Podcasts about Arthur Danto

Executive Producer (EP) Eric McCasline talks about building his new, top-tier production company, Good Times. https://ItsGoodTimes.com/ And he chats with Matt and Oren about how directors can get on the roster, win jobs, and why you as a director need to know your lane and understand how reps will pitch you. It's a "Moneyballl" game to get on and stay on, are you playing your game right?The conversation goes deep into budgets, incentives, permits, fees as well as the shifting aesthetic of commercials. And the guys reveal why only top-tier work matters these days. So you gotta shoot way higher than the B-Team!!!---Get a great deal on Magic Mind! https://magicmind.com/shootitjanMatt's Endorsement: https://www.kimgehrig.com/ Patrick Tomaso's video "Why don't movies look like *movies* anymore?" https://youtu.be/EwTUM9cFeSo?si=8MV4niF9L7o-Uh6FOren's Endorsement: Use Photoshop Generative AI and Midjourney to make edits to storyboards and animatics while staying consistent to your storyboard artists style.Bring Cool Ranch Doritos to your party, seriously.Eric's Endorsements: SteadfastLA https://www.steadfastla.com/ is helping rebuild Los Angeles."After the End of Art", a book by Arthur Danto https://press.princeton.edu/books/paperback/9780691163895/after-the-end-of-art Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

Richard Prince es uno de los artistas contemporáneos que mejor encarnan en su obra los debates típicos de la posmodernidad. Ironía, publicidad, provocación y sobre todo, la cuestión de la autoría y el dónde y cuándo hay arte que se preguntaba Arthur Danto en el siglo pasado. Se trata de un artista polémico e inclasificable que ha logrado mantenerse vigente a través de sus obras relacionadas con las redes sociales de una forma sorprendente.

Harold Meyerson comments on the Colorado supreme court's ruling that the constitution prohibits Trump from serving as president because he participated in an insurrection. Also - class struggle in 2023 - the year in review.Plus: Why have some feminists been reluctant even to acknowledge that Hamas members raped Israeli women and girls on Oct. 7? Katha Pollitt comments.Also: "parents rights" failed as a Republican political tactic in the 2023 elections - but what about 2024? Randi Weingarten has our analysis - she's president of the AFT.And from the archives: Arthur Danto on art in Las Vegas. This segment was recorded in 2000.

durée : 00:04:00 - Le "vrai" métier des philosophes - par : Nassim El Kabli - Le célèbre auteur de "La Transfiguration du banal" a profondément marqué la conscience artistique du dernier demi-siècle : tout peut aujourd'hui devenir art et Danto s'en réjouit. Son activité de critique d'art fait écho à une élaboration philosophique impressionnante.

durée : 00:04:00 - Le "vrai" métier des philosophes - par : Nassim El Kabli - Le célèbre auteur de "La Transfiguration du banal" a profondément marqué la conscience artistique du dernier demi-siècle : tout peut aujourd'hui devenir art et Danto s'en réjouit. Son activité de critique d'art fait écho à une élaboration philosophique impressionnante.

Stephen Hicks is a professor of philosophy at Rockford University, U.S. and the author of several books, including the best-seller Explaining Postmodernism, which details the philosophical roots of today's cultural climate. Mr. Hicks highlights Immanuel Kant's role in undermining objectivity and reason, showing how his ideas remain the corner stone of Post Modernism and "Fine Art" to this day. Giving an overview of Kant's aesthetics, metaphysics and epistemology, the conversation further explains how this cocktail necessarily cripples classically minded people: If we cannot know reality then the act of painting it becomes naive. If nothing is objective then we cannot trust the rules of any craft and if nothing is universal then we become estranged from the mythic perspective. You can listen to Hicks' lecture How Art Became Ugly or check out his appearances on various podcasts including his own Open College Podcast. His official YouTube-channel is CEE Channel (Center for Ethics and Entrepreneurship).

I denne episoden intervjuer podcastvert Hans Magnus Sæle Kårstad filosof og Granum-rektor Eva Løveid Mølster, hvor de gjør et dypdykk i kunstfilosofien; spesielt ideene til Arthur Danto og George Dickie. De diskuterer også KI eller AI-kunst, debatten rundt Christian Kroghs "Leiv Eiriksson oppdager Amerika", og viktigheten av en allmenn kunstutdannelse.

In this episode we talk with New York Times Opinion Section Editor Peter Catapano, who has edited and published more than 1,000 pieces in The Times and worked with thinkers and writers such as Arthur Danto and E.O. Wilson. Our conversation explores the relationship between writer and editor and the important work Catapano did editing Oliver Sacks' chronicling his illness and death. Catapano's The Stone, established in 2010, is the longest-running online series in Opinion, and draws millions of readers each year. John Kaag is Professor and Chair of Philosophy at UMass Lowell and External Professor at the Santa Fe Institute. John W. Traphagan, Ph.D. is Professor and Mitsubishi Heavy Industries Fellow in the Department of Religious Studies at the University of Texas at Austin, where he is also a professor in the Program in Human Dimensions of Organizations. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

