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: Thesis Supervisor: Doctoral Studies Panel:

Professor Maeve Cooke Professor Rowland Stout Doctor Joseph Cohen, Doctor Andrew Haas

Submitted August 2011

TABLE OF CONTENTS PRELIMINARIES: 1. Title Page 2. Table of contents 3. Declaration 4. Summary 5. Acknowledgements INTRODUCTION: Identity and Inference 1. The Structure of the Thesis 2. Danto as a Hegelian Philosopher 3. Meaning as Use from Hegel 4. Hegels Theory of Fine art 5. Politics, Taste, and Beauty CHAPTER ONE: The Definitional Problem 1. A brief explanation of the artworld theory 2. The artworld as a theory 3. Family Resemblance 4. The is of artistic identification 5. George Dickies Artworld 6. Dickies criticism of Dantos Artworld 7. Conclusion CHAPTER TWO: The Metaphysical Problem 1. The Transfiguration of the Commonplace 2. The problem of Transfiguration 3. The Red Exhibition 4. The Function of Representation 5. The Content of Representation: Aboutness 55 56 58 62 66 74 27 28 30 34 37 45 47 53 1 2 8 12 19 25 i ii iv v vi

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6. Differentiating Representations: The embodiment of meaning 7. Style : L'homme, c'est le style meme 8. Conclusion CHAPTER THREE: The Historical Problem 1. Narrative Sentences 2. Vasaris Narrative 3. Greenbergs Narrative 4. Dantos Narrative 5. The New York Narrative 6. Carroll on the Future and Past of Dantos Narrative 7. Conclusion: The Brushstroke Explaining Dantos Materialism CHAPTER FOUR: What is Art? 1. My quarrel with Dantos general theory 2. Narrativism de re and de dicto 3. Constitutive Interpretation as a Narrative Sentence 4. Narrative Sentences and the End of Art CONCLUSION: Matter and Meaning 1. The Status of my Argument 2. The parameters of my thesis 3. Possible areas of future research List of Illustrations Bibliography

82 92 95

97 98 105 109 114 118 122 132

136 137 143 150 158

162 163 167 169 176 178

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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 embodiment of 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.

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 chats over 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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