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An introduction to the impressionist movement, highlighting the great artists, their masterpieces, and impressionism’s enduring influence.It is often forgotten just how provocative and unsettling impressionist canvases seemed when they were first exhibited in 1874. Critics, professional artists, and gallery visitors alike were shocked to encounter the unorthodox paintings on display, with their seemingly unfinished surfaces and lack of any elements of traditional composition. The advocates of this new approach rejected nearly all the established principles and practices of oil painting prevalent at that time in France.Tracing the origins and history of impressionism in a concise, introductory volume, Ralph Skea highlights the major differences between the new techniques and aesthetic principles of the impressionists and the academic art they abhorred, and goes a step further in exploring the original intellectual focus of the movement. Skea explores the impressionists’ desire to investigate their own sensory perceptions when painting, which resulted in their unique “impressions.”An ideal companion for museum-goers, as well as those who are entirely new to the subject, Impressionism weaves an engaging narrative around a selection of striking illustrations, discussing the movement’s greatest artists, their works and where to find them. 85 illustrations in color

'Thank God for yellow ochre, cadmium red medium, and permanent green light'How does a painter see the world? Philip Guston, one of the most significant artists of the twentieth century, spoke about art with unparalleled candor and commitment. Touching on work from across his career as well as that of his fellow artists and Renaissance heroes, this selection of his writings, talks, and interviews draws together some of his most incisive reflections on iconography and abstraction, metaphysics and mysticism, and, above all, the nature of painting and drawing.'Among the most important, powerful and influential American painters of the last 100 years ... he's an art world hero' —Jerry Saltz, New York Magazine

When we look at a painting hanging on an art gallery wall, we see only what the artist has chosen to disclose--the finished work of art. What remains mysterious is the process of creation itself--the making of the work of art. Everyone who has looked at paintings has wondered about this, and numerous efforts have been made to discover and depict the creative method of important artists. A Giacometti Portrait is a picture of one of the century's greatest artists at work.James Lord sat for eighteen days while his friend Alberto Giamcometti did his portrait in oil. The artist painted, and the model recorded the sittings and took photographs of the work in its various stages. What emerged was an illumination of what it is to be an artist and what it was to be Giacometti--a portrait in prose of the man and his art. A work of great literary distinction, A Giacometti Portrait is, above all, a subtle and important evocation of a great artist.

This anthology is remarkable not only for the selections themselves, among which the Schelling and the Heidegger essays were translated especially for this volume, but also for the editors' general introduction and the introductory essays for each selection, which make this volume an invaluable aid to the study of the powerful, recurrent ideas concerning art, beauty, critical method, and the nature of representation. Because this collection makes clear the ways in which the philosophy of art relates to and is part of general philosophical positions, it will be an essential sourcebook to students of philosophy, art history, and literary criticism.

As Lippard points out, Hesse's use of obsessive repetition in her works served to increase and exaggerate the absurdity she saw in her life. In many ways, her works were ”psychic models,” as Robert Smithson has said, of ”a very interior person.” In pioneering the use of ”soft” materials, her sculptures betrayed her awareness of the manner in which her experience as a woman altered her art and career. Although she died before feminism affected the art world to any great extent, her major works have since become talismans for succeeding generations of women artists. Eva Hesse was designed by Hesse's friends and colleagues Sol LeWitt and Pat Stier; her sculptures, drawings, and paintings are reproduced and discussed; and the text includes numerous quotations from her diaries. First published in 1976 but long out-of-print, this classic text is both an insightful critical analysis and a tribute to an artist whose genius has become increasingly apparent with the passage of time.

This is the first of two volumes of the only English edition of Hegel's Aesthetics, the work in which he gives full expression to his seminal theory of art. The substantial Introduction is his best exposition of his general philosophy of art. In Part I he considers the general nature of art as a spiritual experience, distinguishes the beauty of art and the beauty of nature, and examines artistic genius and originality. Part II surveys the history of art from the ancient world through to the end of the eighteenth century, probing the meaning and significance of major works. Part III (in the second volume) deals individually with architecture, sculpture, painting, music, and literature; a rich array of examples makes vivid his exposition of his theory.

Claude Monet is considered one of the most influential artists of all time. He is a founder of the French Impressionist art movement, and today his paintings sell for millions of dollars. While Monet was alive, however, his work was often criticized and he struggled financially. With over one hundred black-and-white illustrations, this book unveils a true portrait of the artist!