In this episode we talk with New York Times Opinion Section Editor Peter Catapano, who has edited and published more than 1,000 pieces in The Times and worked with thinkers and writers such as Arthur Danto and E.O. Wilson. Our conversation explores the relationship between writer and editor and the important work Catapano did editing Oliver Sacks' chronicling his illness and death. Catapano's The Stone, established in 2010, is the longest-running online series in Opinion, and draws millions of readers each year. John Kaag is Professor and Chair of Philosophy at UMass Lowell and External Professor at the Santa Fe Institute. John W. Traphagan, Ph.D. is Professor and Mitsubishi Heavy Industries Fellow in the Department of Religious Studies at the University of Texas at Austin, where he is also a professor in the Program in Human Dimensions of Organizations. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

In this episode we talk with New York Times Opinion Section Editor Peter Catapano, who has edited and published more than 1,000 pieces in The Times and worked with thinkers and writers such as Arthur Danto and E.O. Wilson. Our conversation explores the relationship between writer and editor and the important work Catapano did editing Oliver Sacks' chronicling his illness and death. Catapano's The Stone, established in 2010, is the longest-running online series in Opinion, and draws millions of readers each year. John Kaag is Professor and Chair of Philosophy at UMass Lowell and External Professor at the Santa Fe Institute. John W. Traphagan, Ph.D. is Professor and Mitsubishi Heavy Industries Fellow in the Department of Religious Studies at the University of Texas at Austin, where he is also a professor in the Program in Human Dimensions of Organizations. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/communications

In this episode we talk with New York Times Opinion Section Editor Peter Catapano, who has edited and published more than 1,000 pieces in The Times and worked with thinkers and writers such as Arthur Danto and E.O. Wilson. Our conversation explores the relationship between writer and editor and the important work Catapano did editing Oliver Sacks' chronicling his illness and death. Catapano's The Stone, established in 2010, is the longest-running online series in Opinion, and draws millions of readers each year. John Kaag is Professor and Chair of Philosophy at UMass Lowell and External Professor at the Santa Fe Institute. John W. Traphagan, Ph.D. is Professor and Mitsubishi Heavy Industries Fellow in the Department of Religious Studies at the University of Texas at Austin, where he is also a professor in the Program in Human Dimensions of Organizations. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/journalism

In this episode we talk with New York Times Opinion Section Editor Peter Catapano, who has edited and published more than 1,000 pieces in The Times and worked with thinkers and writers such as Arthur Danto and E.O. Wilson. Our conversation explores the relationship between writer and editor and the important work Catapano did editing Oliver Sacks' chronicling his illness and death. Catapano's The Stone, established in 2010, is the longest-running online series in Opinion, and draws millions of readers each year. John Kaag is Professor and Chair of Philosophy at UMass Lowell and External Professor at the Santa Fe Institute. John W. Traphagan, Ph.D. is Professor and Mitsubishi Heavy Industries Fellow in the Department of Religious Studies at the University of Texas at Austin, where he is also a professor in the Program in Human Dimensions of Organizations. Learn more about your ad choices. Visit megaphone.fm/adchoices

Thought experiments are tools philosophers and scientists use to investigate how things are, without actually having to go out and experiment in the real world. Philosophy Illustrated: Forty-Two Thought Experiments to Broaden your Mind (Oxford UP, 2021) presents forty-two philosophical thought experiments. Each thought experiment is illustrated by De Cruz and is summarized in one or two paragraphs, which is followed by a brief exploration of its significance. Each thought experiment also includes a longer (approximately 2-page) reflection, written by a philosopher who is a specialist in the field. De Cruz's unique illustrations serve as visual and accessible starting points for classroom discussions in Intro to Philosophy courses. The featured philosophers in this podcast include: Pictures as philosophy, by Helen De Cruz Skywalk. Original thought experiment by Tamar Gendler The creationist teacher. Original thought experiment by Jennifer Lackey The drowning child. Original thought experiment by Peter Singer Splitting the bill at a restaurant. Original thought experiment by David Christensen. Reflection by David Christensen Red square. Original thought experiment by Arthur Danto. Reflection by Alex King Becoming a vampire. Original thought experiment by L.A. Paul The impartial caretaker. Original thought experiment by Mozi. Reflection by Hui-chieh Loy Seeing color for the first time. Original thought experiment by Ibn Tufayl. Reflection by Eric Schliesser Morteza Hajizadeh is a Ph.D. graduate in English from the University of Auckland in New Zealand. His research interests are Cultural Studies; Critical Theory; Environmental History; Medieval (Intellectual) History; Gothic Studies; 18th and 19th Century British Literature. YouTube Channel. Twitter. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Thought experiments are tools philosophers and scientists use to investigate how things are, without actually having to go out and experiment in the real world. Philosophy Illustrated: Forty-Two Thought Experiments to Broaden your Mind (Oxford UP, 2021) presents forty-two philosophical thought experiments. Each thought experiment is illustrated by De Cruz and is summarized in one or two paragraphs, which is followed by a brief exploration of its significance. Each thought experiment also includes a longer (approximately 2-page) reflection, written by a philosopher who is a specialist in the field. De Cruz's unique illustrations serve as visual and accessible starting points for classroom discussions in Intro to Philosophy courses. The featured philosophers in this podcast include: Pictures as philosophy, by Helen De Cruz Skywalk. Original thought experiment by Tamar Gendler The creationist teacher. Original thought experiment by Jennifer Lackey The drowning child. Original thought experiment by Peter Singer Splitting the bill at a restaurant. Original thought experiment by David Christensen. Reflection by David Christensen Red square. Original thought experiment by Arthur Danto. Reflection by Alex King Becoming a vampire. Original thought experiment by L.A. Paul The impartial caretaker. Original thought experiment by Mozi. Reflection by Hui-chieh Loy Seeing color for the first time. Original thought experiment by Ibn Tufayl. Reflection by Eric Schliesser Morteza Hajizadeh is a Ph.D. graduate in English from the University of Auckland in New Zealand. His research interests are Cultural Studies; Critical Theory; Environmental History; Medieval (Intellectual) History; Gothic Studies; 18th and 19th Century British Literature. YouTube Channel. Twitter. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/critical-theory

