Has art ended again?


Owen Hulatt in Aeon:

Hegel was, in many ways, the father of what we now call the history of art. He gave one of the earliest and most ambitious accounts of art’s development, and its importance in shaping and reflecting our common culture. He traced its beginnings in the ‘symbolic art’ of early cultures and their religious art, admired the clarity and unity of the ‘classical’ art of Greece, and followed its development through to modern, ‘romantic’ art, best typified, he claimed, in poetry. Art had not just gone through a series of random changes: in his view, it had developed. Art was one of the many ways in which humanity was improving its understanding of its own freedom, and improving its understanding of its relationship to the world. But this was not all good news. Art had gone as far as it could go and stalled; it could, according to Hegel’s Lectures on Aesthetics (1835), progress no further:

the conditions of our present time are not favourable to art […] art, considered in its highest vocation, is and remains for us a thing of the past.

In 1835, Hegel claimed that art had ended. Almost exactly 10 years later, the German composer Richard Wagner premiered Tannhäuser in Dresden, the first of his great operas; the beginning in earnest of a career that would change musical composition forever. Less than a century after Hegel’s claim, the visual arts saw the onset of Impressionism, Cubism, Surrealism and Fauvism, among other movements, and literature, poetry and architecture were deeply changed by Modernism.

In 1964, Danto attended an exhibition at the Stable Gallery in New York. He came across Andy Warhol’s artwork Brillo Boxes (1964) – a visually unassuming, highly realistic collection of plywood replicas of the cardboard boxes in which Brillo cleaning products were shipped. Danto left the exhibition dumbstruck. Art, he was convinced, had ended. One could not tell the artworks apart from the real shipping containers they were aping. One required something else, something outside the artwork itself, to explain why Warhol’s Brillo Boxes were art, and Brillo boxes in the dry goods store were not. Art’s progress was over, Danto felt; and the reign of art theory had begun.

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