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.
A cluster of concepts that, before the seventies, had together formed the received idea of art and artists came under intense criticism in that decade.
One afternoon in 1985, I rode in a taxi down Broadway with the physicist I.I. Rabi, discussing time and age.
If we think of a historical period as defined by what the French have usefully designated a mentalité–a shared set of attitudes, practices and beliefs–then periods end when one <
A characteristically handsome painting by Joan Mitchell is on view at the Museum of Modern Art in the exhibition American Art: 1940-1970.