Arthur C. Danto

Arthur C. Danto – Life, Career, and Famous Quotes

Discover the life and ideas of Arthur C. Danto (1924–2013) — American art critic, philosopher, and theorist of aesthetics. Dive into his “end of art” thesis, his role in contemporary art criticism, and his most striking quotations.

Introduction

Arthur Coleman Danto (January 1, 1924 – October 25, 2013) was a towering figure in 20th- and early 21st-century philosophy and art criticism. His work reshaped how we think about art, meaning, aesthetic theory, and the institutional structures that define art in the modern world. While many know him for his provocative idea that “art is over” or that we live in a “post-historical” era of art, his influence runs much deeper in debates about interpretation, representation, and the philosophy of history. In this article, we explore his life, intellectual journey, and enduring contributions.

Early Life and Family

Arthur C. Danto was born in Ann Arbor, Michigan on January 1, 1924, and grew up in Detroit.

During World War II, he served two years in the U.S. Army.

Youth, Education & Intellectual Formation

Danto’s first undergraduate studies were at Wayne State University (Detroit), where he studied art and history.

After his undergraduate work, Danto went on to Columbia University for graduate studies in philosophy. Fulbright scholarship to study in Paris in 1949–1950 under Jean Wahl, returning to Columbia in 1951 to begin academic teaching.

At Columbia, Danto remained for much of his career. He retired in 1992 and was named Johnsonian Professor Emeritus of Philosophy.

Career and Achievements

Philosophy of Art & Aesthetic Theory

Danto is best known for his contributions to philosophical aesthetics—especially his reflections on what makes something art, how we interpret art, and the historical development of the art enterprise itself.

One of his foundational essays is “The Artworld” (1964), in which he argued that to understand modern art, one must take account not just of visual form but of the theoretical and institutional frameworks that give meaning.

Danto famously advanced the “end of art” thesis: not that no art is made anymore, but that art as a historical narrative—progressing through styles and movements toward ever greater heights—has ended. In the contemporary era, he believed art becomes pluralistic and open, where any object can potentially be art, provided that it is framed with meaning by the “artworld.”

In later works, such as After the End of Art (1997), Danto refined and defended this line of thinking.

Danto also addressed the notion of indiscernibles: objects that are perceptually or physically identical but differ in meaning by virtue of interpretation or context.

Art Criticism & Public Writing

Danto served as the art critic for The Nation from 1984 to 2009, writing essays and reviews that bridged philosophy and contemporary art.

He published many essay collections, including:

• Encounters and Reflections: Art in the Historical Present (won the National Book Critics Circle Prize in 1990)

• Beyond the Brillo Box: The Visual Arts in Post-Historical Perspective (1992)

• Playing with the Edge: The Photographic Achievement of Robert Mapplethorpe

• The Madonna of the Future: Essays in a Pluralistic Art World (2000)

• Unnatural Wonders: Essays from the Gap Between Art and Life (2007)

• What Art Is (2013) published near his death, summarizing many of his mature views.

Beyond art, Danto also wrote in philosophy of history, philosophy of action, and other areas.

Influence & Recognition

Danto’s influence is apparent in how many philosophers, art critics, and art historians engage questions of meaning, institutional authority, and interpretation. His concept of the “artworld” remains a staple in aesthetics and art theory curricula.

He was a frequent interlocutor in debates over conceptual art, postmodernism, and the evolving role of artists and critics in late 20th-century culture. He also influenced successive generations of thinkers interested in the relationships between art, philosophy, and cultural theory.

He held significant honors: multiple Guggenheim fellowships, membership in the American Academy of Arts and Sciences, and recognition in the academic and art criticism communities.

Historical Milestones & Context

• 1924 – Born in Ann Arbor, Michigan; grew up in Detroit.

• 1940s (WWII era) – Served two years in the U.S. Army.

• Late 1940s – Undergraduate at Wayne State; produced artistic work (prints).

• 1949–50 – Studied in Paris under a Fulbright grant.