Thought experiments are tools philosophers and scientists use to investigate how things are, without actually having to go out and experiment in the real world. Philosophy Illustrated: Forty-Two Thought Experiments to Broaden your Mind (Oxford UP, 2021) presents forty-two philosophical thought experiments. Each thought experiment is illustrated by De Cruz and is summarized in one or two paragraphs, which is followed by a brief exploration of its significance. Each thought experiment also includes a longer (approximately 2-page) reflection, written by a philosopher who is a specialist in the field. De Cruz's unique illustrations serve as visual and accessible starting points for classroom discussions in Intro to Philosophy courses. The featured philosophers in this podcast include: Pictures as philosophy, by Helen De Cruz Skywalk. Original thought experiment by Tamar Gendler The creationist teacher. Original thought experiment by Jennifer Lackey The drowning child. Original thought experiment by Peter Singer Splitting the bill at a restaurant. Original thought experiment by David Christensen. Reflection by David Christensen Red square. Original thought experiment by Arthur Danto. Reflection by Alex King Becoming a vampire. Original thought experiment by L.A. Paul The impartial caretaker. Original thought experiment by Mozi. Reflection by Hui-chieh Loy Seeing color for the first time. Original thought experiment by Ibn Tufayl. Reflection by Eric Schliesser Morteza Hajizadeh is a Ph.D. graduate in English from the University of Auckland in New Zealand. His research interests are Cultural Studies; Critical Theory; Environmental History; Medieval (Intellectual) History; Gothic Studies; 18th and 19th Century British Literature. YouTube Channel. Twitter. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/intellectual-history

