Since the mid-1980s, Arthur C. Danto has been increasingly
concerned with the implications of the demise of modernism. Out of
the wake of modernist art, Danto discerns the emergence of a
radically pluralistic art world. His essays illuminate this novel
art world as well as the fate of criticism within it. As a result,
Danto has crafted the most compelling philosophy of art criticism
since Clement Greenberg. Gregg Horowitz and Tom Huhn analyze the
constellation of philosophical and critical elements in Danto's
new- Hegelian art theory. In a provocative encounter, they employ
themes from Kantian aesthetics to elucidate the continuing
persistence of taste in shaping even this most sophisticated
philosophy of art.
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