Human tastes in the arts, Dutton argues, are evolutionary traits, shaped by Darwinian selection. They are not, as the past century of art criticism and academic theory would have it, just "socially constructed."Our love of beauty is inborn, and many aesthetic tastes are shared across remote cultures—just one example is the widespread preference for landscapes with water and distant trees, like the savannas where we evolved. Using forceful logic and hard evidence, Dutton shows that we must premise art criticism on an understanding of evolution, not on abstract "theory." He restores the place of beauty, pleasure, and skill as artistic values.Sure to provoke discussion in scientific circles and uproar in the art world, The Art Instinct offers radical new insights into both the nature of art and the workings of the human mind.

    More than 250 color photos.

    Inspired by the order and beauty inherent in nature, his groundbreaking work sets out the principles of distance, dimension and proportion; instructs the painter on how to use the rules of composition, representation, light and colour to create work that is graceful and pleasing to the eye; and stipulates the moral and artistic pre-requisites of the successful painter. On Painting had an immediate and profound influence on Italian Renaissance artists including Ghiberti, Fra Angelico and Veneziano and on later figures such as Leonardo da Vinci, and remains a compelling theory of art.

    Milking the Moon, already a Washington Post bestseller in hardcover, is destined to become a Southern classic.

    Originally published in 1984 (Johns Hopkins University Press), and now available in paperback for the first time, this highly original book draws on insights from semiotics and from psychoanalytic, feminist, and Marxist criticism. Addressing the relations of language to experience, the body to scale, and narratives to objects, Susan Stewart looks at the "miniature" as a metaphor for interiority and at the "gigantic" as an exaggeration of aspects of the exterior. In the final part of her essay Stewart examines the ways in which the "souvenir" and the "collection" are objects mediating experience in time and space.

    While gazing at Rauschenberg's painting Double Feature, Tomkins felt compelled to make some kind of literal connection to the work, and it is in that sprit that "for the last forty years it's been [his] ambition to write about contemporary art not as a critic or a judge, but as a participant." Tomkins has spent many of those years writing about Robert Rauschenberg, whom he rapidly came to see as "one of the most inventive and influential artists of his generation." So it seemed natural to make Rauschenberg the focus of Off the Wall, which deals with the radical changes that have made advanced visual art such a powerful force in the world.Off the Wall chronicles the astonishingly creative period of the 1950s and 1960s, a high point in American art. In his in his collaborations with Merce Cunningham and John Cage, and as a pivotal figure linking abstract expressionism and pop art, Rauschenberg was part of a revolution during which artists moved art off the walls of museums and galleries and into the center of the social scene. Rauschenberg's vitally important and productive career spans this revolution, reaching beyond it to the present day. Featuring the artists and the art world surrounding Rauschenberg--from Jackson Pollock, and Willem de Kooning to Jasper Johns, Frank Stella, and Andy Warhol, together with dealers Betty Parsons, and Leo Castelli, and the patron Peggy Guggenheim--Tomkins's stylish and witty portrait of one of America's most original and inspiring artists is fascinating, enlightening, and very entertaining.

    Around the world, the champions of this form of expression are numerous, ranging from art historians such as Grant Kester, curators such as Nicolas Bourriaud and Nato Thompson, to performance theorists such as Shannon Jackson. Artificial Hells is the first historical and theoretical overview of socially engaged participatory art, known in the US as “social practice.” Claire Bishop follows the trajectory of twentieth-century art and examines key moments in the development of a participatory aesthetic. This itinerary takes in Futurism and Dada; the Situationist International; Happenings in Eastern Europe, Argentina and Paris; the 1970s Community Arts Movement; and the Artists Placement Group. It concludes with a discussion of long-term educational projects by contemporary artists such as Thomas Hirschhorn, Tania Bruguera, Pawe? Althamer and Paul Chan.Since her controversial essay in Artforum in 2006, Claire Bishop has been one of the few to challenge the political and aesthetic ambitions of participatory art. In Artificial Hells, she not only scrutinizes the emancipatory claims made for these projects, but also provides an alternative to the ethical (rather than artistic) criteria invited by such artworks. Artificial Hells calls for a less prescriptive approach to art and politics, and for more compelling, troubling and bolder forms of participatory art and criticism.

    Unlike many of his peers, he has explored these issues through the medium of painting, challenging it to meet the demands posed by new forms of conceptual art. In every level of his varied output--from his austere photo-based realism of the early 60s, to his brightly colored gestural abstractions of the early 80s, to his notorious cycle of black-and-white paintings of the Baader-Meinhof group--Richter has assumed a critical distance from vanguardists and conservatives alike regarding what painting should be. The result has been one of the most convincing renewals of painting's vitality to be found in late twentieth- and early twenty-first-century art. With an extensive and insightful critical essay by curator Robert Storr, a recent interview with the artist, a chronology, an exhibition history and nearly 300 color and duotone reproductions, Gerhard Richter: Forty Years of Painting marks a significant contribution to the understanding of contemporary art in general, and Gerhard Richter in particular.

