thesis preface

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What is the Matter with Modern Art?-A critical analysis of Arthur Dantos theory of art

Stephen J. Cadwell

Student Number: 04817371

University College Dublin

School of Philosophy

The thesis is submitted to University College Dublin in fulfilment of the

requirements for the degree of Doctor of Philosophy in the College of Human Sciences.

Head of School: Professor Maeve Cooke Thesis Supervisor: Professor Rowland Stout

Doctoral Studies Panel: Doctor Joseph Cohen, Doctor Andrew Haas

Submitted August 2011


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TABLE OF CONTENTS

PRELIMINARIES:

1. Title Page i

2. Table of contents ii

3. Declaration iv

4. Summary v

5. Acknowledgements vi

INTRODUCTION:

Identity and Inference 1

1. The Structure of the Thesis 2

2. Danto as a Hegelian Philosopher 8

3. Meaning as Use from Hegel 12

4. Hegels Theory of Fine art 19

5. Politics, Taste, and Beauty 25

CHAPTER ONE:

The Definitional Problem 271. A brief explanation of the artworld theory 28

2. The artworld as a theory 30

3. Family Resemblance 34

4. The is of artistic identification 37

5. George Dickies Artworld 45

6. Dickies criticism of Dantos Artworld 47

7. Conclusion 53

CHAPTER TWO:

The Metaphysical Problem 55

1. The Transfiguration of the Commonplace 56

2. The problem of Transfiguration 58

3. The Red Exhibition 62

4. The Function of Representation 66

5. The Content of Representation: Aboutness 74

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6. Differentiating Representations: The embodiment of meaning 82

7. Style : L'homme, c'est le style meme 92

8. Conclusion 95

CHAPTER THREE:

The Historical Problem 97

1. Narrative Sentences 98

2. Vasaris Narrative 105

3. Greenbergs Narrative 109

4. Dantos Narrative 114

5. The New York Narrative 1186. Carroll on the Future and Past of Dantos Narrative 122

7. Conclusion: The Brushstroke Explaining Dantos Materialism 132

CHAPTER FOUR:

What is Art? 136

1. My quarrel with Dantos general theory 137

2. Narrativism de re and de dicto 143

3. Constitutive Interpretation as a Narrative Sentence 150

4. Narrative Sentences and the End of Art 158

CONCLUSION:

Matter and Meaning 162

1. The Status of my Argument 163

2. The parameters of my thesis 1673. Possible areas of future research 169

List of Illustrations 176

Bibliography 178

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I hereby certify that the submitted work is my own work, was completed while

registered as a candidate for the degree stated on the Title Page, and I have not

obtained a degree elsewhere on the basis of the research presented in this submitted

work

Stephen Cadwell.

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Summary

The central target of this thesis is Arthur Dantos condition of embodiment

of meaning. This is the second condition of his essentialist definition of art and,

along with the condition of aboutness, explains how the representative function of a

work of art may be embodied within an object. It is the representative function of

an object that allows it to be distinguished from an indiscernible non-art

counterpart. The thesis will show how this idea of embodiment conceals a certain

type of realism about language, specifically what Danto refers to as representational

materialism. If the second condition of Dantos essentialist definition is dependent

on this kind of materialism, then, any other parts of Dantos theory associated with

that essentialist definition will also rely on that same materialism. The thesis will

then explain how the essentialist definition is only able to function in conjunction

with Dantos artworld thesis and his narrative explanation of the history of art.

These three parts, when taken together, form what the thesis refers to as Dantos

general theory of art.

Thus, the challenge at hand is a replacement of this foundational materialist

philosophy with a viable alternative. This alternative will be found with Dantos

theory of narrative sentences. The thesis will advocate an understanding of

interpretation through the form of a narrative sentence. In relocating embodimentof meaning from the matter of the object to the act of interpreting that object, the

thesis will propose a method by which the history of art can be explained

narratalogically, that is, without recourse to superficial relativism on the one hand,

and on the other, the finality of Dantos end of art thesis. The findings will thus

propose that the matter of modern art lies in the conceptual acts of interpretation

and not, as hitherto suggested by Danto, in the material properties of an object.

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vi

Acknowledgements

First and foremost, I would like to acknowledge the help and guidance

provided by Professor Rowland Stout. His patience and sage advice allowed me to

shape my rough thoughts into the text you hold in your hands, for this, I am

eternally grateful. I would also like to thank Dr. Andrew Haas, and Dr. Joseph

Cohen who guided and encouraged me to persevere through the Hegelian labyrinth.

My spirit is enriched. I would like to thank Professor Maeve Cooke and the staff of

UCDs School of Philosophy. It has been a pleasure to learn from, and with, them

throughout the years. A special thanks to TCDs Mr. Paal Antonsen and UCDs Dr.

Chris Cowley for helping me drag Dublins philosophers out of their offices and

into each others company. I would also like to say a special thanks to Dr. Stephen

Schwartz, for introducing me to the work of Arthur Danto.

I cannot think of any Philosophy graduate who could have completed their

work without the endless efforts of Margaret Brady and Helen Kenny. On every

students behalf, I thank you! The thesis would have been impossible were it not for

the financial support from the CDVEC. I would like to say a particular thank you to

Robert Foley and the UCDSU Health Service for providing an altogether different

type of support; you helped me catch the beat and get back in rhythm, thank you so

much! A sweeping wave of gratitude to all my UCD friends, the stimulating chatsover endless cups of tea shaped this thesis as much as anything learned in the

lecture halls; a high five to you all! To the Hegel Reading Group and to all the

students from my tutorials, I hoped you learned half as much from me as I did from

all of you. To all the filmmakers, past and present, working with you always helped

me to recharge my philosophical batteries. And to all my Tolka friends for keeping

me on my toes!

I would never have finished this text were it not for the help provided by all

the residents of 34 Sitric Road, your smiling faces made coming home exhausted a

lot easier. I would also like to thank all the artists who have inspired me on this

journey, in particular, Paul, Rachel, David, and their families for teaching me the

importance of practice and the possibility of laughing forever.

Mam, Dad, Rosie, Patrick, and Bob without you all I would be nothing. My

love for you goes beyond words. Finally, to Siobhn; indiscernible from happiness. I

thank you for absolutely everything.

In loving memory of Tony Gregory T.D. The Peoples Champion.

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