The stages of the creative process—from “unlearning” to beginning again—seen through examples from the practice of artists, architects, poets, and others.
A critic takes issue with the art world''s romanticizing of networks and participatory projects, linking them to the values of a globalized, neoliberal economy.
One of the most important artists of the twentieth century, Mark Rothko (1903–1970) created a new and impassioned form of abstract painting over the course of his career.
Flexible in approach and full of colorful examples, this textbook provides a basic introduction to what art is and can be in the lives of people who do not necessarily think of themselves as "e;artists.
This edited book considers the vital position of artistic research in the landscapes and ecosystems of new materialism(s) and post-humanism(s), in and for higher education.
Moving deftly among literary and visual arts, as well as the modern critical canon, Christopher Prendergast's book explores the meaning and value of representation as both a philosophical challenge (What does it mean to create an image that "e;stands for"e; something absent?
In der kulturphilosophischen Verschränkung von Pragmatismus, Hermeneutik und Rezeptionsästhetik will diese Studie zeigen, dass gerade der ästhetische Erfahrungsgegenstand durch die Aufkündigung starrer Gegenstands- und Verweisdichotomien die Rezipierenden wesentlich dazwischen sein lässt.
"e;The eye that gathers impressions is no longer the eye that sees a depiction on a surface; it becomes a hand, the ray of light becomes a finger, and the imagination becomes a form of immediate touching.
Clement Greenberg (1909-1994), champion of abstract expressionism and modernism-of Pollock, Miro, and Matisse-has been esteemed by many as the greatest art critic of the second half of the twentieth century, and possibly the greatest art critic of all time.
In Mismatched Women, author Jennifer Fleeger introduces readers to a lineage of women whose voices do not "e;match"e; their bodies by conventional expectations, from George du Maurier's literary Trilby to Metropolitan Opera singer Marion Talley, from Snow White and Sleeping Beauty to Kate Smith and Deanna Durbin.
Improvisation informs a vast array of human activity, from creative practices in art, dance, music, and literature to everyday conversation and the relationships to natural and built environments that surround and sustain us.
In his third book, Strauss delves into the mysterious process whereby an idea is born in the mind and materialized through the hand in the expression of an artwork.
Throughout its long history, and not just as the key aesthetic category for the Romantic Movement, the sublime has created the necessary link between aesthetic and moral judgment, offering the prospect of transcending the limits of measurement, even imagination.
Throughout its long history, and not just as the key aesthetic category for the Romantic Movement, the sublime has created the necessary link between aesthetic and moral judgment, offering the prospect of transcending the limits of measurement, even imagination.
In his third book, Strauss delves into the mysterious process whereby an idea is born in the mind and materialized through the hand in the expression of an artwork.
This book argues that a special value of art is the way in which it uses conscious experience -- the exemplars of aesthetic experience -- to autonomously reconfigure how we conceive of our world and ourselves, ourselves in our world and our world in ourselves.
Improvisation informs a vast array of human activity, from creative practices in art, dance, music, and literature to everyday conversation and the relationships to natural and built environments that surround and sustain us.
From the author of the classic Human Anatomy for Artists comes this user-friendly reference guide featuring over five hundred original drawings and over seventy photographs.
Aesthetics has long been the preserve of philosophy, art history, and the creative arts but, more recently, the fields of psychology and neuroscience have entered the discussion, and the field of neuroaesthetics has been born.
Aesthetics has long been the preserve of philosophy, art history, and the creative arts but, more recently, the fields of psychology and neuroscience have entered the discussion, and the field of neuroaesthetics has been born.