What you'll learn in this episode: Why the best modernist pieces are fetching record prices at auction today How “Messengers of Modernism” helped legitimize modernist jewelry as an art form The difference between modern jewelry and modernist jewelry Who the most influential modernist jewelers were and where they drew their inspiration from Why modernist jewelry was a source of empowerment for women About Toni Greenbaum Toni Greenbaum is a New York-based art historian specializing in twentieth and twenty-first century jewelry and metalwork. She wrote Messengers of Modernism: American Studio Jewelry 1940-1960 (Montréal: Musée des Arts Décoratifs and Flammarion, 1996), Sam Kramer: Jeweler on the Edge (Stuttgart: Arnoldsche Art Publishers, 2019) and “Jewelers in Wonderland,” an essay on Sam Kramer and Karl Fritsch for Jewelry Stories: Highlights from the Collection 1947-2019 (New York: Museum of Arts and Design and Arnoldsche, 2021), along with numerous book chapters, exhibition catalogues, and essays for arts publications. Greenbaum has lectured internationally at institutions such as the Pinakothek der Moderne, Munich; Academy of Arts, Architecture and Design in Prague; Yale University Art Gallery, New Haven; Cooper Hewitt Smithsonian Design Museum and Museum of Arts and Design, New York; Museum of Fine Arts, Boston; and Savannah College of Art and Design Museum of Art, Savannah. She has worked on exhibitions for several museums, including the Victoria and Albert in London, Musée des beaux-arts de Montréal, and Bard Graduate Center Gallery, New York. Additional Resources: Link to Purchase Books Toni's Instagram The Jewelry Library  Photos Available on TheJewelryJourney.com Transcript: Once misunderstood as an illegitimate art form, modernist jewelry has come into its own, now fetching five and six-figure prices at auction. Modernist jewelry likely wouldn't have come this far without the work of Toni Greenbaum, an art historian, professor and author of “Messengers of Modernism: American Studio Jewelry, 1940 to 1960.” She joined the Jewelry Journey Podcast to talk about the history of modernist jewelry; why it sets the women who wear it apart; and where collectors should start if they want to add modernist pieces to their collections. Read the episode transcript here.     Sharon: Hello, everyone. Welcome to the Jewelry Journey Podcast. This is the second part of a two-part episode. If you haven't heard part one, please go to TheJewelryJourney.com. Today my guest is art historian, professor and author Toni Greenbaum. She is the author of the iconic tome, “Messengers of Modernism: American Studio Jewelry, 1940 to 1960,” which analyzes the output of America's modernist jewelers. Welcome back.    Do you think that if you had looked up and seen Sam Kramer's shop, would you have been attracted?   Toni: Oh, my god, I would have been up in a shot. Are you kidding? I would have tumbled up those stairs had I known it was there. I never even knew what it was, but I was always seeking out that aesthetic, that kind of thing. Like I said, my mother would buy handmade jewelry, silver jewelry, and I loved what she bought. I would go to galleries with her. When I say gallery, they were more like shops; they were like shop-galleries, multimedia boutiques, not specifically jewelry, that would carry handmade jewelry. I loved it. Had I seen Sam Kramer's shop, I would have been up like a shot. The same thing with Art Smith. I would have been down those steps like a shot, but I didn't know they were there, and I was too busy running after boys and going to the coffee shops in Greenwich Village to look carefully.   Sharon: Out here, I don't know if you would have had those influences.   Toni: You had a few shops. You're in the Los Angeles area?   Sharon: Yeah.   Toni: There were a few shops in L.A., not so much in Northern California. There was Nanny's in San Francisco, which was a craft gallery that carried a lot of jewelers. In Southern California there were a few studio shops, but I don't know how prominent they were. I don't know how obvious they were. I don't think that they were as much on people's radar as the ones in New York.   Sharon: When you say studio jewelers, was everything one-off, handmade?   Toni: Yes—well, not necessarily one-off. Generally, what these jewelers would do—this is the best generalization—for the larger, more expensive, more involved pieces, they would make one. When they sold it, they'd make another one, and when they sold that, they'd make another one. If the style was popular, they would also have what they would think of as production lines—earrings, cuff links, tie bars that they would replicate, but they were not cast usually. At that time, very little of it was cast. It was hand-wrought, so there were minor differences in each of the examples. But unless we get into the business records of these jewelers, we don't really know exactly how many they made of each design.   Sharon: Why is it, do you think, that modernist jewelry has been so popular today?   Toni: Oh, that's a good question. That's a very good question. I think a lot has to do with Fifty/50 Gallery's promotion. Fifty/50 was on Broadway at 12th Street, and it was a multimedia gallery that specialized in mid-20th century material. There were three very smart, very savvy, very charismatic owners who truly loved the material like I love it, and when you love something so much, when you have a passion, it's very easy to make other people love it also. I think a lot of the answer to that question is Fifty/50's promotion. They were also a very educative gallery. They were smart, and they knew how to give people the information they needed to know they were buying something special. I think it appeals to a certain kind of person.    Blanche Brown was an art historian in the midcentury who was married to Arthur Danto, who was a philosopher who taught art history at Columbia. His wife, Blanche Brown, was also an art historian. She did a lot of writing, and she would talk about the modernist jewelry, which she loved. It was a badge that she and her cohort would wear with pride because it showed them to be aesthetically aware, politically progressive. It made them stand apart from women who were wearing diamonds and precious jewelry just to show how wealthy their husbands were, which was in the 1940s and 1950s, the women who would wear this jewelry. So, for women like Blanche Brown and women through the 1960s, 70s, 80s and even now—well, now it's different because we have all the contemporary jewelers—but I think it set these women apart. It made them special in a way. It set them apart from the women who were wearing the Cartier and the Van Cleef and Arpels.    You dress for your peers. You dress to make your peers admire you, if not be envious. Within the Bohemian subculture of the 1950s, within the Beat Generation of the 1950s and through the 1960s and the hippies in the 1970s, it set apart that kind of woman. Remember, also, feminism was starting to become a very important aspect of lifestyle. I think when “The Feminine Mystique” came out around 1963—I would have to check it—women were starting to feel empowered. They wanted to show themselves to be intelligent and secure and powerful, and I think modernist jewelry imparted that message when one wore it. It's not that different than people who wear the contemporary jewelry we love so much now. Art Jewelry Forum says it's jewelry that makes you think, and that is what I think a lot of us relate to in that jewelry. It's jewelry with a real concept behind it.   Sharon: That leads me to the next question. I know the biographies repeat themselves. When I was looking up information about you, they said you're an expert in modernist and contemporary jewelry. Contemporary can mean anything. Would you agree with the contemporary aspect?   Toni: I don't view myself as an expert in contemporary. I think I know more than a lot of people about it only because I study it. It's very hard to keep up because there are so many new jewelers popping up all the time. The name of my course that I teach at Pratt is Theory and Criticism of Contemporary Jewelry. Because of that, I do have to keep up to the day because it's a required course for the juniors majoring in jewelry studies, and I feel a responsibility to make them aware of what's happening right at that point I'm teaching it. Things are changing so much in our field, but I don't view myself as an expert. I just think I know a lot about it. It's not my field of expertise, and there's so much. You've got German jewelers, and you've got Chinese jewelers, and you've got Australian and New Zealand jewelers, and you've got Swedish jewelers. All over the world. You've got Estonia, a little, small country, as these major jewelers. They are each individual disciplines in and of themselves.   