Abstract

Arthur Danto's quarter century as art critic for The Nation was crucial, as photography had, by the 1980s and '90s, become very much in vogue in the New York artworld that was his beat. Readers familiar with the corpus of Danto's writing might infer from the discussion that his interest in photography is peripheral to his larger investigation into the ontology of artworks. Consideration of the distinction between stills and natural drawings, or of Kantian ethical concerns, appears foreign to his well‐known consideration of Warhol's 1964 Brillo Box. Danto's consideration of photography reveals that art does essentially involve craft, but it is a craft involving sensitivity to, and dexterity in relation to, aspects of a realm of human interaction, rather than necessarily to materials. Further research may be directed toward refining this new craft and, especially, toward the development of pedagogical techniques suitable to it.