Written by the famous nonobjective painter Wassily Kandinsky (1866–1944), it explains Kandinsky's own theory of painting and crystallizes the ideas that were influencing many other modern artists of the period. Along with his own groundbreaking paintings, this book had a tremendous impact on the development of modern art.Kandinsky's ideas are presented in two parts. The first part, called "About General Aesthetic," issues a call for a spiritual revolution in painting that will let artists express their own inner lives in abstract, non-material terms. Just as musicians do not depend upon the material world for their music, so artists should not have to depend upon the material world for their art. In the second part, "About Painting," Kandinsky discusses the psychology of colors, the language of form and color, and the responsibilities of the artist. An Introduction by the translator, Michael T. H. Sadler, offers additional explanation of Kandinsky's art and theories, while a new Preface by Richard Stratton discusses Kandinsky's career as a whole and the impact of the book. Making the book even more valuable are nine woodcuts by Kandinsky himself that appear at the chapter headings.This English translation of Über das Geistige in der Kunst was a significant contribution to the understanding of nonobjectivism in art. It continues to be a stimulating and necessary reading experience for every artist, art student, and art patron concerned with the direction of 20th-century painting.

    Always concerned with the liberatory black struggle, hooks positions her writings on visual politics within the ever-present question of how art can be an empowering and revolutionary force within the black community.

    "The hushed reverence of the gallery can fool you into believing masterpieces are polite things; visions that soothe, charm and beguile, but actually they are thugs. Merciless and wily, the greatest paintings grab you in a headlock, rough up your composure, and then proceed in short order to re-arrange your sense of reality. . . ."With the same disarming force, The Power of Art propels us on an eye-opening, breathtaking odyssey, zooming in on eight extraordinary masterpieces, from Caravaggio's David and Goliath to Picasso's Guernica. Jolting us far from the comfort zone of the hushed art gallery, Schama closes in on intense make-or-break turning points in the lives of eight great artists who, under extreme stress, created something unprecedented, altering the course of art forever.The embattled heroes—Caravaggio, Bernini, Rembrandt, David, Turner, Van Gogh, Picasso and Rothko—each in his own resolute way, faced crisis with steadfast defiance, pitting passion and conviction against scorn and short-sightedness. The masterpieces they created challenged convention, shattered complacency, shifted awareness and changed the way we look at the world.With vivid storytelling and powerfully evocative descriptive passages, Schama explores the dynamic personalities of the artists and the spirit of the times they lived through, capturing the flamboyant theatre of bourgeois life in Amsterdam, the passion and paranoia of Revolutionary Paris, and the carnage and pathos of Civil War Spain.Most compelling of all, The Power of Art traces the extraordinary evolution of eight "eye-popping" world-class works of art. Created in a bolt of illumination, such works "tell us something about how the world is, how it is to be inside our skins, that no more prosaic source of wisdom can deliver. And when they do that, they answer, irrefutably and majestically, the nagging question of every reluctant art-conscript . . . 'OK, OK, but what's art really for?'"

    From temperance quilts to the AIDS quilt, there’s a rich history of individuals and communities using fabric and thread to connect with others and express themselves, both personally and politically. Why We Quilt blends bits of this history with the stories and work of today’s leading quilters, highlighting themes of tradition, community, consumerism, change, and creativity. With a unique die-cut cover and a richly layered design, this book will enthrall designers, quilters, and all types of handcraft enthusiasts.

    From a cabal of thieving plutocrats in the White House to rising inequality and xenophobia worldwide, it is clear that democracy--specifically the principle of government by and for the people--is not living up to its promise.In Democracy May Not Exist, but We'll Miss It When It's Gone, Astra Taylor shows that real democracy--fully inclusive and completely egalitarian--has in fact never existed. In a tone that is both philosophical and anecdotal, weaving together history, theory, the stories of individuals, and conversations with such leading thinkers as Cornel West, Danielle Allen, and Wendy Brown, Taylor invites us to reexamine the term. Is democracy a means or an end, a process or a set of desired outcomes? What if the those outcomes, whatever they may be--peace, prosperity, equality, liberty, an engaged citizenry--can be achieved by non-democratic means? Or if an election leads to a terrible outcome? If democracy means rule by the people, what does it mean to rule and who counts as the people?The inherent paradoxes are too often unnamed and unrecognized. By teasing them out, Democracy May Not Exist, but We'll Miss It When It's Gone offers a better understanding of what is possible, what we want, and why democracy is so hard to realize.

    This best-selling text has guided tens of thousands of art students through the writing process. Students are shown how to analyze pictures (drawings, paintings, photographs), sculptures and architecture, and are prepared with the tools they need to present their ideas through effective writing.

    A thought-provoking examination of the nature of visual representation, it remains ever-relevant to all the visual arts.A well-known painter and printmaker, Dow taught for many years at Columbia University and acted as a mentor to countless young artists, including Georgia O'Keeffe. His text, presented in a workbook format, offers teachers and students a systematic approach to composition. It explores the creation of freely constructed images based on harmonic relations between lines, colors, and dark and light patterns. The author draws upon the traditions of Japanese art to discuss a theory of "flat" formal equilibrium as an essential component of pictorial creation. Practical and well-illustrated, this classic guide offers valuable insights into modern design.

