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7 books about Art appreciation
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7 books about Art appreciation
AESTHETICS & EDUCATION
Michael J. Parsons and H. Gene Blocker
University of Illinois Press, 1993
What is the appropriate content of aesthetics for students of art at different age levels? How can it best be taught? How should it be combined with studio work and other art disciplines?
Michael J. Parsons and H. gene Blocker answer these and other questions in a volume designed to help art educators, potential educators, and curriculum developers integrate aesthetics into the study of art in the school curriculum. The two introduce some of the philosophical problems and questions in art, encouraging teachers and others to form a personal outlook on these issues.
Michael J. Parsons and H. gene Blocker answer these and other questions in a volume designed to help art educators, potential educators, and curriculum developers integrate aesthetics into the study of art in the school curriculum. The two introduce some of the philosophical problems and questions in art, encouraging teachers and others to form a personal outlook on these issues.
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Framing the Audience
Art and the Politics of Culture in the United States, 1929-1945
Isadora Helfgott
Temple University Press, 2015
Framing the Audience explores the cultural politics of the Great Depression and World War II through the prism of art appreciation. Isadora Helfgott interrogates the ideological and political motivations for breaking down barriers between fine art and popular culture. She charts the impact that changes in art appreciation had on the broader political, social, cultural, and artistic landscape.
Framing the Audience argues that efforts to expand the social basis of art became intertwined with—and helped shape—broader debates about national identity and the future of American political economy. Helfgott chronicles artists’ efforts toinfluence the conditions of artistic production and display. She highlights the influence of the Federal Art Project, the impact of the Museum of Modern Art as an institutional home for modernism in America and as an organizer of traveling exhibitions, and the efforts by LIFE and Fortune magazines to integrate art education into their visual record of modern life. In doing so, Helfgott makes critical observations about the changing relationship between art and the American public.
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How Art Can Be Thought
A Handbook for Change
Al-An deSouza
Duke University Press, 2018
What terms do we use to describe and evaluate art, and how do we judge if art is good, and if it is for the social good? In How Art Can Be Thought Allan deSouza investigates such questions and the popular terminology through which art is discussed, valued, and taught. Adapting art viewing to contemporary demands within a rapidly changing world, deSouza outlines how art functions as politicized culture within a global industry. In addition to offering new pedagogical strategies for MFA programs and the training of artists, he provides an extensive analytical glossary of some of the most common terms used to discuss art while focusing on their current and changing usage. He also shows how these terms may be crafted to new artistic and social practices, particularly in what it means to decolonize the places of display and learning. DeSouza's work will be invaluable to the casual gallery visitor and the arts professional alike, to all those who regularly look at, think about, and make art—especially art students and faculty, artists, art critics, and curators.
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The Invisible Masterpiece
Hans Belting
University of Chicago Press, 2001
The "invisible masterpiece" is an unattainable ideal, a work of art into which a dream of absolute art is incorporated but can never be realized. Using this metaphor borrowed from Balzac, Hans Belting explores the history of "the masterpiece" and how its status and meaning have been elevated and denigrated since the early nineteenth century. Before 1800, works of art were either imitative (portraits and landscapes) or narrative (history painting). But under the influence of Romantic modernity, the physical object—a painted canvas, for example, or a sculpture—came to be seen as visible testimony of the artist's attempt to achieve absolute or ultimate art; in short, the impossible. This revolution in interpretation coincided with the establishment of the first public art museums, in which classical and Renaissance works were presented as the "real" masterpieces, timeless art of such quality that no modern artist could possibly hope to achieve. The Mona Lisa and other celebrated paintings preoccupied artists who felt burdened by this cult of the masterpiece as it came to be institutionalized.
Belting explores and explains how twentieth-century artists, following Duchamp, struggled with their personal dreams of absolute art. It was not until the 1960s that artists, such as Warhol, finally began to reject the idea of the individual, totemic work of art and its permanent exhibition, as well as the related concept of the "masterpiece" and the outmoded art market that fed off it.
Belting explores and explains how twentieth-century artists, following Duchamp, struggled with their personal dreams of absolute art. It was not until the 1960s that artists, such as Warhol, finally began to reject the idea of the individual, totemic work of art and its permanent exhibition, as well as the related concept of the "masterpiece" and the outmoded art market that fed off it.