    The authors analyze the lives and workd of women in both the fine and decorative arts from the Middle Ages until the 1970s.

    The Charles Ives that emerges from Swafford's story is a precocious, well-trained musician, a brilliant if mercurial thinker about art and life, and an experimenter in the spirit of Edison and the Wright brothers.

    A photograph of a gravely joyful crowd gathered on a Prague street in November 1989 provokes reflection on the meaning of democracy and the reunion of a people with long-banished hopes and dreams.With the luminous essays in Keeping a Rendezvous, we are given to see the world as Berger sees it -- to explore themes suggested by the work of Jackson Pollock or J. M. W. Turner, to contemplate the wonder of Paris. Rendezvous are manifold: between critic and art, artist and subject, subject and the unknown. But most significant are the rendezvous between author and reader, as we discover our perceptions informed by John Berger's eloquence and courageous moral imagination.

    The trove included massive, multi-volume illustrated manuscripts, double-sided nine-foot-long watercolor murals, photo-enlarged tracings, and hundreds of sketches. Depicting a turbulent world, these works are the product of the fertile yet tormented imagination of a secretive Chicago janitor who has since been recognized as one of the supreme self-taught artists of the 20th century.Cataloguing in full color the American Folk Art Museum's recent acquisition of 37 paintings, among other Darger works, this informative yet affordable volume offers a general introduction to a controversial self-taught artist.

    This revision includes the full texts of Part I of the original, on the Las Vegas strip, and Part II, "Ugly and Ordinary Architecture, or the Decorated Shed," a generalization from the findings of the first part on symbolism in architecture and the iconography of urban sprawl. (The final part of the first edition, on the architectural work of the firm Venturi and Rauch, is not included in the revision.) The new paperback edition has a smaller format, fewer pictures, and a considerably lower price than the original. There are an added preface by Scott Brown and a bibliography of writings by the members of Venturi and Rauch and about the firm's work. Synopsis Learning from Las Vegas created a healthy controversy on its appearance in 1972, calling for architects to be more receptive to the tastes and values of "common" people and less immodest in their erections of "heroic," self-aggrandizing monuments. This revision includes the full texts of Part I of the original, on the Las Vegas strip, and Part II, "Ugly and Ordinary Architecture, or the Decorated Shed," a generalization from the findings of the first part on symbolism in architecture and the iconography of urban sprawl. (The final part of the first edition, on the architectural work of the firm Venturi and Rauch, is not included in the revision.) The new paperback edition has a smaller format, fewer pictures, and a considerably lower price than the original. There are an added preface by Scott Brown and a bibliography of writings by the members of Venturi and Rauch and about the firm's work. About Author: Biography Steven Izenour (1940-2001)

    Originally published in Munich in 1912 and edited by Kandinsky and Marc-- the movements's almanac presented their synthesis of international culture to the European avant garde at large. In both the selection of essays and its innovative interplay of word and image, The Blaue Reiter Almanac remains one of our most critically important works of literature on the art theory and culture of the twentieth century. This edition, long unavailable in English and indispensable to any student of Modernism, simulates the original German format, and includes documents, and musical notations, as well as seminal essays by Kandinsky, Schoenberg, Marc and others. Nearly 150 illustrations, from ancient and contemporary sources, capture the wide-ranging interests and passions that inspired Kandinsky's and Marc's programmatic attempt to make Modernism accessible across national and chronological boundaries. Also included is Klaus Lankheit's extensive critical introduction, which places the Blaue Reiter in context for contemporary readers."The almanac remains unique among European writings on art; no other country produced a comparable work capturing the excitement and tension of the years before World War I." (Will Grohmann)

    Illuminations includes Benjamin's views on Kafka, with whom he felt the closest personal affinity, his studies on Baudelaire and Proust (both of whom he translated), his essays on Leskov and on Brecht's Epic Theater. Also included are his penetrating study on "The Work of Art in the Age of Mechanical Reproduction," an illuminating discussion of translation as a literary mode, and his thesis on the philosophy of history. Hannah Arendt selected the essays for this volume and prefaces them with a substantial, admirably informed introduction that presents Benjamin's personality and intellectual development, as well as his work and his life in dark times. Reflections the companion volume to this book, is also available as a Schocken paperback.Unpacking My Library, 1931The Task of the Translator, 1913The Storyteller, 1936Franz Kafka, 1934Some Reflections on Kafka, 1938What Is Epic Theater?, 1939On Some Motifs in Baudelaire, 1939The Image of Proust, 1929The Work of Art in the Age of Mechanical Reproduction, 1936Theses on the Philosophy of History, written 1940, pub. 1950