亞瑟‧丹托「藝術終結後」美術館屬性轉變的理論再思：以1993年惠特尼美術館雙年展為例

Rethinking Arthur Danto's Analysis of the Changing Nature of the Modern Museums According to His Theory of “After the End of Art” : Whitney Biennial 1993 as an Example

1964 年，美國哲學家丹托（Arthur C. Dant）撰寫〈藝術界〉（The Artworld）一文，思辯普普藝術家安迪．沃荷（Andy Warhol）同年作品布里洛箱子（Brillo Boxes）所爆發的爭議：究竟這些放置在美術館的箱子，與擺置在賣場裡的同一款式箱子有何不同？外觀上兩者無異，但為何前者是藝術作品，後者卻只是日常用品？此作品刺激丹托對藝術的本質進行嶄新而長期的哲學思考。二十年之後，他提出「藝術終結」的概念，但並非意味著藝術之死，而是宣稱現代主義興起後，傳統藝術史的宏大論述已不復存在，然而在當代藝術發展的過程中，現代主義藝術評論模式奉為圭臬的純粹性，也同樣逐漸被消解，探索藝術本質意義的責任也從此交給了哲學，藝術歷史在此意義下已告終結。當代藝術被丹托界定為後歷史的藝術（Post-Historical Art），不再需要擁有任何可以被觀看的物件，美術館空間展示的作品，可以看起來像是任何一樣物品，只要存在著其藝術哲學或理論，亦即丹托所謂的「物件幾近零，理論無限大」。九Ｏ年代起展出如是作品的主流美術館，皆遭到巨大的抨擊跟不諒解，其中以1993 年惠特尼美術館（Whitney Museum）策劃的雙年展是其中一項典型，也是惠特尼雙年展開啟以來引起最大爭議的一回。由於藝術品屬性的轉變，引發美術館的角色隨之變遷。這一方面意味著藝術定義的改變，改寫了當代美術館的體質；另一方面，也改寫了策展人的屬性、以及藝術與公眾的關連方式。然而，是否如丹托所述，藝術終結後，藝術品和公眾的關係不再以「美」或「形式」為主，而是以「參與介入」（engagement）來定義彼此之間的新關係？是否藝術品物件本身的重要性真的消解到幾近零的地步，而作品的理論被賦予的意義則無限重大？本文整理了丹托藝術終結論的要義及洪儀真，2017，〈亞瑟．丹托「藝術終結後」美術館屬性轉變的理論再思：以1993 年惠特尼美術館雙年展為例〉，其對於藝術本質定義思考蹤跡，並以丹托論述脈絡下堪稱典型的1993 年惠特尼雙年展作為分析的具體對象。

American Philosopher Arthur Danto published his famous article “The Artworld” in 1964, a reflection on the social disputes with Andy Warhol's “hard work” , the Brillo Boxes, which were exhibited in the same year. A grand aesthetic puzzle occurred to this analytic philosopher's mind: why an object gets its identification as an artwork when there is no difference in appearance between such object and another ordinary thing? Since then, Danto started a long journey of figuring out the definition of art's true nature—a definition of art's nature which can include all the artworks in the whole history art. Danto proposed the conception of the end of art twenty years after his publication of “The Artworld”. Such an idea doesn't mean the death but the end of the mode of grand narration in the art history after the rise of modernism. But the purity of form highlighted by the modern art critics was also abandoned by the post-modernism. The philosophy took over the role of defining the nature of art, which resulted in the end of art according to Danto's theory. Contemporary art is renamed as Post-Historical Art by Danto, who found finally a definition in broad sense of art, without excluding those odd artworks in the postmodern or contemporary era: the “theory” stands an essential position to define an object as artwork instead of a common thing. Besides, Danto claimed that the nature of the modern art museum was changed in correspondence with the changing nature of artworks since the modernism occurred. The relation between the art museums and the public rested no longer on the exhibition of beauty and form, but on the exhibition of social engagement of artist. This study takes the example of the Whitney Biennial in 1993 to rethink Arthur Danto's theory, an example that he took as a typical and initial one responding to his theory of after the end of art.