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By Arthur C. Danto

After the tip of artwork provides Danto's first full-scale reformulation of his unique perception, exhibiting how, with the eclipse of summary expressionism, artwork has deviated irrevocably from the narrative path that Vasari helped outline for it within the Renaissance.

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Sample text

It is part of the post-historical moment of art history that it is immune to manifestos and requires an altogether critical practice. I cannot deal further at this point with modernism so construed-the last era of art history before the end of art, the era in which artists and thinkers scrambled to nail down the philosophical truth of art, a problem not truly felt in the previous history of art when it was more or less taken for granted that the nature of art was known, and an activity necessitated by the breakdown of what, since the great work of Thomas Kuhn in systematizing the history of science, has been thought of as a paradigm.

But what this gives us is no general picture of what art is, only what some of the arts, perhaps historically the most important arts, essentially were. What question does Warhol's Brillo Box ask, or one of Beuys's multiples of a square of chocolate stuck to a piece of paper? What Greenberg had done was to identifY a certain local style of abstraction with the philosophical truth of art, when the philosophical truth, once t(Hllld, would have to he consistent with art appearing every possihle way.

Belting has since dropped the question mark in his amplification of the 1983 text in Das Ende der Kunstgeschichte: Eine Revision nach zehn Jahre (Munich: Verlag C. H. Beck. 1<)95). The present book, also written ten years after the original statement, is my effort to hring the somewhat vaguely formulated idea of the end of art up to date. It may be lllcntiont'li that the idea must have been in the air in the mid-eighties. Gianni Vattimo h'ls

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