Cinema Studies. Second, Revised Edition. Offered here in Spring 2005, this new edition has new text added based on the new availability of Yasujiro Ozu's extand works. "I felt inspired to improve the description of The Only Son and deepen my thoughts about Ozu in general," write Nathaniel Dorsky in the new preface. He has been making and exhibiting films within the avant-garde tradition since 1964.For film to have a devotional quality both absolute and relative time must be active and present not only present but functioning simultaneously and invigorating one another. Transformative film rests in the present and respects the delicate details of its own unfolding."

    Within it he argues that the aesthetic quality of our environment depends as much on its workmanship as on its design, and that workmanship has been largely ignored. He proceeds to develop a new theory of the aesthetics of workmanship which can be applied to architecture, to the products of industry and to craft work. Mr Pye shows how and why we are conscious of finish and workmanship, goes on to ask why so much of our environment is impoverished and asks what can be done about it.

    The Art of Color, this book covers subjective feeling and objective color principles in detail. It presents the key to understanding color in ltten's color circle and color contrasts.

    What is the value of things made by an anonymous craftsman working in a set tradition for a lifetime? What is the value of handwork? Why should even the roughly lacquered rice bowl of a Japanese farmer be thought beautiful? The late Soetsu Yanagi was the first to fully explore the traditional Japanese appreciation for objects born, not made.Mr. Yanagi sees folk art as a manifestation of the essential world from which art, philosophy, and religion arise and in which the barriers between them disappear. The implications of the author's ideas are both far-reaching and practical.Soetsu Yanagi is often mentioned in books on Japanese art, but this is the first translation in any Western language of a selection of his major writings. The late Bernard Leach, renowned British potter and friend of Mr. Yanagi for fifty years, has clearly transmitted the insights of one of Japan's most important thinkers. The seventy-six plates illustrate objects that underscore the universality of his concepts. The author's profound view of the creative process and his plea for a new artistic freedom within tradition are especially timely now when the importance of craft and the handmade object is being rediscovered.

    Colorists will enjoy hours of creative pleasure with this all-original gallery of paisley designs — 30 full-page illustrations swirling with gorgeous organic themes.

    He argues that existing anthropological and aesthetic theories take an overwhelmingly passive point ofview, and questions the criteria that accord art status only to a certain class of objects and not to others. The anthropology of art is here reformulated as the anthropology of a category of action: Gell shows how art objects embody complex intentionalities and mediate social agency. He exploresthe psychology of patterns and perceptions, art and personhood, the control of knowledge, and the interpretation of meaning, drawing upon a diversity of artistic traditions--European, Indian, Polynesian, Melanesian, and Australian.Art and Agency was completed just before Alfred Gell's death at the age of 51 in January 1997. It embodies the intellectual bravura, lively wit, vigour, and erudition for which he was admired, and will stand as an enduring testament to one of the most gifted anthropologists of his generation.

    How did the Old Masters create their masterpieces? What kind of education allowed these great artists to create such beautiful work, and how can an artist learn these lessons today? Traditional Oil Painting answers those questions and many more. This comprehensive sourcebook explores the most advanced levels of oil painting, with full information on the latest scientific discoveries. Author and distinguished artist Virgil Elliott examines the many elements that let artists take the next step in their work: mental attitude, aesthetic considerations, the importance of drawing, principles of visual reality, materials, techniques, portraiture, photographic images versus visual reality, and color. Traditional Oil Painting helps artists master the secrets of realistic painting to create work that will rival that of the masters.

    H. Gombrich, New York Review of Books"This is an engaged and passionate work by a writer with powerful convictions about art, images, aesthetics, the art establishment, and especially the discipline of art history. It is animated by an extraordinary erudition."—Arthur C. Danto, The Art Bulletin"Freedberg's ethnographic and historical range is simply stunning. . . . The Power of Images is an extraordinary critical achievement, exhilarating in its polemic against aesthetic orthodoxy, endlessly fascinating in its details. . . . This is a powerful, disturbing book."—T. J. Jackson Lears, Wilson Quarterly"Freedberg helps us to see that one cannot do justice to the images of art unless one recognizes in them the entire range of human responses, from the lowly impulses prevailing in popular imagery to their refinement in the great visions of the ages."—Rudolf Arnheim, Times Literary Supplement

    This book follows the life and work of this prominent critical theorist, tracing his influence on modern aesthetics and cultural history as well as his particular focus on the tension between Marxism and Zionism, and between word and image in modern art.

    It is not a dry metaphysical treatise, as works on aesthetics so often are, but is itself a fascinating document: as much a revelation of the beauty of language as of the concept of beauty.This unabridged reproduction of the 1896 edition of lectures delivered at Harvard College is a study of "why, when, and how beauty appears, what conditions an object must fulfill to be beautiful, what elements of our nature make us sensible of beauty, and what the relation is between the constitution of the object and the excitement of our susceptibility."Santayana first analyzes the nature of beauty, finding it irrational, "pleasure regarded as the quality of a thing." He then proceeds to the materials of beauty, showing what all human functions can contribute: love, social instincts, senses, etc. Beauty of form is then analyzed, and finally the author discusses the expression of beauty. Literature, religion, values, evil, wit, humor, and the possibility of finite perfection are all examined. Presentation throughout the work is concrete and easy to follow, with examples drawn from art, history, anthropology, psychology, and similar areas.

    A house cast in concrete. The London Underground map with all the station names changes - the Circle Line stations are comedians, the Northern Line stations are philosophers. A tent embroidered with the names of everyone the artist who set up the tent has ever slept with. But what does it all mean? What is Modern Art? Why do we like/hate it? Can anybody do it? Is it always modern? Who started it? In this refreshing and extremely accessible book Matthew Collings tells the story of modern art and our modern attitude to it. It combines hard information on major artists and movements - what really happened - with ordinary reflections: modern art is intimidating and unfathomable to many but Matthew Collings cuts through this barrier by asking all the kinds of questions many of us will have asked and been puzzled by. He will compare Goya to Duchamp and Picasso, Rothko to Yves Klein; he will look at the role of African tribal art in the rise of Modernism and Punk Rock in the rise of Post-Modernism. This will become a classic book of its kind, quirky, culty and great fun.

    The essays collected in this book reflect some of the commitments and changes during the period that saw the women's movement shift into feminism and the development of feminism's involvement with the politics of representation, psychoanalytic film theory and avant-garde aesthetics.