Installation Art provides the first clear account of the rise of installation as a form while revisiting and, in some cases, reassessing many well-known names of post-1960 art. This lavishly produced volume also introduces the reader to a wider spectrum of younger artists yet to receive serious critical attention. Artists featured include Vito Acconci, Joseph Beuys, Christian Boltanski, Marcel Broodthaers, Judy Chicago, Olafur Eliasson, Group Material, Isaac Julien, Ilya Kabakov, Yayoi Kusama, Cildo Meireles, Robert Morris, Bruce Nauman, Claes Oldenburg, Robert Smithson, Bill Viola, and many others.

    Such is the effect of these essays, a series given as lectures at the National Gallery in 1973. Mr. Barzun examines art as religion, as destroyer, as redeemer, and in relation to what he calls "its temper, science," but never forgets the basic essential. As he says, "the last word on art should indeed be: mystery. But that need not stop any of us from dealing with it as if we understood more than we can." And how good it is to have one's mind stretched to that understanding of "more.""--Virginia Quarterly Review

    Gombrich, in an introductory essay, calls ‘certain invariant traits of the human psyche.’”—Denis Thomas, Journal of the Royal Society of Arts“This book gathers together various legends and attitudes about artists, ancient and modern, East and West, and gives fascinating insights into attitudes toward artistic creation.  It impinges on psychology, art history and history, aesthetics, biography, myth and magic, and will be of great interest to a wide audience in many fields…. A delightful and unrivalled study.”—Howard Hibbard“Thought provoking and valuable…. To all those interested in psychiatry and art from the perspectives of history, criticism, or therapy and to the wide audience concerned with the psychology of aesthetics and of artistic creation.”—Albert Rothenberg, American Journal of PsychiatryErnst Kris was a psychoanalyst who wrote on a wide variety of subjects, including art.  Otto Kurz was librarian of the Warburg Institute in London.

    With imagination and insight, the author brings Impressionism into focus by showing it through the eyes of the artists and their contemporaries, using letters, critical reviews and reminiscences of the people who were part of the story. As we see in Bernard Denvir's compelling survey, the Impressionists had new ways of painting, but they also had a new world to paint: a world of stream tricycles, emergent photography, and modern ideas about perception. 195 illus., 17 in color.

    

    Marian Burleigh-Motley. When the original edition of this book was published, John Russell hailed it as a massive contribution to our knowledge of one of the most fascinating and mysterious episodes in the history of modern art. It still remains the most compact, accurate and reasonably priced survey of sixty years of creative dynamic activity that profoundly influenced the progress of Western art and architecture.

    It can take many forms: photographs, videos, posters, billboards, charts, plans and, in particular, language itself. Tony Godfrey has written the first ever clear, extensive, concise and informative account of this fascinating phenomenon.

    The illustrations are excellent, and the translators, who clearly see their work as both a rendering and a transformation, add yet another dimension to this richly layered composition. Indispensable to collections emphasizing art criticism and aesthetics."—Alexander Gelley, Library Journal

    He insists that the problems of vision are inseparable from the operation of social power and examines how, beginning in the 1820s, the observer became the site of new discourses and practices that situated vision within the body as a physiological event. Alongside the sudden appearance of physiological optics, Crary points out, theories and models of "subjective vision" were developed that gave the observer a new autonomy and productivity while simultaneously allowing new forms of control and standardization of vision.Crary examines a range of diverse work in philosophy, in the empirical sciences, and in the elements of an emerging mass visual culture. He discusses at length the significance of optical apparatuses such as the stereoscope and of precinematic devices, detailing how they were the product of new physiological knowledge. He also shows how these forms of mass culture, usually labeled as "realist," were in fact based on abstract models of vision, and he suggests that mimetic or perspectival notions of vision and representation were initially abandoned in the first half of the nineteenth century within a variety of powerful institutions and discourses, well before the modernist painting of the 1870s and 1880s.

    These culminated in What is Art?, published in 1898. Although Tolstoy perceived the question of art to be a religious one, he considered & rejected the idea that art reveals & reinvents through beauty. The works of Dante, Michelangelo, Shakespeare, Beethoven, Baudelaire & even his own novels are condemned in the course of Tolstoy's impassioned & iconoclastic redefinition of art as a force for good, for the improvement of humankind.

    A large part of the artist’s role in today’s professionalized art system is being present. Providing a counterargument to this concept of self-marketing, Herbert examines the nature of retreat, whether in protest, as a deliberate conceptual act, or out of necessity. By illuminating these motives, Tell Them I Said No offers a unique perspective on where and how the needs of the artist and the needs of the art world diverge. Essays on Lutz Bacher, Stanley Brouwn, Christopher D’Arcangelo, Trisha Donnelly, David Hammons, Agnes Martin, Cady Noland, Laurie Parsons, Charlotte Posenenske, and Albert York. Martin Herbert is a writer and critic living in Berlin. He is associate editor of ArtReview and writes for international art journals. Previous books include The Uncertainty Principle (2014) and Mark Wallinger (2011).Design by Fraser Muggeridge studio

    Russolo calls for an infinite expansion of musical vocabulary and sensibility in coordination with that of industrial machinery—“We must enlarge and enrich more and more the domain of musical sounds”—envisioning a machine-based music that would dispense entirely with inherited forms. This publication made the text widely available in English for the first time. Also included is a description of the “First Concert of Futurist Noise Instruments” in Modena, Italy on June 2, 1913.

