But Is It Art Book in PDF, ePub and Kindle version is available to download in english. Read online anytime anywhere directly from your device. Click on the download button below to get a free pdf file of But Is It Art book. This book definitely worth reading, it is an incredibly well-written.
In today's art world many strange, even shocking, things qualify as art. In this book, Cynthia Freeland explains why innovation and controversy are valued in the arts, weaving together philosophy and art theory with many fascinating examples. She discusses blood, beauty, culture, money, museums, sex, and politics, clarifying contemporary and historical accounts of the nature, function, and interpretation of the arts. Freeland also propels us into the future by surveying cutting-edge web sites, along with the latest research on the brain's role in perceiving art. This clear, provocative book engages with the big debates surrounding our responses to art and is an invaluable introduction to anyone interested in thinking about art.
This groundbreaking anthology documents the recent explosion of art that agitates for progressive social change. Leading art critics, historians, and journalists explore the provocative methods of activist artists who reject conventional art practices in favor of public sites and community participation.
The most well-known graffiti artist today is Banksy. No one knows who he really is, but his graffiti has appeared in many cities around the world. Sometimes, his work is protected. Other times, city officials mark him as a vandal. Readers are asked to make their own decision about Banksy and other graffiti artists. Both sides of the controversy are introduced for readers to contemplate. Full-color examples of graffiti—both intentionally artistic and simple tagging—give readers a chance to see that art to some people isn’t art to everyone.
Art Theory: A Very Short Introduction by Cynthia Freeland Pdf
In today's art world many strange, even shocking, things qualify as art. In this Very Short Introduction Cynthia Freeland explains why innovation and controversy are valued in the arts, weaving together philosophy and art theory with many fascinating examples. She discusses blood, beauty, culture, money, museums, sex, and politics, clarifying contemporary and historical accounts of the nature, function, and interpretation of the arts. Freeland also propels us into the future by surveying cutting-edge web sites, alongside the latest research on the brain's role in perceiving art. This clear, provocative book engages with the big debates surrounding our responses to art and is an invaluable introduction to anyone interested in thinking about art. ABOUT THE SERIES: The Very Short Introductions series from Oxford University Press contains hundreds of titles in almost every subject area. These pocket-sized books are the perfect way to get ahead in a new subject quickly. Our expert authors combine facts, analysis, perspective, new ideas, and enthusiasm to make interesting and challenging topics highly readable.
Horror is often dismissed as mass art or lowbrow entertainment that produces only short-term thrills. Horror films can be bloody, gory, and disturbing, so some people argue that they have bad moral effects, inciting viewers to imitate cinematic violence or desensitizing them to atrocities. In The Naked and the Undead: Evil and the Appeal of Horror, Cynthia A. Freeland seeks to counter both aesthetic disdain and moral condemnation by focusing on a select body of important and revealing films, demonstrating how the genre is capable of deep philosophical reflection about the existence and nature of evil?both human and cosmic. In exploring these films, the author argues against a purely psychoanalytic approach and opts for both feminist and philosophical understandings. She looks at what it is in these movies that serves to elicit specific reactions in viewers and why such responses as fear and disgust are ultimately pleasurable. The author is particularly interested in showing how gender figures into screen presentations of evil.The book is divided into three sections: Mad Scientists and Monstrous Mothers, which looks into the implications of male, rationalistic, scientific technology gone awry; The Vampire's Seduction, which explores the attraction of evil and the human ability (or inability) to distinguish active from passive, subject from object, and virtue from vice; and Sublime Spectacles of Disaster, which examines the human fascination with horror spectacle. This section concludes with a chapter on graphic horror films like The Texas Chainsaw Massacre. Written for both students and film enthusiasts, the book examines a wide array of films including: The Silence of the Lambs, Repulsion, Frankenstein, The Fly, Dead Ringers, Alien, Bram Stoker's Dracula, Interview with the Vampire, Frenzy, The Shining, Eraserhead, Hellraiser, and many others.
Why is that art? Why is it in an art museum? Who says it's art? Why is it good? Why Is That Art?, Third Edition, introduces students to theories of art through the presentation of contemporary works that include abstract and representational painting, animated film, monumental sculpture, performance art, photographs, relational art, and video installations. Ideal for courses in aesthetics, art theory, art criticism, and the philosophy of art, this unique book provides students with a newfound appreciation for contemporary art, scholarship, and reasoned argumentation.
Conversations on Art and Aesthetics by Hans Maes Pdf
What is art? What counts as an aesthetic experience? Does art have to beautiful? Can one reasonably dispute about taste? What is the relation between aesthetic and moral evaluations? How to interpret a work of art? Can we learn anything from literature, film or opera? What is sentimentality? What is irony? How to think philosophically about architecture, dance, or sculpture? What makes something a great portrait? Is music representational or abstract? Why do we feel terrified when we watch a horror movie even though we know it to be fictional? In Conversations on Art and Aesthetics, Hans Maes discusses these and other key questions in aesthetics with ten world-leading philosophers of art: Noël Carroll, Gregory Currie, Arthur Danto, Cynthia Freeland, Paul Guyer, Carolyn Korsmeyer, Jerrold Levinson, Jenefer Robinson, Roger Scruton, and Kendall Walton. The exchanges are direct, open, and sharp, and give a clear account of these thinkers' core ideas and intellectual development. They also offer new insights into, and a deeper understanding of, contemporary issues in the philosophy of art.
