By Arthur Coleman Danto
Given that 1984, whilst he grew to become paintings critic for The kingdom, Arthur C. Danto, certainly one of America's such a lot creative and influential philosophers, has additionally emerged as certainly one of our most crucial critics of artwork. As an essayist, Danto's kind is right away rigorous, incisive, and playful. Encounters and Reflections brings jointly a lot of his contemporary severe writingson artists equivalent to Andy Warhol, David Hockney, and Robert Mapplethorpe; and at the importance of concerns just like the masterpiece and the museum. the result's a lively short from front traces of present aesthetic and philosophical debate.
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Additional resources for Encounters and Reflections: Art in the Historical Present
His focus in high school was always on art as the one place where he could feel himself to be successful, the one subject that always gave him the most profound satisfaction. It was also the place where he found his first art teacher. In subsequent years, she continued to follow David’s progress, even brought him a bottle of Courvoisier to celebrate the opening of his first major show, though she also always brought a severe critical eye to his work as well. After high school, he attended the Langara Campus of the Vancouver Community College (1971–72), and in 1978 received a bfa from Notre Dame University in Nelson, bc.
David’s arrival occurred at a time when artists were coming by the dozens. The school was flourishing and the social life and sense of freedom artists found there were compelling and invigorating. From the 1960s on, the Emma Lake art school was the place to be during the summer. In Saskatchewan, David says, he found a community of artists who supported one another, who knew one another’s work intimately, and discussed it freely, intensely, and in a spirit of inquiry: what worked and what didn’t, why or why not, what other avenues might be open to achieve an effect.
As a case in point, when asked about his tendency to not portray the tops of the mountains in his now iconic alpine vistas, Alexander replied that he does not need to paint them in. “The viewer naturally fills in the missing parts in these paintings,” he explains, “we know that the mountain tops are there and what they look like,” underlining that his paintings have always been participatory. Rather than providing the viewer with an objective and spread-out-in-front-of-you vista, Alexander gives the art lover a subjective view, more akin to that of the hiker when climbing a mountain and true to the reality of the landscape as a place that is occupied.