Art: \"The Abuse of Beauty\"

¶ … art: "The Abuse of Beauty" by Arthur Danto

The central intention of "The Abuse of Beauty" by Arthur Danto is an investigation of art theory and aesthetics that can be unpacked in terms of two central and related trajectories. Danto firstly explores the assumption that beauty is a measure of what art is or should be. In the exploration of this assumption, he explains how the ideal of beauty has been relativized, derided and opposed in modern art theory. Related to this is the second trajectory, which is an analysis of the changes in the definition and meaning art.

The fact that art is in a state of crisis and flux in terms of its meaning, definition and status is clear from the analysis of modern theoretical concerns and contemporary aesthetics that Danto provides in this work. He uses the central subject of beauty not only to elucidate on this state of crisis but also to advocate a more open ended and inclusive understanding of art; that is not only circumscribed and determined by the concept and ideal of beauty. While clearly showing in his analysis of the changes in thinking about art why beauty cannot be the determining factor in art, he also pleads for the inclusion of beauty as an aspect of the definition and understanding of art - but only as one aspect and not the sole determining factor.

Throughout this piece, Danto is clear in his view that the development of movements, innovations and understanding in art are closely aligned to theory and philosophical discourse. On the other hand, he acknowledges, using the views of Moore and others, that the relationship between philosophy and art is a complex one with its own unique structure and attributes. In this regard, he explores various theoretical assumptions about art. It is interesting to note that Danto states in his article "The Artworld" (1964) that, "to see something as art requires something the eye cannot descry - an atmosphere of artistic theory, a knowledge of the history of art: an artworld." This view is carried over to a certain extent into the work under discussion. As one commentator notes, "What this thesis implies is that the visual properties of the object alone cannot constitute an object as a work of art; a certain kind of art historical context is necessary."

What Danto emphasizes in "The Abuse of Beauty" is that it is a "misperception" to see beauty as the central focus of art and that not all art is concerned with an appreciation of beauty. In his analysis, Danto explores the underlying views and perceptions that led until approximately the middle of the Twentieth Century to the assumption of the dominance of beauty in art. He unpacks the Victorian and late Edwardian views about art, as well the views of Moore, Hegel and other philosophers and theoreticians. This leads in turn to the assessment of modernist and later pop and conceptualist views of the rejection of beauty as having little if anything to do with the true understanding of art.

Furthermore, what Danto seeks to achieve in this analysis is in the first instance to show that the idea of beauty as the main defining criteria of art is bound by historical and other contexts of the understanding of the meaning of art. He advocates a greater openness and acceptance of other determinations and views about art. For example, the way the art of "disgust" and harsh realism have entered into the mainstream of art should be seen in the context of this reappraisal and reassessment of 'beauty'.

Central to this important debate is the fundamental realization that the meaning and even existence of art is at issue as never before. This is referred to by Danto as a form of "conceptual erasure" which is related to the present state of pluralism in art. By pluralism, Danto means that there are many and not one single view of what art is or should be. He refers to pop art in this regard and extends his argument to the way in which modern forms of art have become conceptual and do not even need to produce an object or work of art.

As a result of these factors the concept of beauty has all but disappeared from views and theories about art. Danto argues that beauty is an aspect that should be 'erased' as a determining factor of what art should aspire to.

In one sense Danto is talking about the relativity of art meaning and art appreciation. On the other hand, he stresses the need to accept new meanings and views in art theory. Importantly, Danto states that, " Beauty's place is not in the definition or -- to use the somewhat discredited idiom -- the essence of art, from which the avant-garde has rightly removed it. That removal, however, was not merely the result of a conceptual but, as I shall argue, a political determination." This again stresses the link between art and theoretical and philosophical discourse.