Abstract
Arthur Danto's famous quasi-Hegelian “end of art” thesis holds that around the late 1970s to 1980s a certain narrative of art had come to an end, having been “objectively realized in the history of art”. Art moves to greater expressiveness of the artist's emotions and ideas, before turning inward and focusing increasingly on the materiality of the artistic medium. Danto's end of art thesis, as well as his admittedly partial definition of art as “embodied meaning” have sparked much controversy. The Dada aim of the readymade, according to Danto, is to “exemplify the most radical dissociation of aesthetics from art.” One key difference between Celmins' and Duchamp's readymades is that the latter's were displayed solo, presented to curators, juries and audiences themselves as works of art – the major point was to “enfranchise” ordinary manufactured objects as art.
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