls of Athens and was torn between re
If the idea of monochrome painting occurred to anyone before the
twentieth century, it would have been understood as a picture of a
monochrome reality, and probably taken as a joke.
In 1900 Maurice Denis painted a large canvas titled Hommage à
Cézanne, which shows the esteemed master next to one of his
paintings and surrounded by a crowd of admiring yo
From the mid to the late 1920s, the German painter Christian Schad
produced a group of paintings like little else in modern art.
Matthew Barney's Cremaster cycle
In 1906, the French savant Pierre Duhem published a three-volume work
on Leonardo as scientist under the innocuous title Études sur
Leonard de Vinci. It was the work's subtitle th