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Author: Allan deSouza
Publisher: Duke University Press
ISBN: 1478002182
Category : Art
Languages : en
Pages : 336
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Book Description
What terms do we use to describe and evaluate art, and how do we judge if art is good, and if it is for the social good? In How Art Can Be Thought Allan deSouza investigates such questions and the popular terminology through which art is discussed, valued, and taught. Adapting art viewing to contemporary demands within a rapidly changing world, deSouza outlines how art functions as politicized culture within a global industry. In addition to offering new pedagogical strategies for MFA programs and the training of artists, he provides an extensive analytical glossary of some of the most common terms used to discuss art while focusing on their current and changing usage. He also shows how these terms may be crafted to new artistic and social practices, particularly in what it means to decolonize the places of display and learning. DeSouza's work will be invaluable to the casual gallery visitor and the arts professional alike, to all those who regularly look at, think about, and make art—especially art students and faculty, artists, art critics, and curators.
Author: Allan deSouza
Publisher: Duke University Press
ISBN: 1478002182
Category : Art
Languages : en
Pages : 336
Get Book
Book Description
What terms do we use to describe and evaluate art, and how do we judge if art is good, and if it is for the social good? In How Art Can Be Thought Allan deSouza investigates such questions and the popular terminology through which art is discussed, valued, and taught. Adapting art viewing to contemporary demands within a rapidly changing world, deSouza outlines how art functions as politicized culture within a global industry. In addition to offering new pedagogical strategies for MFA programs and the training of artists, he provides an extensive analytical glossary of some of the most common terms used to discuss art while focusing on their current and changing usage. He also shows how these terms may be crafted to new artistic and social practices, particularly in what it means to decolonize the places of display and learning. DeSouza's work will be invaluable to the casual gallery visitor and the arts professional alike, to all those who regularly look at, think about, and make art—especially art students and faculty, artists, art critics, and curators.
Author: Al-An (Allan) deSouza
Publisher: Duke University Press Books
ISBN: 9781478000471
Category : Art
Languages : en
Pages : 0
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Book Description
What terms do we use to describe and evaluate art, and how do we judge if art is good, and if it is for the social good? In How Art Can Be Thought Allan deSouza investigates such questions and the popular terminology through which art is discussed, valued, and taught. Adapting art viewing to contemporary demands within a rapidly changing world, deSouza outlines how art functions as politicized culture within a global industry. In addition to offering new pedagogical strategies for MFA programs and the training of artists, he provides an extensive analytical glossary of some of the most common terms used to discuss art while focusing on their current and changing usage. He also shows how these terms may be crafted to new artistic and social practices, particularly in what it means to decolonize the places of display and learning. DeSouza's work will be invaluable to the casual gallery visitor and the arts professional alike, to all those who regularly look at, think about, and make art—especially art students and faculty, artists, art critics, and curators.
Author: James Elkins
Publisher: University of Illinois Press
ISBN: 9780252069505
Category : Art
Languages : en
Pages : 228
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Book Description
He also addresses the phenomenon of art critiques as a microcosm for teaching art as a whole and dissects real-life critiques, highlighting presuppositions and dynamics that make them confusing and suggesting ways to make them more helpful. Elkins's no-nonsense approach clears away the assumptions about art instruction that are not borne out by classroom practice. For example, he notes that despite much talk about instilling visual acuity and teaching technique, in practice neither teachers nor students behave as if those were their principal goals. He addresses the absurdity of pretending that sexual issues are absent from life-drawing classes and questions the practice of holding up great masters and masterpieces as models for students capable of producing only mediocre art. He also discusses types of art--including art that takes time to complete and art that isn't serious--that cannot be learned in studio art classes.
Author: Ernst van Alphen
Publisher: University of Chicago Press
ISBN: 0226015297
Category : Art
Languages : en
Pages : 251
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Book Description
Art has the power to affect our thinking, changing not only the way we view and interact with the world but also how we create it. Art can be considered as a commanding force with the capacity to shape our intellect and intervene in our lives. Art is a historical agent, or a cultural creator, that propels thought and experience forward. The author demonstrates that art serves a socially constructive function by actually experimenting with the parameters of thought, employing work from artists as Picasso, Watteau, Bacon, Dumas and Matthew Barney. Art confronts viewers with the 'pain points' of cultural experience, and thereby transforms the ways in which human existence is concieved.
