Читать книгу A Companion to Arthur C. Danto - Группа авторов - Страница 13

Arthur Danto was born in Ann Arbor, Michigan, in 1924 and grew up in Detroit. He served in the military during the Second World War, driving trucks in North Africa and Italy. “I had a really great time,” he told me, making me wonder if anything at all could not, given his fascination with life, turn into an adventure. After the war, he studied Art History and Art at Wayne State then in Paris, becoming a printmaker of significance, a maker of images in the manner of German Expressionism, woodblocks with figures articulated in a chaotic swirl of lines, barely discernible in the intensity. At a certain moment in the 1960s, he took the decision to give up art, believing his work out of step with the Zeitgeist. This decision was made on philosophical grounds and without regret, for Arthur was already a philosopher dedicated to thinking through the conditions through which object, performance, and gesture may become art, spinning a theory as intricately inventive as any work of avant-garde art. He had taken the decision to continue at university and gotten a PhD at Columbia, and after a brief stint working in the philosophy of science turned to aesthetics. He was to spend most of the rest of his working life in the classrooms, galleries, and museums of New York, ending up Johnsonian Professor of Philosophy at Columbia while also serving as art critic for the Nation magazine.

It is well known that Arthur’s eureka moment on the road to Damascus took place at a West 58th Street gallery, the Stable Gallery, where he witnessed an exhibition of oversized Brillo boxes by Andy Warhol. Offered in play as a way of blurring the distinction between industrial and fine art, Arthur transformed Warhol into a philosopher in gel (one who wore his gel lightly). In Arthur’s view, Warhol’s boxes became revelations of the conditions that turn ordinary, real things into works of art. These conditions could not be anything visual since the box in the supermarket was (more or less) visually identical to the one in the gallery, but only the one was fine art. The man in dark glasses and a wig had hit on, with Arthur’s prompting, Leibniz’s problem of indiscernibility: that what makes two virtually identical things different in kind has to be something hidden and abstract. That something, Arthur argued in the Journal of Philosophy in 1964, could only be a background of shared theory: a set of concepts constructing terms for the box in the gallery to “make a statement” to the art world. Warhol could press the limits of the art world (with a supermarket box) and get away with it only because these concepts, at a moment of performance art, abstraction, and pop, were in place. Not that Warhol’s gesture was without controversy. Many took Warhol’s antics to be the attention-grabbing of a drugged-out denizen of the Velvet Underground whose pasty skin bespoke the need for a sunlamp if not a two-week vacation in Miami Beach. But the very fact of controversy proved (to Arthur) that the concepts were in place to allow for the argument.

It only remained for Arthur to articulate all the philosophy he believed implicit in Warhol’s gesture, and thus to complete a long history of avant-garde experimentation. On his reading of the avant-gardes they had always been in the project of self-discovery, which Warhol then brought to completion. Who needed to make expressionist woodcuts when the true thrust of art history had ended up in his lap?

Great aestheticians often stake new philosophy on the art of their time: Roger Fry on Cézanne, Richard Wollheim on British figurative art, Friedrich Nietzsche on Wagner (till he got burned). Arthur’s double was Warhol. When he published his theory of art in the Journal of Philosophy, no one knew what to do with it, exactly in the way no one knew how to take Brillo Box. Arthur’s thinking was ahead of the game. Utterly dedicated to making a contribution to philosophy, he did so in the manner of an avant-garde artist, riding the curl of history and finding it on the streets of New York. It is not fortuitous that the book he would publish after his work on the art world in 1964 would be Nietzsche as Philosopher, which similarly befuddled the New York philosophical world, a world, which at that time believed Nietzsche a freak if not a Nazi. What followed was an endless litany of works in philosophy and art criticism, each filled with dazzling insight and unforgettable philosophical twists.

When he became a critic for the Nation magazine in 1984 (a post he held until 2009), postmodernism was in high swing; he became its most imaginative theorist. Having completed the project of self-discovery, Arthur believed (in a Hegelian manner) that art history was completed, freeing art to pursue a prism of new possibilities in the manner of a thousand flowers blooming. This was, in fact, what was happening in the New York art world, where the intense anxieties of the art historical movement (whose military quarters were the Cedar Bar) were giving way to a kind of populist individualism with each artist free to experiment with any style for any reason, composing paintings in which German expressionism meets Italian Mannerism, Abstraction reacquaints itself with the human figure and Duchamp turns into a TV serial. This efflorescence was tailor-made for Arthur’s abundant generosity; he could be free to like everything or at least find everything fascinating. Not that he was without complaint. In an essay in The Nation called “The Painting of Importance,” Arthur bemoaned the new high seriousness whose point seemed to be to make a work of art seem important rather than be it by carrying the aura of deep meaning and struggle with form while in fact bespeaking no message at all other than size and a lot of scratching on the surface and a deep title taken from the Second World War. Certain bad boy artists of the 1980s he chided as adolescents, the kind who come out of their bedrooms in the American suburbs only to tell their parents to stuff it and return to their television sets (now they would be insulting each other on Facebook). He had the pulse of America just as he had the pulse of art. But he never ceased to be cheerful, for he found each twist in the inscrutable pattern of life a new surprise, giving him something new to think about. The worst thing in life, to twist the words of Warhol, is not having anything to think about.

Arthur’s big mind was a generous one. He welcomed serious thought from all quarters, whether it criticized him or not. I had in 1992 submitted a book for publication that criticized parts of his work, and when he read the manuscript, he wrote to me: “Rather than duking it out, what can I do to help you get this book published.” Two years later, I was coming out of a shop somewhere on the Eastside when I ran into him hurrying to a lecture. His warmth was unmistakable. Not ten seconds after he greeted me, an artist who had been living in Italy sauntered by and was bear-hugged. Arthur immediately introduced this man to me, at which point a third stopped to pay respects, and Arthur said, “Three wonderful people on one day.” When we were seated at the same table with a famous Indian artist after an exhibition at New York University in 1985, the artist went on about painting a canvas ninety-six yards long. “Couldn’t you make it a hundred?” Arthur asked, with dry cheerfulness.

It is not often that a philosopher can achieve a central role in the precipitation of culture and in the most cosmopolitan way. It is not often that a philosopher can move effortlessly through various genres of writing, and with such suave, effervescent prose, prose that inevitably finds a philosophical twist to art, and an art to the way philosophy can be imagined. It is less often still that such a person can be loved, really loved by so many. Arthur was what the Greeks call “great-hearted.” He filled the room while leaving ample space for others. The room is bare without him.

Figure 2 Reproduced with permission of Lydia Goehr.