The revival of documentary in art, considered in historical, theoretical, and contemporary contexts.After a long period in eclipse, documentary has undergone a marked revival in recent art. This has been spurred by two phenomena: the exhibition of photographic and video work on political issues at Documenta and numerous biennials; and increasing attention to issues of injustice, violence, and trauma in the war zones of the endemically conflict-ridden twenty-first century. The renewed attention to photography and video in the gallery and museum world has helped make documentary one of the most prominent modes of art-making today. Unsurprisingly, this development has been accompanied by a rich strain of theoretical and historical writing on documentary.This anthology provides a much-needed contextual grounding for documentary art. It explores the roots of documentary in modernism and its critique under postmodernism; surveys current theoretical thinking about documentary; and examines a wide range of work by artists within, around, or against documentary through their own writings and interviews.Artists surveyed include:Kutlug Ataman, Ursula Biemann, Hasan Elahi, Harun Farocki, Omer Fast, Joan Fontcuberta, Regina José Galindo, David Goldblatt, Craigie Horsfield, Alfredo Jaar, Emily Jacir, Lisa F. Jackson, Philip Jones Griffiths, An-My Le, Renzo Martens, Boris Mikhailov, Daido Moriyama, Walid Raad, Michael Schmidt, Sean SnyderWriters include:James Agee, Ariella Azoulay, Walter Benjamin, Adam Broomberg, Judith Butler, Oliver Chanarin, Georges Didi-Huberman, John Grierson, David Levi Strauss, Elizabeth McCausland, Carl Plantinga, Jacques Rancière, Martha Rosler, Jean-Paul Sartre, Allan Sekula, W. Eugene Smith, Susan Sontag, Hito Steyerl, Trinh T. Minh-ha

An examination of contemporary art's engagement with three modes of abstraction.This anthology reconsiders crucial aspects of abstraction's resurgence in contemporary art, exploring three equally significant strategies explored in current practice: formal abstraction, economic abstraction, and social abstraction. In the 1960s, movements as diverse as Latin American neo-concretism, op art and “eccentric abstraction” disrupted the homogeneity, universality, and rationality associated with abstraction. These modes of abstraction opened up new forms of engagement with the phenomenal world as well as the possibility of diverse readings of the same forms, ranging from formalist and transcendental to socio-economic and conceptual.In the 1980s, the writings of Peter Halley, Fredric Jameson, and others considered an increasingly abstracted world in terms of its economic, social, and political conditions—all of which were increasingly manifested through abstract codes or sites of style. Such economic abstraction is primarily addressed in art through subject or theme, but Deleuze and Guattari's notion of art as abstract machine opens up possibilities for art's role in the construction of a new kind of social reality. In more recent art, a third strand of abstraction emerges: a form of social abstraction centered on the strategy of withdrawal. Social abstraction implies stepping aside, a movement away from the mainstream, suggesting the possibilities for art to maneuver within self-organized, withdrawn initiatives in the field of cultural production.Artists surveyed include:Lee Bontecou, Louise Bourgeois, Amilcar de Castro, Paul Cézanne, Lygia Clark, Kajsa Dahlberg, Stephan Dillemuth, Marcel Duchamp, Gardar Eide Einarsson, Günther Förg, Liam Gillick, Ferreira Gullar, Jean Hélion, Eva Hesse, Jakob Jakobsen, Jasper Johns, Donald Judd, Wassily Kandinsky, Sol LeWitt, Piet Mondrian, Bruce Nauman, Hélio Oiticica, Blinky Palermo, Lygia Pape, Mai-Thu Perret, Jackson Pollock, Tobias Rehberger, Bridget Riley, Emily Roysden, Lucas Samaras, Julian Stanczak, Frank Stella, Hito Steyerl, Theo van DoesburgWriters include:Alfred H. Barr Jr., Ina Blom, Lynne Cooke, Anthony Davies, Judi Freeman, Peter Halley, Brian Holmes, Joe Houston, Fredric Jameson, Lucy R. Lippard, Sven Lütticken, Nina Möntmann, Gabriel Perez-Barreiro, Catherine Quéloz, Gerald Raunig, Irit Rogoff, Meyer Schapiro, Kirk Varnedoe, Stephan Zepke

Texts examine how the encounter of ethics and aesthetics has become central to the contested space of much recent art.The boundary of a contemporary art object or project is no longer something that exists only in physical space; it also exists in social, political, and ethical space. Art has opened up to transnational networks of producers and audiences, migrating into the sphere of social and distributive systems, whether in the form of "relational aesthetics" or other critical reinventions of practice. Art has thus become increasingly implicated in questions of ethics. In this volume, artist and writer Walead Beshty evaluates the relation of ethics to aesthetics, and demonstrates how this encounter has become central to the contested space of much recent art. He brings together theoretical foundations for an ethics of aesthetics; appraisals of art that engages with ethical issues; statements and examples of methodologies adopted by a diverse range of artists; and examinations of artworks that question the ethical conditions in which contemporary art is produced and experienced. Artists surveyed include Tania Bruguera, Christoph B chel, Paul Chan, Lygia Clark, Danh Vo, Dexter Sinister, Andrea Fraser, Liam Gillick, David Hammons, Thomas Hirschhorn, Khaled Hourani, Sharon Lockhart, Kerry James Marshall, Renzo Martens, Boris Mikhailov, H lio Oiticica, Seth Price, Walid Raad, Martha Rosler, Tino Sehgal, Allan Sekula, Santiago Sierra, Rirkrit TiravanijaWriters include Giorgio Agamben, Ariella Azoulay, Alain Badiou, Roland Barthes, David Beech, Claire Bishop, Nicolas Bourriaud, Simon Critchley, T.J. Demos, Maurizio Lazzarato, Jean-Fran ois Lyotard, Jacques Ranci re, Jan Verwoert