• 1951 – Begins teaching at Columbia University.

• 1964 – Publishes “The Artworld,” an essay that becomes foundational in the philosophy of art.

• 1984 – Becomes art critic for The Nation.

• 1992 – Retires from full-time teaching; publishes Beyond the Brillo Box.

• 1997 – Publishes After the End of Art, a signature work refining his “end of art” thesis.

• 2000s – Continues writing, publishing works like Unnatural Wonders, Andy Warhol, and What Art Is.

• 2013 – Passes away on October 25 in New York City.

Legacy and Influence

Arthur Danto’s legacy is substantial in both philosophy and art criticism. His work:

• Helped shift the paradigm of art theory from formalist aesthetic properties to institutional, historical, and interpretive contexts.

• Provided frameworks through which to understand contemporary art—including conceptual, minimal, and postmodern art—as meaningful, even when they depart from traditional “beauty” or “representation.”

• Inspired debates about the nature of interpretation, the role of critics, and the limits of meaning.

• Left a mark on how museums, critics, art institutions, and scholars conceive of what qualifies as art and how we as viewers respond to it.

Because so much of his theory hinges on interpretive context, his ideas continue to generate both adoption and contestation in aesthetics, art history, and cultural theory.

Personality and Talents

Danto was deeply intellectual, with a broad and capacious mind. He drew from analytic philosophy, continental traditions (especially Hegel and Nietzsche), and aesthetic practice.

He possessed the rare talent of writing philosophically rigorous but accessible criticism. His public essays often combined academic insight with approachable language, bridging audiences of artists, critics, and philosophers.

His temperament was reflective and curious. He engaged not in polemics alone but with the care of someone mapping conceptual territory. He welcomed pluralism in art, seeing that our era demands openness and multiplicity rather than strict aesthetic standards.

He was also generous as a critic: though firm in his judgments, he often treated even provocative art with seriousness, trying to understand its meaning rather than dismiss it outright.

Famous Quotes of Arthur C. Danto

Here are selected quotations that capture key elements of Danto’s thinking:

“Whatever art is, it is no longer something primarily to be looked at. Stared at, perhaps, but not primarily looked at.” “In my own version of the idea of ‘what art wants,’ the end and fulfillment of the history of art is the philosophical understanding of what art is … from the mistakes we make … until we learn wherein our limits consist, and then how to live within those limits.” “The Rockwell magazine cover was more a part of the American reality than a record of it.” “The Rockwell magazine cover was more a part of the American reality than a record of it.” (alternate phrasing) “It really is impossible not to like him. His success was his failure.” From What Art Is (2013): “My thought is that if some art is imitation and some art is not, neither term belongs to the definition of art as philosophically understood.”

These quotes reflect his commitment to meaning, interpretation, history, and the shifting nature of art in our age.

Lessons from Arthur C. Danto

1. Art is more than appearance
   Danto teaches that to understand art, one must attend to its meaning, context, and interpretive dimensions — not just the visual form.

2. The role of institutions and discourse is central
   What becomes art is mediated by the artworld (critics, museums, curators). Recognition, interpretation, and theory matter.

3. Pluralism and openness are essential in contemporary art
   In a post-historical art era, any object might be art, so long as it is framed meaningfully. This demands flexibility and theoretical subtlety.

4. Philosophy and criticism can enrich each other
   Danto’s career shows how philosophical thinking can deepen criticism, and how criticism can test philosophical ideas.

5. Meaning evolves with history
   Danto’s “end of art” does not mean art is dead; it means that the historical narrative of art progressing through styles is over, and meaning must be found where art is made now.

Conclusion

Arthur C. Danto remains one of the most influential thinkers bridging philosophy and art criticism. His work altered how we conceive of art, meaning, interpretation, and the institutional underpinnings of the artworld. While his “end of art” thesis sparked debate, his broader project—centering meaning, pluralism, and the interpretive role of institutions—continues to inspire reflection and controversy.