The authors skillfully combine a philosophical and pragmatic approach, exploring the cognitive processes behind children’s painting. To deepen children’s understanding, the book suggests meaningful tasks for each phase of imagery and offers methods for encouraging children to discuss the concepts involved in their work. Focusing on children from 1-1/2 to 11, the authors include in this second edition: a more detailed discussion about painting in the preschool; an expanded description of techniques effective in motivating five- and six-year-olds; and a stronger emphasis on painting as a more central, rather than occasional, activity in all classrooms. “Experience and Art is a lean, wise, and useful book . . . that speaks to those who teach children.” —From the Foreword by Elliot W. Eisner

"Learning Mind: Experience Into Art is astonishing in its range of authors, depths of perception, and subjects, gliding elegantly among three thematic clusters, from 'Being of Being an Artist' to 'Making Art and Pedagogy' and, finally, to 'Experiencing Art.' The editors have brilliantly and imaginatively realized the promise of their anthology's tantalizing, terse title."--Moira Roth, author of Traveling Companions/Fractured Worlds "Jacob and Baas have gathered together an exceptional group of some of the most articulate writers about art of this generation, as well as some of the most intelligent, thoughtful, esteemed and socially engaged artists. The Learning Mind invites them to speak from their own experiences with art; what emerges are important biographical moments of insight about the way art is a device for transforming consciousness."--Jennifer Gonzalez, University of California, Santa Cruz

"delightful, readable, and scholarly. The volume is profusely and well illustrated, each art example is clearly labelled and dated, and superb supplementary references for illustrations and supplementary suggestions for further reading are added to complete the study." Choice

Installation art has modified our relationship to art for over fifty years by soliciting the whole body, demonstrating its sensitivity to space, surroundings, and the living beings with which it is constantly interacting. This book analyses this modification of perception through phenomenological approaches convoking Husserl, Heidegger, Merleau-Ponty, as well as Levinas, Depraz, and the neuroscientist Varela. This theoretical framework is implicit in the various case studies which revisit works that have become classic or emblematic by Carl Andre, Bruce Nauman, Dan Graham; inaugural experiments that remain available only through photographic and written archives by Jean-Michel Sanejouand, Philippe Parreno, as well as the influence of the mode in the realm of music. The book also examines the transference of this Western form to Asia, revealing how it resonates with ancient Asian representations and practices—often associated with the spiritual. The distinct chapters underpin the role of space as a metaframe, the common ground of the various installations. While the nature and agency of space varies—from social, historical space, leisurely or political space, inner psychological space, to shared empty space—these installations reveal the chiasm between the individual body and the outside space. The chapters bear testimony of the process in which the physical journey of the spectator’s body within a material—at times invisible—space and its structural components takes place in time, as a succession of micro-experiences. ‘Installation art as experience of self, in space and time’ adds to the existing literature of art history a level of theoretical, experiential and transcultural analysis that will make this inquiry relevant to both university students and independent researchers in the academic fields of philosophy, psychology, aesthetics, art theory and history, religious and Asian studies.

This fascinating study of art gallery interiors examines the changing ideals and practices of galleries in Europe and North America from the 18th to the late 20th century. It offers a detailed account of the different displays that have been created—the colors of the background walls, lighting, furnishings, the height and density of the art works on show—and it traces the different scientific, political and commercial influences that lay behind their development. Charlotte Klonk shows that scientists like Hermann von Helmholtz and Wilhelm Wundt advanced theories of perception that played a significant role in justifying new modes of exhibiting. Equally important for the changing modes of exhibition in art galleries was what Michael Baxandall has called “the period eye,” a way of seeing informed by the impact of new fashions in interior decoration and by department store and shop window displays. The history of museum interiors, she argues, should be appreciated as a revealing chapter in the broader history of experience.

Teaching in the Art Museum investigates the mission, history, theory, practice, and future prospects of museum education. In this book Rika Burnham and Elliott Kai-Kee define and articulate a new approach to gallery teaching, one that offers groups of visitors deep and meaningful experiences of interpreting art works through a process of intense, sustained looking and thoughtfully facilitated dialogue.--[book cover].

“There are more than 50 creative prompts for the artist (or artist at heart) to explore. Take the title of this book as affirmation, and get started.” —Fast Company More than 50 assignments, ideas, and prompts to expand your world and help you make outstanding new things to put into it Curator Sarah Urist Green left her office in the basement of an art museum to travel and visit a diverse range of artists, asking them to share prompts that relate to their own ways of working. The result is You Are an Artist, a journey of creation through which you'll invent imaginary friends, sort books, declare a cause, construct a landscape, find your band, and become someone else (or at least try). Your challenge is to filter these assignments through the lens of your own experience and make art that reflects the world as you see it. You don't have to know how to draw well, stretch a canvas, or mix a paint color that perfectly matches that of a mountain stream. This book is for anyone who wants to make art, regardless of experience level. The only materials you'll need are what you already have on hand or can source for free. Full of insights, techniques, and inspiration from art history, this book opens up the processes and practices of artists and proves that you, too, have what it takes to call yourself one. You Are an Artist brings together more than 50 assignments gathered from some of the most innovative creators working today, including Sonya Clark, Michelle Grabner, The Guerrilla Girls, Fritz Haeg, Pablo Helguera, Nina Katchadourian, Toyin Ojih Odutola, J. Morgan Puett, Dread Scott, Alec Soth, Gillian Wearing, and many others.

Joseph Kupfer removes aesthetics from the exclusive province of museums, concert halls, and the periphery of human interests to reveal the impact of aesthetic experience on daily living. He combines philosophical aesthetics and critical analysis to indicate the status of aesthetic values in ordinary life, showing how aesthetic qualities and relations contribute to social, moral, and personal values. In examining the practical implications of aesthetic values for sports, sexual relationships, violence, and education, Kupfer also looks at the effect of aesthetic deprivation.

Despite the very obvious differences between looking at Manet’s Woman with a Parrot and listening to Elgar’s Cello Concerto, both experiences provoke similar questions in the thoughtful aesthete: why does the painting seem to express reverie and the music, nostalgia? How do we experience the reverie and nostalgia in such works of art? Why do we find these experiences rewarding in similar ways? As our awareness of emotion in art, and our engagement with art’s emotions, can make such a special contribution to our life, it is timely for a philosopher to seek to account for the nature and significance of the experience of art’s emotions. Damien Freeman develops a new theory of emotion that is suitable for resolving key questions in aesthetics. He then reviews and evaluates three existing approaches to artistic expression, and proposes a new approach to the emotional experience of art that draws on the strengths of the existing approaches. Finally, he seeks to establish the ethical significance of this emotional experience of art for human flourishing. Freeman challenges the reader not only to consider how art engages with emotion, but how we should connect up our answers to questions concerning the nature and value of the experiences offered by works of art.