    With this book in hand, thousands of students have watched the story of art unfold in its full historical, social, religious, economic, and cultural context, and thus deepened their understanding of art, architecture, painting, and sculpture. By virtue of its comprehensive coverage, strong emphasis on context, and rich, accurate art reproductions, GARDNER'S ART THROUGH THE AGES has earned and sustained a reputation of excellence and authority. So much so, that in 2001, the Text and Academic Authors Association awarded both the McGuffey and the "Texty" Book Prizes to the Eleventh Edition of the text. It is the first art history book to win either award and the only title ever to win both prizes in one year. The Twelfth Edition maintains and exceeds the richness of the Gardner legacy with updated research and scholarship and an even more beautiful art program featuring more color images than any other art history book available. The Twelfth Edition features such enhancements as more color photographs, a stunning new design, and the most current research and scholarship. What's more, the expanded ancillary package that accompanies GARDNER'S ART THROUGH THE AGES, features a wealth of tools to enhance your students' experience in the course. With each new copy of the book, students receive a copy of the ArtStudy 2.0 CD-ROM--an interactive electronic study aid that fully integrates with the Twelfth Edition and includes hundreds of high-quality digital images, plus maps, quizzes, and more.

    Governments have sought to control, censor, or bend art to their own purposes; artists have resisted and subverted such efforts. But what happens when artists work on behalf of a political program? When does art become propaganda? Is art tainted, diminished, or elevated by its political content?Toby Clark argues that propaganda art appears in many guises, and that the desire to persuade is not always at odds with aesthetic aims. He examines these many forms: the state propaganda of Nazi Germany, Fascist Italy, and Stalin's Soviet Union; democratic governments' representation of enemies in wartime; and anti-government protest art around the world, uncovering the complex rhetoric, high beauty, and ambiguous role of art that dwells in the political realm.

    In Aesthetics and Politics the key texts of the great Marxist controversies over literature and art during these years are assembled in a single volume. They do not form a disparate collection but a continuous, interlinked debate between thinkers who have become giants of twentieth-century intellectual history.Discussing expressionism / Ernst BlochRealism in the balance / Georg LukacsAgainst Georg Luckacs / Bertolt BrechtConversations with Brecht / Walter BenjaminLetters to Walter Benjamin / Theodor AdornoReply / Walter BenjaminReconciliation under duress ; Commitment / Theodor AdornoReflections in conclusion / Fredric Jameson

    Campt explores a way of listening closely to photography, engaging with lost archives of historically dismissed photographs of black subjects taken throughout the black diaspora. Engaging with photographs through sound, Campt looks beyond what one usually sees and attunes her senses to the other affective frequencies through which these photographs register. She hears in these photos—which range from late nineteenth-century ethnographic photographs of rural African women and photographs taken in an early twentieth-century Cape Town prison to postwar passport photographs in Birmingham, England and 1960s mug shots of the Freedom Riders—a quiet intensity and quotidian practices of refusal. Originally intended to dehumanize, police, and restrict their subjects, these photographs convey the softly buzzing tension of colonialism, the low hum of resistance and subversion, and the anticipation and performance of a future that has yet to happen. Engaging with discourses of fugitivity, black futurity, and black feminist theory, Campt takes these tools of colonialism and repurposes them, hearing and sharing their moments of refusal, rupture, and imagination.

    This funny, personal journey through the art world answers the basic questions that might occur to us in an art gallery but that we’re too embarrassed to ask. Questions such as: What is “good” or “bad” art—and does it even matter? Is art still capable of shocking us or have we seen it all before? And what happens if you place apiece of art in a rubbish dump?

    This ground-breaking analysis of color in Western culture from the ancient Greeks to the late twentieth century is a John Gage triumph. With originality and erudition, he describes the first theories of color articulated by philosophers from Democritus to Aristotle and the subsequent attempts by the Romans and their Renaissance disciples to organize color systematically or endow it with symbolic power. The place of color in religion, Newton's analysis of the spectrum, Goethe's color theory, and the theories and practices that have attempted to unite color and music are among the intriguing topics this award-winning book illuminates.With a large classified bibliography, discursive footnotes, and an exhaustive index, Color and Culture is an invaluable resource for artists, historians of art and culture, psychologists, linguists, and anyone fascinated by this most inescapable and evocative element of our perceptions.

    Museum attendance is surging. More people than ever call themselves artists. Contemporary art has become a mass entertainment, a luxury good, a job description, and, for some, a kind of alternative religion. In a series of beautifully paced narratives, Sarah Thornton investigates the drama of a Christie's auction, the workings in Takashi Murakami's studios, the elite at the Basel Art Fair, the eccentricities of Artforum magazine, the competition behind an important art prize, life in a notorious art-school seminar, and the wonderland of the Venice Biennale. She reveals the new dynamics of creativity, taste, status, money, and the search for meaning in life. A judicious and juicy account of the institutions that have the power to shape art history, based on hundreds of interviews with high-profile players, Thornton's entertaining ethnography will change the way you look at contemporary culture. 8 illustrations.

    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