Hesperus is Bosphorus

A group blog by philosophers in and from Turkey

Talk at Bogazici: Stephen Snyder (Fatih) on “Arthur Danto’s Andy Warhol: The Embodiment Theory in Art and the Pragmatic Turn” 15.03.2013

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Stephen Snyder (Fatih) will give a talk on Friday March 15th from 5-7pm in TB130 on:

“Arthur Danto’s Andy Warhol: The Embodiment Theory in Art and the Pragmatic Turn”

ABSTRACT: Arthur Danto’s most recent book, Andy Warhol, leads the reader through the story of the iconic American’s artistic life highlighted by a philosophical commentary, a commentary that merges Danto’s aesthetic theory with the artist’s own narrative.  Inspired by Warhol’s Brillo Box installation, art that in Danto’s eyes was indiscernible from the everyday boxes it represented, Danto developed a theory that is able to differentiate art from non-art by employing the body of conceptual art theory manifest in what he termed the ‘artworld’.  The strength of Danto’s theory is found in its ability to explain the art of the post-modern era.  His body of work weaves philosophy, art history and art criticism together, merging his aesthetic philosophy with his extensive knowledge of the world of art. Danto’s essentialist theory of embodied meaning provides him with a critical tool that succeeds in explaining the currents of contemporary art, a task that many great thinkers of art history were unable to do.  If Warhol inspired Danto to create a philosophy of art, it is appropriate that Danto write a tribute to Warhol that traces how Warhol brought philosophy into art.  Danto’s account of ‘Warhol as philosopher’ positions him as a pivotal figure in the history of twentieth-century art, effecting a sea change in how art was made and viewed.  Warhol achieved this by conceiving of works that embodied the answers to a series of philosophical puzzles surrounding the nature of art.

Warhol had transformed himself, in a way, into an icon of the times. Because of this, Danto sees Warhol as manifest in his art.  The pragmatist notion that art should undermine the dichotomies that exist between art and life would, by some accounts, position Warhol to be the philosopher that Danto claims him to be, for he dissolved the philosophical questions posted by late modern aesthetic thinkers by creating art that imploded the accepted notions of art at the time.  One of Danto’s greatest contributions to aesthetics is his theory’s ability to distinguish art from non-art, recognizing that it is the artist’s intention that levels the sublimity of art into the commonplace, thereby transfiguring the everyday.   However, while acknowledging this achievement,   I argue that Warhol’s philosophical contribution actually manifests itself in a manner different from that proposed by Danto.  Danto maintains that the internal drive of art leads to the unfolding of art theoretical concepts that ineluctably shift the terrain of the world of art.  I agree with Danto that Warhol, almost as Hegel viewed Napoleon as Geist on a horse, pushed forward the boundaries of art through the actualization of art’s internal drive.  However, I disagree that the conceptual nature of art is one that unfolds merely as a relation of concepts that artists connect to the meaning of history using their unmediated grasp of style.  Rather, I would argue that the artist’s style is not narrowly bound to the meanings of history.  Through their aesthetic articulations, artists initiate a process of social interaction.  This process employs the philosophical logic that Danto attributes to Warhol indirectly, and through it, it is able to transfigure the vocabulary of art—the concepts of the artworld—by superseding the language of modernism.  Warhol’s philosophical contribution is seen in his mastery of both the medium of art and the underlying logic of the medium’s expression and reception.

In this essay, after exploring the gains Danto’s account of embodied meaning and the artworld have brought to aesthetic philosophy, I will discuss Warhol’s art in terms of Danto’s theory.  On some levels it seems like the perfect match of an aesthetic theory and an artistic practice.  However, I will argue that Warhol’s ‘philosophical’ activity is described better in terms of pragmatist theory, putting his activity at odds with Danto’s ‘appropriation’ of Warhol for his essentialist theory.  To conclude, I will suggest a way that the pragmatic turn taken by some members of the second generation of critical theorists, such as Jürgen Habermas, Karl-Otto Apel and Thomas McCarthy, could provide an example for how to integrate rationally, or in Danto’s case essentially, oriented theories into practical activities.


Written by Lucas Thorpe

March 9, 2013 at 4:21 pm

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