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But Is It Art?: An Introduction to Art Theory by Cynthia Freeland
by Cynthia Freeland | PB | Good
5,13 USD
Environ4,41 EUR
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Lieu où se trouve l'objet : Aurora, Illinois, États-Unis
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Numéro de l'objet eBay :373534238923
Dernière mise à jour le 07 août 2025 22:30:02 CEST. Afficher toutes les modificationsAfficher toutes les modifications
Caractéristiques de l'objet
- État
- Bon état
- Commentaires du vendeur
- Binding
- Paperback
- Weight
- 0 lbs
- Product Group
- Book
- IsTextBook
- No
- ISBN
- 9780192853677
À propos de ce produit
Product Identifiers
Publisher
Oxford University Press, Incorporated
ISBN-10
0192853678
ISBN-13
9780192853677
eBay Product ID (ePID)
2209989
Product Key Features
Book Title
But Is It Art? : an Introduction to Art Theory
Number of Pages
264 Pages
Language
English
Publication Year
2002
Topic
Criticism & Theory, Popular Culture
Illustrator
Yes
Genre
Art
Format
Trade Paperback
Dimensions
Item Height
0.6 in
Item Weight
13.5 Oz
Item Length
6.8 in
Item Width
4.7 in
Additional Product Features
Intended Audience
Trade
Reviews
"I know of no work that moves so swiftly and with so sure a footing through the battle zones of art and society today."--Arthur C. Danto "Profoundly refreshing and satisfying.... Freeland's energetic and engaging voice breezily guides the reader, while employing an astonishing array of examples to illuminate and activate her explications."--Don Bacigalupi, Director, San Diego Museum of Art "A vibrant study of a complex and contentious field of artistic endeavor and enquiry.... Lucid and thought-provoking."--Murray Smith, University of Kent "Freeland provides a unique and inclusive view of the past by discussing it from the vantage point of contemporary art."--Lucy R. Lippard, author ofMixed Blessings: New Art in a Multicultural America, 'admirable for its scope, compactness and exceptional clarity.Reader-friendly and thought-provoking'The Independent, 23/02/2002, 'Nevertheless, this is a pacy and readable introduction to art history'Independent on Sunday 10/03/2002, "I know of no work that moves so swiftly and with so sure a footing through the battle zones of art and society today."--Arthur C. Danto"Profoundly refreshing and satisfying.... Freeland's energetic and engaging voice breezily guides the reader, while employing an astonishing array of examples to illuminate and activate her explications."--Don Bacigalupi, Director, San Diego Museum of Art"A vibrant study of a complex and contentious field of artistic endeavor and enquiry.... Lucid and thought-provoking."--Murray Smith, University of Kent"Freeland provides a unique and inclusive view of the past by discussing it from the vantage point of contemporary art."--Lucy R. Lippard, author of Mixed Blessings: New Art in a Multicultural America, 'This pocket potboiler provides some answers, a lot of questions andplenty of entertainmetn along the way'TNT Magazine 25/03/2002, 'a book of simplicity and clarity that may well come to rival John Berger's Ways of Seeing as a reader's digest of the rubric of theories that make up contemporary art criticism . . . This is a valuable book for anyone perplexed by the arcane theorising of contemporary art'Sue Hubbard, The Independent 14/03/01, 'a book of simplicity and clarity that may well come to rival JohnBerger's Ways of Seeing as a reader's digest of the rubric of theories that makeup contemporary art criticism . . . This is a valuable book for anyone perplexedby the arcane theorising of contemporary art'Sue Hubbard, The Independent 14/03/01, 'Review from previous edition So many of the questions that define us as a culture have been raised through and by the art of recent decades, that without coming to terms with our art, we can scarcely understand ourselves. Cynthia Freeland has written a very smart book, in which highphilosophical intelligence is applied to difficult questions raised by real works of art. It immediately situates the reader where thought and action meet, and since the issues are inescapable, it should be required reading for everyone. 'I know of no work that moves so swiftly and with so sure a footing through the battle zones of art and society today.''Arthur C. Danto, Columbia University, author of After the end of art, 'admirable for its scope, compactness and exceptional clarity. Reader-friendly and thought-provoking'The Independent, 23/02/2002, 'This pocket potboiler provides some answers, a lot of questions and plenty of entertainment along the way'TNT Magazine 25/03/2002, "I know of no work that moves so swiftly and with so sure a footing through the battle zones of art and society today."--Arthur C. Danto "Profoundly refreshing and satisfying.... Freeland's energetic and engaging voice breezily guides the reader, while employing an astonishing array of examples to illuminate and activate her explications."