Author: Hans Sedlmayr
Publisher: Routledge
ISBN: 1351531093
Category : Art
Languages : en
Pages : 289
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Book Description
The history of art from the early nineteenth century on- ward is commonly viewed as a succession of conflicts between innovatory and established styles that culminated in the formalism and aesthetic autonomy of high modernism. In Art and Crisis, first published in 1948, Hans Sedlmayr argues that the aesthetic disjunctures of modern art signify more than matters of style and point to much deeper processes of cultural and religious disintegration. As Roger Kimball observes in his informative new introduction, Art in Crisis is as much an exercise in cultural or spiritual analysis as it is a work of art history. Sedlmayr's reads the art of the last two centuries as a fever chart of the modern age in its greatness and its decay. He discusses the advent of Romanticism with its freeing of the imagination as a conscious sundering of art from humanist and religious traditions with the aesthetic treated as a category independent of human need. Looking at the social purposes of architecture, Sedlmayr shows how the landscape garden, the architectural monument, and the industrial exhibition testified to a new relationship not only between man and his handiwork but also between man and the forces that transcend him. In these institutions man deifies his inventive powers with which he hopes to master and supersede nature. Likewise, the art museum denies transcendence through a cultural leveling in which Heracles and Christ become brothers as objects of aesthetic contemplation. At the center of Art in Crisis is the insight that, in art as in life, the pursuit of unqualified autonomy is in the end a prescription for disaster, aesthetic as well as existential. Sedlmayr writes as an Augustinian Catholic. For him, the underlying motive for the pursuit of autonomy is pride. The lost center of his subtitle is God. The dream of autonomy, Sedlmayr argues, is for finite, mortal creatures, a dangerous illusion. The book invites serious analysis from art cri
Author: Graham Wallas
Publisher:
ISBN:
Category : Thought and thinking
Languages : en
Pages : 326
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Book Description
Author: S.B. Mallin
Publisher: Springer Science & Business Media
ISBN: 9400915942
Category : Philosophy
Languages : en
Pages : 504
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Book Description
Art Line Thought discusses the main issues that beset our time and philosophy by locating these same issues in artworks and describing closely what is shown there. While respecting their differences, art and philosophy are thus made to cross back and forth into one another, delineating in fresh ways our concerns about nature, the human and non-human, the body, femininity, ecology, technology, textism, the end of history, community, postmodernism, relativism and non-Eurocentric ethics. A `philosophy of line' gathers these issues, opposing the current dominance of `word' and linguistic analyses. Art has long been aware that the line communicates meaning at least as well as the word. The volume is divided between contemporary and prehistoric art in order to reveal the presumptions of `Western' culture and how we might move beyond it. Since the book is a critique of Eurocentric thinking and prose, it works at finding new styles of both. Its philosophical meditation is directed equally to those who are intellectually interested in contemporary and prehistoric art, in theories of postmodern culture and criticism, and in anthropology.
Author: Neil Gaiman
Publisher: HarperCollins
ISBN: 0062942654
Category : Literary Collections
Languages : en
Pages : 112
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Book Description
A stunning and timely creative call-to-arms combining four extraordinary written pieces by Neil Gaiman illustrated with the striking four-color artwork of Chris Riddell. “The world always seems brighter when you’ve just made something that wasn’t there before.”—Neil Gaiman Drawn from Gaiman’s trove of published speeches, poems, and creative manifestos, Art Matters is an embodiment of this remarkable multi-media artist’s vision—an exploration of how reading, imagining, and creating can transform the world and our lives. Art Matters bring together four of Gaiman’s most beloved writings on creativity and artistry: “Credo,” his remarkably concise and relevant manifesto on free expression, first delivered in the wake of the Charlie Hebdo shootings “Make Good Art,” his famous 2012 commencement address delivered at the Philadelphia University of the Arts “Making a Chair,” a poem about the joys of creating something, even when words won’t come “On Libraries,” an impassioned argument for libraries that illuminates their importance to our future and celebrates how they foster readers and daydreamers Featuring original illustrations by Gaiman’s longtime illustrator, Chris Riddell, Art Matters is a stirring testament to the freedom of ideas that inspires us to make art in the face of adversity, and dares us to choose to be bold.
Author: Denis Diderot
Publisher: Springer Science & Business Media
ISBN: 9400700628
Category : Philosophy
Languages : en
Pages : 192
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Book Description
Chance ordained that Denis Diderot (1713-1784) was not only a philosopher, playwright and writer, but also a salonnier. In other words, an art critic. In 1759, his friend Grimm entrusted him with a project that forced him to acquire "thoughtful notions concerning painting and sculpture" and to refine "art terms, so familiar in his words yet so vague in his mind". Diderot wrote artistic reviews of exhibitions – Salons – that were organized bi-annually at the Louvre by the Académie Royale de Peinture et de Sculpture. These reviews, published in the Correspondence Littéraire, were Diderot’s unique contribution to art criticism in France. He fulfilled his task of salonnier on nine occasions, despite occasional dips in his enthusiasm and self-confidence. Compiled and presented by Jean Szenec, this anthology helps the contemporary reader to familiarize himself with Diderot’s aesthetic thought in all its greatness. It includes eight illustrations and is followed by texts from Jean Starobinski, Michel Delon, and Arthur Cohen. ‘On Art and Artists’ is translated by John Glaus, professor of French and an amateur expert of the XVIIIth century.
Author: Jessica Wiskus
Publisher: University of Chicago Press
ISBN: 022627425X
Category : Literary Criticism
Languages : en
Pages : 181
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Book Description
Between present and past, visible and invisible, and sensation and idea, there is resonance—so philosopher Maurice Merleau-Ponty argued and so Jessica Wiskus explores in The Rhythm of Thought. Holding the poetry of Stéphane Mallarmé, the paintings of Paul Cézanne, the prose of Marcel Proust, and the music of Claude Debussy under Merleau-Ponty’s phenomenological light, she offers innovative interpretations of some of these artists’ masterworks, in turn articulating a new perspective on Merleau-Ponty’s philosophy. More than merely recovering Merleau-Ponty’s thought, Wiskus thinks according to it. First examining these artists in relation to noncoincidence—as silence in poetry, depth in painting, memory in literature, and rhythm in music—she moves through an array of their artworks toward some of Merleau-Ponty’s most exciting themes: our bodily relationship to the world and the dynamic process of expression. She closes with an examination of synesthesia as an intertwining of internal and external realms and a call, finally, for philosophical inquiry as a mode of artistic expression. Structured like a piece of music itself, The Rhythm of Thought offers new contexts in which to approach art, philosophy, and the resonance between them.