[more]
Learning to Look
A Handbook for the Visual Arts
Joshua C. Taylor
University of Chicago Press, 1981
Sometimes seeing is more difficult for the student of art than believing. Taylor, in a book that has sold more than 300,000 copies since its original publication in 1957, has helped two generations of art students "learn to look."
This handy guide to the visual arts is designed to provide a comprehensive view of art, moving from the analytic study of specific works to a consideration of broad principles and technical matters. Forty-four carefully selected illustrations afford an excellent sampling of the wide range of experience awaiting the explorer.
The second edition of Learning to Look includes a new chapter on twentieth-century art. Taylor's thoughtful discussion of pure forms and our responses to them gives the reader a few useful starting points for looking at art that does not reproduce nature and for understanding the distance between contemporary figurative art and reality.
This handy guide to the visual arts is designed to provide a comprehensive view of art, moving from the analytic study of specific works to a consideration of broad principles and technical matters. Forty-four carefully selected illustrations afford an excellent sampling of the wide range of experience awaiting the explorer.
The second edition of Learning to Look includes a new chapter on twentieth-century art. Taylor's thoughtful discussion of pure forms and our responses to them gives the reader a few useful starting points for looking at art that does not reproduce nature and for understanding the distance between contemporary figurative art and reality.
[more]
Two Thumbs Up
How Critics Aid Appreciation
Stephanie Ross
University of Chicago Press, 2020
Far from an elite practice reserved for the highly educated, criticism is all around us. We turn to the Yelp reviewers to decide what restaurants are best, to Rotten Tomatoes to guide our movie choices, and to a host of voices on social media for critiques of political candidates, beach resorts, and everything in between. Yet even amid this ever-expanding sea of opinions, professional critics still hold considerable power in guiding how we make aesthetic judgements. Philosophers and lovers of art continue to grapple with questions that have fascinated them for centuries: How should we engage with works of art? What might enhance such encounters? Should some people’s views be privileged? Who should count as a critic? And do critics actually help us appreciate art?
In Two Thumbs Up, philosopher Stephanie Ross tackles these questions, revealing the ways that critics influence our decisions, and why that’s a good thing. Starting from David Hume’s conception of ideal critics, Ross refines his position and makes the case that review-based journalistic or consumer reporting criticism proves the best model for helping us find and appreciate quality. She addresses and critiques several other positions and, in the process, she demonstrates how aesthetic and philosophical concerns permeate our lives, choices, and culture. Ultimately, whether we’re searching for the right wine or the best concert, Ross encourages us all to find and follow critics whose taste we share.
In Two Thumbs Up, philosopher Stephanie Ross tackles these questions, revealing the ways that critics influence our decisions, and why that’s a good thing. Starting from David Hume’s conception of ideal critics, Ross refines his position and makes the case that review-based journalistic or consumer reporting criticism proves the best model for helping us find and appreciate quality. She addresses and critiques several other positions and, in the process, she demonstrates how aesthetic and philosophical concerns permeate our lives, choices, and culture. Ultimately, whether we’re searching for the right wine or the best concert, Ross encourages us all to find and follow critics whose taste we share.
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Vermeer's Wager
Speculations on Art History, Theory, and Art Museums
Ivan Gaskell
Reaktion Books, 2000
Vermeer's Wager stands at the intersection of art history and criticism, philosophy and museology. Using a familiar and celebrated painting by Johannes Vermeer as a case study, Ivan Gaskell explores what it might mean to know and use a work of art. He argues that art history as generally practiced, while successfully asserting certain claims to knowledge, fails to take into account aspects of the unique character of works of art. Our relationship to art is mediated, not only through reproduction – particularly photography – but also through displays in museums. In an analysis that ranges from seventeenth-century Holland, through mid-nineteenth-century France, to artists' and curators' practice today, Gaskell draws on his experience of Dutch art history, philosophy and contemporary art criticism. Anyone with an interest in Vermeer and the afterlife of his art will value this book, as will all who think seriously about the role of photography in perception and the core purposes of art museums.
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