Sharon: How is it that you wrote the catalogue that became “Messengers of Modernism”? Were you asked to write the catalogue?    Toni: Yeah, I was hired by David Hanks and Associates, which was and still is the curatorial firm. They're American, but they work for the Montreal Museum of Fine Arts. At that time, there was a separate Montreal Museum of Decorative Arts, and that's really where Messengers of Modernism—it came under the Montreal Museum of Decorative Arts. Now, it has been absorbed into the Montreal Museum of Fine Arts. It's just one building. It was a separate building. Basically I was hired by the museum to write the catalogue.   Sharon: And how did it become a book?    Toni: It is a book.    Sharon: Yes, but how did it become—it was a catalogue.   Toni: It's a book, but it functions as the catalogue in the next edition.   Sharon: Right, but I was saying that you wrote the catalogue, and then you said it was published by Flammarion in Paris. Did they say, “Oh, let's take it and make it a book?” How did it transform?   Toni: It was always a book, but it functioned as the catalogue for a particular collection, which is their collection of modernist jewelry. Many exhibitions, even painting exhibitions, when you go to a museum and view a painting exhibition and you buy the accompanying text, it's the catalogue of the exhibition.   Sharon: Yes, but a lot of those don't become books per se. That's why I was wondering, did somebody at the publishers see your catalogue and say, “This would make a great book?” I have never seen the exhibition, but I have the book.   Toni: I think this is a semantic conversation more than anything else. It has become, as I said, the standard text, mostly because nothing else really exists, except I believe Marbeth Schon wrote a book on the modernist jewelers which is more encyclopedic. This book, “Messengers of Modernism,” first of all, it puts the collection in the context of studio craft from the turn of the century up until then, which was then the present. The book was published in 1996. I think what you're saying is it's more important than what we think of as a museum catalogue and it's become a standard text.   Sharon: Yeah.   Toni: It was always conceived as a book about modernist jewelry; it was just focusing on this one collection. What I'm saying is people would say, “Well, why isn't this one in the book? Why did you leave this one out?” and I said, “Well, I didn't leave this one out. This is a book about a finite collection that's in the Montreal Museum of Fine Arts.” If I were writing a book about modernist jewelry, of course I would have included Claire Falkenstein, but she wasn't in their collection, so it's not in that book. That was basically what I meant.   Sharon: Is there a volume two that's going to be coming out with the ones that weren't in the collection that you think should be in the book?   Toni: That book was published in 1996. We're already in 2022. People are always asking me, but one never knows.    Sharon: I guess you don't need an exhibition to write a catalogue.    Toni: No, to write a book, of course you don't.   Sharon: To write a book. What's on your radar? What do you think you have next? Is it in the realm of modernism that you would be writing about?   Toni: That's really what I write about. I lecture about contemporary jewelry to my students and occasionally to the public, but my area of expertise is modernism. There are cardiologists that have a part of their practice in general medicine, but if somebody has a gastrointestinal problem, they're going to send them to a gastroenterologist. I can deal with the broad strokes, which I do, but unless it's one specific jeweler that I would write about, I would not attempt a book about contemporary jewelry. I would stick with modernism, what I feel very confident and comfortable with.   Sharon: If somebody who's passionate about jewelry but not wealthy said they want to start building a modernist collection, where would they start?   Toni: That is another good question. First of all, they would really have to comb the auctions. If they were very serious about collecting important works, I would send them to Mark McDonald, who's the premier dealer in this material. He was one of the partners of Fifty/50.   Sharon: Right, does he still work in that area? Didn't they close the store? Yeah, they closed the store.   Toni: Yeah, two of the partners tragically died. Mark had Gansevoort Gallery after. That was on Gansevoort Street in the Meatpacking District here in New York, which was a wonderful gallery also specializing in modernist material, multimedia. Then he had a shop up in Hudson, New York, for many years, right opposite Ornamentum Gallery. That closed, but he still deals privately. He is the most knowledgeable dealer in the period that I know of. If anybody was really serious about starting to collect modernist jewelry, he would be the person I recommend they go to.   Sharon: It sounds like somebody to collaborate with if you're writing your next book.   Toni: We always collaborate. We're good friends and we always collaborate.   Sharon: Where do you see the market for modernist jewelry? Do you see it continuing to grow? Is it flat? Is it growing?   Toni: Yes, the best of it will continue to grow. There was an auction right before the pandemic hit. I think it was February of 2020, right before we got slammed. It was an auction that was organized by David Rago Auction in New Hope, Pennsylvania, and Wright, which is also an auction gallery specializing in modern and modernism from Chicago. Mark McDonald curated the collection, and the idea behind that exhibition was it was going to go from modernist jewelry from the mid-20th century up to the present and show the lineage and the inheritance from the modernist jewelers. It also included Europeans, and there was some wonderful modernist jewelry in that exhibition that sold very well—the move star pieces, the big pieces.    Then there was—I guess a year ago, no more than that—there was an auction at Bonhams auction house which was one couple's collection of modernist jewelry, artist jewelry—and by artists, I mean Picasso and Max Ernst, modernist artists. They collected a lot of Mexican jewelry and two of Art Smith's most major bracelets, his modern cuff and his lava cuff. I always forget which sold for what, but these were copper and brass cuffs. One sold for $18,000 and one sold for $13,000. I think the modern cuff was $18,000 and the lava cuff was $13,000. If anybody comes to my lecture tomorrow for GemEx, I talk about both of them in detail. This is big money. Five figures is very big money for these items, but these are the best of the best, the majors of the major by Art Smith. Art Smith is currently very, very coveted.   Sharon: Who's your favorite of the modernist jewelers? Who would you say?   Toni: Well, I have two favorites. There are three that are the most important, so let's say three favorites. One is Art Smith, and the reason is because the designs are just brilliant. They really take the body into consideration, negative space into consideration, and they're just spectacularly designed and beautiful to wear. Sam Kramer, the best of his work, the really weird, crazy, surrealist pieces like the one that's on the cover and the back of the Sam Kramer book. Margaret de Patta, who was from the San Francisco Bay area, and she was diametrically opposite to these two because her work was based upon constructivism. She had studied under Moholy-Nagy, the Hungarian constructivist painter, sculptor, photographer. Her work is architectural based upon these eccentrically cut stones. She would be inspired by the rutilations, which are the inclusions within quartz, and she would design her structures around them. I would say those are my three favorites.   Sharon: That's interesting. I wouldn't have thought of Margaret de Patta. I guess I think of her in a different category. I don't know why.   Toni: She's one of the most important modernist jewelers. She founded that whole San Francisco Bay Area MAG, the Metal Arts Guild. She was their guru.    Sharon: When I think of San Francisco at that time, I think of all the jewelry I bought when I was 16 and then I said, “What did I want this for?” Now I see it in the flea markets for 14 times the price I paid for it.   Toni: Right.   Sharon: But who knew. Anyway, Toni, thank you so much. It's been so great to have you. We really learned a lot. It's a real treat. Thank you.   Toni: I had a great time also. Thank you for inviting me. Thank you.   Thank you again for listening. Please leave us a rating and review so we can help others start their own jewelry journey.