What if museum critics were challenged to envision their own exhibitions? In Curatorial Dreams, fourteen authors from disciplines throughout the social sciences and humanities propose exhibitions inspired by their research and critical concerns to creatively put theory into practice. Pushing the boundaries of museology, this collection gives rare insight into the process of conceptualizing exhibitions. The contributors offer concrete, innovative projects, each designed for a specific setting in which to translate critical academic theory about society, culture, and history into accessible imagined exhibitions. Spanning Australia, Barbados, Canada, Chile, the Netherlands, Poland, South Africa, Switzerland, and the United States, the exhibitions are staged in museums, scientific institutions, art galleries, and everyday sites. Essays explore political and practical constraints, imaginative freedom, and experiment with critical, participatory, and socially relevant exhibition design. While the deconstructive critique of museums remains relevant, Curatorial Dreams charts new ground, proposing unique modes of engagement that enrich public scholarship and dialogue.
The comic strip was created by rival newspapers of the Hearst and the Pulitzer organizations as a device for increasing circulation. In the United States it quickly became an institution that soon spread worldwide as a favorite form of popular culture. What made the comic strip so enduring? This fascinating study by one of the few comics critics to develop sound critical principles by which to evaluate the comics as works of art and literature unfolds the history of the funnies and reveals the subtle art of how the comic strip blends words and pictures to make its impact. Together, these create meaning that neither conveys by itself. The Art of The Funnies offers a critical vocabulary for the appreciation of the newspaper comic strip as an art form and shows that full awareness of the artistry comes from considering both the verbal and the visual elements of the medium. The techniques of creating a comic strip - breaking down the narrative, composition of the panel, planning the layout - have remained constant since comic strips were originated. Since 1900 with Winsor McCay's Little Nemo in Slumberland key cartoonists have relied on the union of words and pictures to give the funnies their continuing appeal. This art has persisted in such milestone achievements as Bud Fisher's Mutt and Jeff, George McManus's Bringing Up Father, Sidney Smith's The Gumps, Roy Crane's Wash Tubbs and Captain Easy, Harold Gray's Little Orphan Annie, Chester Gould's Dick Tracy, Zack Mosley's Smilin' Jack, Harold Foster's Tarzan, Alex Raymond's Secret Agent X-9, Jungle Jim, and Flash Gordon, Milton Caniff's Terry and the Pirates, E. C. Segar's Popeye, George Herriman's Krazy Kat, and Walt Kelly's Pogo. In morerecent times with Mort Walker's Beetle Bailey, Charles Schulz's Peanuts. Johnny Hart's B.C., T.K. Ryan's Tumbleweeds, Garry Trudeau's Doonesbury, and Bill Watterson's Calvin and Hobbes, the artform has evolved with new developments, yet the aesthetics of the funnies remain basic. The Art of The Funnies unearths new information and weighs the influence of syndication upon the medium. Though the funnies go in ever new directions, perceiving the interdependency of words and pictures, as this book shows, remains the key to understanding the art.
The only novel by the twentieth century's most acclaimed surrealist painter, a richly visual depiction of a group of eccentric aristocrats in the years preceding World War II “The book is so full of visual invention, so witty, so charged with an almost Dickensian energy that it's difficult not to accept its author's own arrogant evaluation of himself as a genius.” — Observer In swirling, surreal prose, the iconic artist Salvador Dalí portrays the intrigues and love affairs of a group of eccentric aristocrats who, in their luxury and extravagance, symbolize decadent Europe in the 1930s. In the shadow of encroaching war, their tangled lives provide a thrilling vehicle for Dalí's uniquely spirited imagination and artistic vision. Hidden Faces beckons readers to enter the bizarre world already familiar to us from Dali's paintings. The story unfolds in vividly visual terms, beginning in the Paris riots of February 1934. The journey leading to the closing days of the Second World War constitutes a brilliant and dramatic vehicle for Dali's unique vision. “Start the first page and you are in the presence of an old-fashioned baroque novel, intelligent, extravagant, as photographically precise as his paintings but not so silly ... Dali notices everything ...” — Guardian
In today's art world many strange, even shocking, things qualify as art. In this critically acclaimed study, Cynthia Freeland offers a provocative and clear explanation of why innovation and controversy are valued in the arts, weaving together philosophy and art theory with many fascinating examples. Providing an accessible introduction to a wide range of theories, artists, and works, Freeland explains why challenging our perceptions is, and always has been, central to the whole endeavour of art. The result is an invaluable introduction to the key debates surrounding our response to art.
Graffiti has been found on monuments in ancient Egypt and ancient Greece. Body art is an important practice in cultures around the world, such as henna in India and tribal tattooing in Africa. This innovative series introduces these and several other kinds of creation that may be considered art today, including junk sculptures and performance art. The main content explains the concepts behind each, and fact boxes offer historical context and other perspectives. Full-color photographs engage readers with the topics they are considering while sidebars ask pertinent questions for readers to think about as they read. * High-interest, unique topics attract readers * Funky, colorful layout reflects the creative content * Thoughtful questions asked in the text encourage critical-thinking skills * Age-appropriate content and high-interest subject matter that captivates readers' attention