       • Close-up focus on 22 masterpieces, from Ancient Greek sculpture to 1960s Pop Art.    • Well-known icons along with lesser-known gems — carefully chosen to illuminate the points made in the text.    • Features on major schools and movements to explore and explain their stylistic trademarks, characteristics, and favored subjects. Art: A Visual History is a knowledgeable, thought-provoking, and accessible tour of the creators of Western art.

    Nowhere is this more apparent than in the writings of Marcel Duchamp, who fashioned some of the more joyous and ingenious couplings and uncouplings in modern art. This collection beings together two essential interviews and two statements about his art that underscore the serious side of Duchamp. But most of the book is made up of his experimental writings, which he called ”Texticles,” the long and extraordinary notes he wrote for The Bride Stripped Bare By Her Bachelors, Eben (also known as The Large Glass), and the outrageous puns and alter-ego he constructed for his female self, Rrose Sélavy (”Eros, c’est la vie” or “arouser la vie”—“drink it up”; “celebrate life”). Wacky, perverse, deliberately frustrating, these entertaining notes are basic for understanding one of the twentieth century’s most provocative artists, a figure whose influence on the contemporary scene has never been stronger.

    Since the foundation of the modern discipline of art history in Germany in the late eighteenth century, debates about art and its histories have intensified. Historians, philosophers, psychologists, and anthropologists among others have changed our notions of what art history has been, is, and might be. The Art of Art History is a unique guide to understanding art history through a critical reading of the field's most innovative and influential texts over the past two centuries. Each section focuses on a key issue: aesthetics, style, history as an art, iconography and semiology, gender, modernity and postmodernity, deconstruction and museology. More than thirty readings from writers as diverse as Winckelmann, Kant, Gombrich, Warburg, Panofsky, Heidegger, Lisa Tickner, Meyer Schapiro, Jacques Derrida, Mary Kelly, Michel Foucault, Rosalind Krauss, Louis Marin, Margaret Iversen, and Nestor Canclini are brought together, and Donald Preziosi's introductions to each topic provide background information, bibliographies, and critical elucidations of the issues at stake. His own concluding essay is an important and original contribution to scholarship in the field.Contents:Art history : making the visible legible by Donald PreziosiReflections on the imitation of Greek works in painting and sculpture by Johann Joachim WinckelmannWinckelmann divided : mourning the death of art history by Whitney DavisPatterns of intention by Michael BaxandallWhat is enlightenment? ; The critique of judgement by Immanuel KantPhilosophy of fine art by G.W.F. HegelPrinciples of art history by Heinrich Wölfflin"Form," nineteenth-century metaphysics, and the problem of art historical description by David SummersStyle by Meyer SchapiroStyle by Ernst GombrichLeading characteristics of the late Roman "Kunstwollen" by Alois RieglImages from the region of the Pueblo Indians of North America by Aby WarburgWarburg's concept of "Kulturwissenschaft" and its meaning for aesthetics by Edgar WindRetrieving Warburg's tradition by Margaret IversenSemiotics and iconography by Hubert DamischSemiotics and art history : a discussion of context and senders by Mieke Bal and Norman Bryson"Et in Arcadia ego" : Poussin and the elegiac tradition by E. PanofskyToward a theory of reading in the visual arts : Poussin's "The Arcadian shepherds" by Louis MarinSculpture in the expanded field by Rosalind KraussWhat is an author? by Michel FoucaultThe allegorical impulse : toward a theory of postmodernism by Craig OwensMapping the postmodern by Andreas HuyssenThe art historical canon : sins of omission by Nanette SalomonSexuality andbyin representation : five British artists by Lisa TicknerNo essential femininity by Mary Kelly and Paul SmithPostfeminism, feminist pleasures, and embodied theories of art by Amelia JonesThe temptation of new perspectives by Stephen MelvilleThe origin of the work of art by Martin HeideggerThe still life as a personal object : a note on Heidegger and van Gogh by Meyer SchapiroRestitutions of the truth in pointing ["pointure"] by Jacques DerridaOrientalism and the exhibitionary order by Timothy MitchellThe art museum as ritual by Carol DuncanInventing the "postcolonial" : hybridity and constituency in contemporary curating by Annie E. CoombesRemaking passports : visual thought in the debate on multiculturalism by Néstor García CancliniThe art of art history by Donald Preziosi