This lecture discusses key ideas from the 20th century philosopher of art, George Dickie's article "What Is Art? An Institutional Analysis". Specifically it examines his discussion of one of the main concepts to his analysis, what - following Arthur Danto - he terms "the artworld". You can get Dickie's work, Art and the Aesthetic: An Institutional Analysis, here - https://amzn.to/2NLIRdc To support my ongoing work, go to my Patreon site - www.patreon.com/sadler If you'd like to make a direct contribution, you can do so here - www.paypal.me/ReasonIO - or at BuyMeACoffee - www.buymeacoffee.com/A4quYdWoM

We discussed: artist archives, vernacular photography, appropriation, privacy issues, artist estates, what makes a photograph a fine artwork, what is art, what is good art, the role of curators, portfolio reviews   https://gellerjudit.wordpress.com   People + Places mentioned: Lucien Hervé - https://www.michaelhoppengallery.com/artists/84-lucien-herve/overview/ Robert Capa - https://www.magnumphotos.com/photographer/robert-capa/ André Kertész - https://www.holdenluntz.com/artists/andre-kertesz/ Fortepan - https://fortepan.hu Marcell Esterházy - http://www.esterhazymarcell.net Richard Prince - http://www.richardprince.com István B. Gellér (her father) - http://gellerbistvan.hu Robert Capa Contemporary Photography Center - https://capacenter.hu Museum of Ethnography - https://www.neprajz.hu Péter Puklus - https://peterpuklus.com Arthur C. Danto - https://en.wikipedia.org/wiki/Arthur_Danto     Audio engineering by Mickey at CushAudio Services Music by Peat Biby     Supported in part by: EEA Grants from Iceland, Liechtenstein + Norway – https://eeagrants.org               And we appreciate the assistance of our partners in this project: Hunt Kastner – https://huntkastner.com + Kunstsentrene i Norge – https://www.kunstsentrene.no    

We newly introduce the classic 2010 episode on Danto's "The Philosophical Disenfranchisement of Art," "The Appreciation and Interpretation of Works of Art," and "The End of Art" (1986). What effect should the avant garde have on our understanding of what art is? Danto gives a picture of philosophy and art at war throughout history: Philosophy says that art can't get at truth and is otherwise useless, yet philosophers like Plato seem afraid of the power of art to corrupt. What's the deal? Want to hear more vintage, behind-the-paywall discussions like this? Become a PEL Supporter at partiallyexaminedlife.com/support.