--Don Bacigalupi, Director, San Diego Museum of Art "A vibrant study of a complex and contentious field of artistic endeavor and enquiry.... Lucid and thought-provoking."--Murray Smith, University of Kent "Freeland provides a unique and inclusive view of the past by discussing it from the vantage point of contemporary art."--Lucy R. Lippard, author of Mixed Blessings: New Art in a Multicultural America, 'Review from previous edition So many of the questions that define us as a culture have been raised through and by the art of recent decades, that without coming to terms with our art, we can scarcely understand ourselves. Cynthia Freeland has written a very smart book, in which high philosophical intelligence is applied to difficult questions raised by real works of art. It immediately situates the reader where thought and action meet, and since the issuesare inescapable, it should be required reading for everyone. 'I know of no work that moves so swiftly and with so sure a footing through the battle zones of art and society today.''Arthur C. Danto, Columbia University, author of After the end of art'This pocket potboiler provides some answers, a lot of questions and plenty of entertainment along the way'TNT Magazine 25/03/2002' this is a pacy and readable introduction to art history'Independent on Sunday 10/03/2002'admirable for its scope, compactness and exceptional clarity. Reader-friendly and thought-provoking'The Independent, 23/02/2002'a book of simplicity and clarity that may well come to rival John Berger's Ways of Seeing as a reader's digest of the rubric of theories that make up contemporary art criticism . . . This is a valuable book for anyone perplexed by the arcane theorising of contemporary art'Sue Hubbard, The Independent 14/03/01., 'Review from previous edition So many of the questions that define us as a culture have been raised through and by the art of recent decades, that without coming to terms with our art, we can scarcely understand ourselves. Cynthia Freeland has written a very smart book, in which highphilosophical intelligence is applied to difficult questions raised by real works of art. It immediately situates the reader where thought and action meet, and since the issues are inescapable, it should be required reading for everyone. I know of no work that moves so swiftly and with so sure a footing through the battle zones of art and society today.'Arthur C. Danto, Columbia University, author of After the End of Art
Dewey Edition
21
Dewey Decimal
701
Table Of Content
List of Illustrations1. Blood and Beauty2. Paradigms and Purposes3. Cultural Crossings4. Money, Markets, Museums5. Gender, Genius, and Guerrilla Girls6. Cognition, Creation, Comprehension7. Digitizing and DisseminatingConclusionReferencesFurther ReadingIndex
Synopsis
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., Cynthia Freeland explains why innovation and controversy are valued in the arts, weaving together philosophy, art theory, and many engrossing examples. She discusses blood, beauty, culture, money, sex, web sites, and research on the brain's role in perceiving art. This clear, lively book will engage the public, introductory students, and teachers in the arts., From Andy Warhol's Brillo boxes to provocative dung-splattered madonnas, in today's art world many strange, even shocking, things are put on display. This often leads exasperated viewers to exclaim--is this really art? In this invaluable primer on aesthetics, Freeland explains why innovation and controversy are so highly valued in art, weaving together philosophy and art theory with many engrossing examples. Writing clearly and perceptively, she explores the cultural meanings of art in different contexts, and highlights the continuities of tradition that stretch from modern, often sensational, works back to the ancient halls of the Parthenon, to the medieval cathedral of Chartres, and to African nkisi nkondi fetish statues. She explores the difficulties of interpretation, examines recent scientific research into the ways the brain perceives art, and looks to the still-emerging worlds of art on the web, video art, art museum CD-ROMS, and much more. In addition, Freeland guides us through the various theorists of art, from Aristotle and Kant to Baudrillard. Lastly, throughout this nuanced account of theories, artists, and works, Freeland provides us with a rich understanding of how cultural significance is captured in a physical medium, and why challenging our perceptions is, and always has been, central to the whole endeavor. It is instructive to recall that Henri Matisse himself was originally derided as a "wild beast." To horrified critics, his bold colors and distorted forms were outrageous. A century later, what was once shocking is now considered beautiful. And that, writes Freeland, is art.
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