The first collection of Mark Rothko's writings, which range the entire span of his career While the collected writings of many major 20th-century artists, including Barnett Newman, Robert Motherwell, and Ad Reinhardt, have been published, Mark Rothko's writings have only recently come to light, beginning with the critically acclaimed The Artist's Reality: Philosophies of Art. Rothko's other written works have yet to be brought together into a major publication. Writings on Art fills this significant void; it includes some 90 documents--including short essays, letters, statements, and lectures--written by Rothko over the course of his career. The texts are fully annotated, and a chronology of the artist's life and work is also included. This provocative compilation of both published and unpublished writings from 1934--69 reveals a number of things about Rothko: the importance of writing for an artist who many believed had renounced the written word; the meaning of transmission and transition that he experienced as an art teacher at the Brooklyn Jewish Center Academy; his deep concern for meditation and spirituality; and his private relationships with contemporary artists (including Newman, Motherwell, and Clyfford Still) as well as journalists and curators. As was revealed in Rothko's The Artist's Reality, what emerges from this collection is a more detailed picture of a sophisticated, deeply knowledgeable, and philosophical artist who was also a passionate and articulate writer.

Man Ray (1890 –1976) was a pioneer of the Dada movement in the United States and France and a central protagonist of Surrealism. Today he is one of the best-known American artists of the twentieth century, celebrated above all for his innovative and often seductively glamorous photography. Surprisingly, given Man Ray’s key role in the history of early-twentieth-century Modernism, a comprehensive collection of his writings on art has not been published in English until now. Man Ray: Writings on Art fills a conspicuous gap in scholarship on the artist and his period. It brings together his most significant writings, many of them published here for the first time. These occasionally quixotic texts, which include artist books, essays, interviews, letters, and visual poems, reveal the incredible scale of the artist’s output and the remarkable continuity of his aesthetic and political beliefs. This volume offers a long overdue vision of Man Ray as someone who used words both as a creative medium and as a means of articulating ideas about the nature and value of art. With richly reproduced illustrations, it provides powerful insight not only to scholars of art history and academics, but also to working artists and those who count themselves as Man Ray fans.

This title allows the reader access behind the scenes of the art world, with profiles of leading figures such as the gallerist Marian Goodman, and accounts of visits to artists' studios.

Despite Freud's enormous influence on twentieth-century interpretations of the humanities, there has never before been in English a complete collection of his writings on art and literature. These fourteen essays cover the entire range of his work on these subjects, in chronological order beginning with his first published analysis of a work of literature, the 1907 "Delusion and Dreams in Jensen's Gradiva" and concluding with the 1940 posthumous publication of "Medusa's Head." Many of the essays included in this collection have been crucial in contemporary literary and art criticism and theory. Among the subjects Freud engages are Shakespeare's Hamlet, The Merchant of Venice, King Lear, and Macbeth, Goethe's Dichtung und Wahrheit, Michelangelo's Moses, E. T. A. Hoffman's "The Sand Man," Dostoevsky's The Brothers Karamazov, fairy tales, the effect of and the meaning of beauty, mythology, and the games of aestheticization. All texts are drawn from The Standard Edition of the Complete Psychological Works of Sigmund Freud, edited by James Strachey. The volume includes the notes prepared for that edition by the editor. In addition to the writings on Jensen's Gradiva and Medusa, the essays are: "Psychopathic Characters on the Stage," "The Antithetical Meaning of Primal Words," "The Occurrence in Dreams of Material from Fairy Tales," "The Theme of the Three Caskets," "The Moses of Michelangelo," "Some Character Types Met with in Psycho-analytic Work," "On Transience," "A Mythological Parallel to a Visual Obsession," "A Childhood Recollection from Dichtung und Wahrheit," "The Uncanny," "Dostoevsky and Parricide," and "The Goethe Prize."

Art As Evidence celebrates the career of Jules Prown, historian of American art and a pioneer in the study of material culture. It brings together some of his most influential essays along with an introductory chapter, and an intellectual autobiography.

Practical information for artists trying to sell their work. Formatted in a workbook style with fill exercises and examples.

Olivier Berggruen’s essays on aesthetics dissect some of the twentieth century’s greatest art.

Newly translated writings on art from the Italian arte povera provocateur Featuring a luxurious faux-leather binding, Piero Manzoni: Writings on Art features 25 texts by the Italian artist Piero Manzoni (1933-63), spanning from 1956 to 1963, the year of the artist's premature death by heart attack. Writing during the Italian economic miracle of the '50s and '60s, Manzoni's essays and manifestos represent his response to the state of midcentury Italian art and art writing. Selected by art historian Gaspare Luigi Marcone, all writings have been either translated into English for the first time or newly translated. Each text is accompanied by extensive archival images and contextualized with editorial commentary. The book features a foreword by the Piero Manzoni Foundation's director, Rosalia Pasqualino di Marineo, and a newly commissioned essay by one of today's best-known art historians, Benjamin H.D. Buchloh.

The Nation magazine, since its founding in 1865, began what has become, for better or worse, art criticism as a cultural institution in the United States. This eclectic collection features contributors like Christopher Hitchens on “degenerate art,” Heywood Broun on the Artists Congress of 1936, Katherine Anne Porter on children’s art, Marianne Moore on the death of Nation art critic Paul Rosenfeld, and Langston Hughes on “Negro Art.” The volume also includes contributions from many well-known artists: Stuart Davis, Marsden Harley, Alfred Stieglitz, John Marin, Kenyon Cox, Guy Pene Du Bois, Louis Lozowick, and Frank Lloyd Wright. Celebrated writers on art such as Bernard Berenson, Clement Greenberg, Lawrence Alloway, Hilton Kramer, Max Kozloff, John Berger, and Arthur Danto give readers first-hand accounts of the debuts of artists ranging from John Singer Sargent to Jackson Pollock and Willem deKooning as well as the famous lawsuit between John Ruskin and James McNeill Whistler (reported by a youthful Henry James), the destruction of Diego Rivera’s Rockefeller Center murals and Richard Nixon’s views on art. More recently writers like E.L. Doctorow and Katha Pollitt have weighed in on the recent culture wars over arts funding and free expression.

This edition addresses such fundamental matters as: description versus analysis; critical approaches to art (e.g., formal analysis; cultural materialism; gender studies); getting ideas for an essay; developing paragraphs; organizing a comparison; using bibliographic tools, including the internet; writing a catalog entry; quoting sources; documenting sources, using either the Art Bulletin style or the Chicago Manual style; avoiding sexist and Eurocentric language; writing citations for illustrations; engaging in peer review; editing the final draft; writing essay examinations.