What we mean by art has changed in modern times -- and there has never been a better time to be an artist. Nishant Jain aka Sneaky Artist joins Amit Varma in episode 260 of The Seen and the Unseen to talk about his journey, and to share his insights on the creator economy. Also check out: 1. The Sneaky Artist -- Nishant Jain's website. 2. The Sneaky Art Post -- Nishant Jain's newsletter. 3. The Sneaky Art Podcast on Apple and Spotify. 4. Nishant Jain on Twitter, Instagram and Linktree. 5. Earlier episodes of The Seen and the Unseen on the creator ecosystem with Roshan Abbas, Varun Duggirala, Neelesh Misra, Snehal Pradhan and Chuck Gopal. 6. The Story of Art -- EH Gombrich. 7. Population Is Not a Problem, but Our Greatest Strength -- Amit Varma. 8. The Time a Stiff Caught Fire — Keith Yates. 9. Random BOOMER Journalist Says WHAT About Paul Simon??? — Rick Beato's magnificent rant. 10. Puneet Superstar interviewed on Dostcast. 11. Only Fans. 12. 1000 True Fans — Kevin Kelly. 13. 1000 True Fans? Try 100 — Li Jin. 14. XKCD -- Webcomic by Randall Munroe. 15. Objects Speak to Annapurna Garimella -- Episode 257 of The Seen and the Unseen. 16. Roam Research. 17. Zettelkasten on Wikipedia. 18. PG Wodehouse and Agatha Christie on Amazon. 19. Fixing Indian Education -- Episode 185 of The Seen and the Unseen (w Karthik Muralidharan). 20. Kashmir and Article 370 -- Episode 134 of The Seen and the Unseen (w Srinath Raghavan). 21. The Citizenship Battles -- Episode 152 of The Seen and the Unseen (w Srinath Raghavan). 22. The Importance of Being Earnest -- Nishant Jain. 23. Shantaram -- Gregory David Roberts. 24. Supermen of Malegaon. 25. The Existentialism of Tiny People -- Nishant Jain. 26. The Dictionary of Obscure Sorrows. 27. A Meditation on Form -- Amit Varma. 28. Reddit Gets Drawn. 29. Imaginary Number -- Vijay Seshadri. 30. A path to infinity, and beyond -- Nishant Jain. 31. Art is for everyone -- Nishant Jain. 32. At The Existentialist Café -- Sarah Bakewell. 33. Levon Aronian interviewed by Sagar Shah. 34. After the End of Art -- Arthur Danto. 35. A Sunday Afternoon on the Island of La Grande Jatte -- Georges Seurat 36. Kya Surat Hai -- Bombay Vikings. 37. Fountain -- Marcel Duchamp. 38. The Notebooks of Leonardo Da Vinci. 39. Cat's Cradle -- Kurt Vonnegut. 40. Who Broke Our Republic? — Episode 163 of The Seen and the Unseen (w Kapil Komireddi). 41. The Multitudes of Our Maharajahs -- Episode 244 of The Seen and the Unseen (w Manu Pillai). 42. The Life and Times of Abhinandan Sekhri -- Episode 254 of The Seen and the Unseen. 43. r/vancouver, r/mildlyinteresting and r/interestingasfuck. 44. Some Reddit posts by Nishant Jain: 1, 2, 3, 4, 5, 6. 45. David Letterman and Bill Gates talk about the Internet. 46. Exhalation -- Ted Chiang. 47. Kurt Vonnegut on Amazon. 48. Catch 22 -- Joseph Heller. 49. V for Vendetta -- Alan Moore and David Lloyd. 50. Watchmen -- Alan Moore and Dave Gibbons. 51. Alan Moore on Amazon. 52. Identity -- Francis Fukuyama. 53. The Anarchy -- William Dalrymple. 54. Dynasty: The Rise and Fall of the House of Caesar -- Tom Holland. 55. The Origins of Political Order -- Francis Fukuyama. 56. Political Order and Political Decay -- Francis Fukuyama. 57. Bluebird -- Charles Bukowsky. Check out Amit's online courses, The Art of Clear Writing and The Art of Podcasting. And subscribe to The India Uncut Newsletter. It's free!

- Il Museo del '900 a Milano compie dieci anni, si espande..e farà parte dei quattro distretti che vedranno la riorganizzazione dei..Musei Civici: tutte le novità dall'assessore Del Corno..- “Chiudere in Bellezza aprire con Coraggio”: I progetti di Brera..- I LIBRI: “Arte e Poststoria” - Conversazioni sulla fine dell'estetica e altro..Demetrio Paparoni ci illustra il suo libro nato dalle conversazioni con Arthur Danto..- “A cosa serve la storia dell'arte”: Luca Nannipieri riflette sulla responsabilità sociale dello storico e del critico d'arte e sulle riforme..auspicabili nella gestione del patrimonio artistico e culturale...- Parma Capitale Italiana della Cultura 2020 + 21: non si arrende..alle chiusure dei Musei e propone visite virtuali con guide d'eccezione..alle grandi mostre in corso.

En la clase de hoy trabajamos sobre el pensamiento de Arthur Danto en su obra La Transfigración del Lugar Común --- Send in a voice message: https://anchor.fm/clasesnerdistas/message

Nesse episódio, vamos conversar sobre o que é antiarte, por que ela rejeita os valores estéticos clássicos e seu processo experimental na história. Tudo isso através de Arthur Danto em seu livro "Após o fim da arte'". Site: https://linktr.ee/doiscachimbos Apoie o Dois Cachimbos em: https://www.patreon.com/doiscachimbos https://apoia.se/doiscachimbos

After spending a few weeks in Italian art museums, Dan decides to subject Connor to a discussion about the complexities of art criticism. Luckily, they've got Arthur Danto to guide their way through the lengthy history of art philosophy, from the Ancient Greeks to Andy Warhol and beyond.

As a direct follow-up to their previous episode on Arthur Danto, Connor and Dan dig into the contemporary aesthetic philosophy of cultural critic Sianne Ngai. Specifically, they're talking about things that are cute, zany, and interesting. These three categories are launching off points to discuss the commodification of art in modern society. Also, it's a way to talk about Star Wars.

