Abstract

This paper argues that “work” rather vividly captures the efforts of artworkers, who work tirelessly to ensure that myriad artworks “achieve work”, as Arthur Danto termed it. More basically, “work” is what we know about an “artwork” that guides artworkers, whether curators, writers or art lovers to know how to place it (historically, politically, socially, artistically, culturally), much like scores, scripts and texts facilitate performances of musical, theatrical and literary artworks. In cheering on artists such as Danto’s fictional artist J, who carried the indiscernible red square “triumphantly across the boundary as if he had rescued something rare”, artworkers prompt their publics to appreciate such heroic events and/or unfamiliar objects as meaningful artworks. Being a shared, third-person account of an artwork’s significance, work typically begins as a public discussion that inspires additional artworkers to generate articles, books, catalogues and reviews. This paper thus links Danto’s focus on achieving work to Hannah Arendt’s account of work, such that artists’ actions yield artworks, whereas artworkers’ work makes the artworld where artworks perdure as work. I begin by reviewing Danto’s use of work and content in The Transfiguration of the Commonplace. I next offer an alternative approach for “achieving” work and show how this process accords with Alfred North Whitehead’s having distinguished “eternal objects” from “actual entities”. My noting that work reflects the efforts of myriad artworkers working in tandem across the globe enables me to better assess how “work” as in effort and/or meaning relates to and/or survives an artwork’s varying contexts.