András Szántó's consulting foundation assists with all aspects of building museums, cultural organizations, commercial brands, foundations, and educational institutions worldwide, at any point of their conception. From launching concepts from the ground up, to implementing new programming and marketing initiatives, Szántó's expertise in the industry has enabled several projects across the world with collaborators such as The Metropolitan Museum of Art, The Andy Warhol Foundation for the Visual Arts, Absolut, Art Basel, BMW, The Andrew W. Mellon Foundation, and The Solomon R. Guggenheim Foundation.In this episode, we discuss Szántó's background in sociology which allowed him to closely study the dynamics of the art world in the 1980s, his mentorship under art critic and philosopher, Arthur Danto--who famously coined the term "art world"--and his perspective on demystifying the arts. -About András Szántó-András Szántó, Ph.D. is writer, researcher, and consultant in the fields of art, media, and philanthropy. He is the former director of the National Arts Journalism Program and the NEA Arts Journalism Institute at Columbia University, a regular moderator of the Art Basel Conversations series, and oversees the annual Global Museum Leaders Colloquium at the Metropolitan Museum of Art.Learn more about András Szántó hereFollow him @andrasszanto

How philosopher Arthur Danto attempted to define art ... Danto’s preoccupation with Warhol’s Brillo Boxes ... Is art just “aboutness”? ... Crispin: Danto’s historicity constrained his concept of art ... Dan questions Hegel on art’s inherent purpose ... Why common crafts may come to replace high art ...

How philosopher Arthur Danto attempted to define art ... Danto’s preoccupation with Warhol’s Brillo Boxes ... Is art just “aboutness”? ... Crispin: Danto’s historicity constrained his concept of art ... Dan questions Hegel on art’s inherent purpose ... Why common crafts may come to replace high art ...

How philosopher Arthur Danto attempted to define art ... Danto's preoccupation with Warhol's Brillo Boxes ... Is art just “aboutness”? ... Crispin: Danto's historicity constrained his concept of art ... Dan questions Hegel on art's inherent purpose ... Why common crafts may come to replace high art ...

David Hume’s life and work ... How Hume influenced Massimo’s thinking ... What Hume got right about causality, and what he got wrong ... What shapes our moral instincts? ... Why Dan regards Arthur Danto so highly… ... …and what he thinks Danto got wrong ... The end of art history? ...

David Hume’s life and work ... How Hume influenced Massimo’s thinking ... What Hume got right about causality, and what he got wrong ... What shapes our moral instincts? ... Why Dan regards Arthur Danto so highly… ... …and what he thinks Danto got wrong ... The end of art history? ...

David Hume's life and work ... How Hume influenced Massimo's thinking ... What Hume got right about causality, and what he got wrong ... What shapes our moral instincts? ... Why Dan regards Arthur Danto so highly… ... …and what he thinks Danto got wrong ... The end of art history? ...

Fiona Jardine has a BA in Fine Art from Duncan of Jordanstone College of Art and Design, and an MFA from Glasgow School of Art. Currently, Jardine is pursuing a PhD programme of research at the University of Wolverhampton. Fiona presents The Transfiguration of the Commonplace. Taking Muriel Spark's novel "The Prime of Miss Jean Brodie" as a starting point, Jardine makes links to Arthur Danto's analytical philosophy of art and Jacques Ranciere's pedagogical considerations in "The Ignorant Schoolmaster" and "The Emancipated Spectator" in order to establish a notion of the artwork's rhetorical function in framing experience.

Fiona Jardine has a BA in Fine Art from Duncan of Jordanstone College of Art and Design, and an MFA from Glasgow School of Art. Currently, Jardine is pursuing a PhD programme of research at the University of Wolverhampton. Fiona presents The Transfiguration of the Commonplace. Taking Muriel Spark's novel "The Prime of Miss Jean Brodie" as a starting point, Jardine makes links to Arthur Danto's analytical philosophy of art and Jacques Ranciere's pedagogical considerations in "The Ignorant Schoolmaster" and "The Emancipated Spectator" in order to establish a notion of the artwork's rhetorical function in framing experience.

On the occasion of his first visit to the UK in many years, Danto talks with historian and theorist of contemporary art Thierry de Duve, and philosopher Richard Shusterman.

Discussing three essays by Arthur Danto from The Philosophical Disenfranchisement of Art (1986): the title essay, "The Appreciation and Interpretation of Works of Art," and "The End of Art."

Orhan Pamuk, the 2006 Nobel prize-winner for Literature, joins Arthur Danto for a discussion on Literature and Citizenship in the Miller Theatre Thursday November 2nd. This is the first event in the Havel at Columbia series.

Orhan Pamuk, the 2006 Nobel prize-winner for Literature, joins Arthur Danto for a discussion on Literature and Citizenship in the Miller Theatre Thursday November 2nd. This is the first event in the Havel at Columbia series.

Orhan Pamuk, the 2006 Nobel prize-winner for Literature, joins Arthur Danto for a discussion on Literature and Citizenship in the Miller Theatre Thursday November 2nd. This is the first event in the Havel at Columbia series.