Thinking Art

In the twentieth century, avant-garde movements have pushed the concept of art far beyond its traditional boundaries. In this dynamical process of constant renewal the prestige of thinking about art as a legitimizing practice has come to the fore. So it is hardly surprising that the past decades have been characterized by a revival or even breakthrough of philosophy of art as a discipline. However, the majority of books on aesthetics fail to combine a systematical philosophical discourse with a real exploration of art practice. Thinking Art attempts to deal with this traditional shortcoming. It is indeed not only an easily accessible and systematic account of the classical, modern and postmodern theories of art, but also concludes each chapter with an artist’s studio in which the practical relevance of the discussed theory is amply demonstrated by concrete examples. Moreover, each chapter ends with a section on further reading, in which all relevant literature is discussed in detail. Thinking Art provides its readers with a theoretical framework that can be used to think about art from a variety of perspectives. More particularly it shows how a fruitful cross-fertilization between theory and practice can be created. This book can be used as a handbook within departments of philosophy, history of art, media and cultural studies, cultural history and, of course, within art academies. Though the book explores theories of art from Plato to Derrida it does not presuppose any acquaintance with philosophy from its readers. It can thus be read also by artists, art critics, museum directors and anyone interested in the meaning of art.

An indispensable and inspiring guide to creativity in the workplace and beyond, drawing on art, psychology, science, sports, law, business, and technology to help you land big ideas in the practical world. Anyone from CEO to freelancer knows how hard it is to think big, let alone follow up, while under pressure to get things done. Art Thinking offers practical principles, inspiration, and a healthy dose of pragmatism to help you navigate the difficulties of balancing creative thinking with driving toward results. With an MBA and an MFA, Amy Whitaker, an entrepreneur-in-residence at the New Museum Incubator, draws on stories of athletes, managers, writers, scientists, entrepreneurs, and even artists to engage you in the process of “art thinking.” If you are making a work of art in any field, you aren’t going from point A to point B. You are inventing point B. Art Thinking combines the mind-sets of art and the tools of business to protect space for open-ended exploration and manage risks on your way to success. Art Thinking takes you from “Wouldn’t it be cool if . . . ?” to realizing your highest aims, helping you build creative skills you can apply across all facets of business and life. Warm, honest, and unexpected, Art Thinking will help you reimagine your work and life—and even change the world—while enjoying the journey from point A. Art Thinking features 60 line drawings throughout.

Thinking about Art explores some of the greatest works of art and architecture in the world through the prism of themes, instead of chronology, to offer intriguing juxtapositions of art and history. The book ranges across time and topics, from the Parthenon to the present day and from patronage to ethnicity, to reveal art history in new and varied lights. With over 200 colour illustrations and a wealth of formal and contextual analysis, Thinking about Art is a companion guide for art lovers, students and the general reader, and is also the first A-level Art History textbook, written by a skilled and experienced teacher of art history, Penny Huntsman. The book is accompanied by a companion website at www.wiley.com/go/thinkingaboutart.

EDUCATION / Arts in Education

"Absolutely splendid . . . essential for understanding why there is so much bad thinking in political life right now." —David Brooks, New York Times How to Think is a contrarian treatise on why we’re not as good at thinking as we assume—but how recovering this lost art can rescue our inner lives from the chaos of modern life. As a celebrated cultural critic and a writer for national publications like The Atlantic and Harper’s, Alan Jacobs has spent his adult life belonging to communities that often clash in America’s culture wars. And in his years of confronting the big issues that divide us—political, social, religious—Jacobs has learned that many of our fiercest disputes occur not because we’re doomed to be divided, but because the people involved simply aren’t thinking. Most of us don’t want to think. Thinking is trouble. Thinking can force us out of familiar, comforting habits, and it can complicate our relationships with like-minded friends. Finally, thinking is slow, and that’s a problem when our habits of consuming information (mostly online) leave us lost in the spin cycle of social media, partisan bickering, and confirmation bias. In this smart, endlessly entertaining book, Jacobs diagnoses the many forces that act on us to prevent thinking—forces that have only worsened in the age of Twitter, “alternative facts,” and information overload—and he also dispels the many myths we hold about what it means to think well. (For example: It’s impossible to “think for yourself.”) Drawing on sources as far-flung as novelist Marilynne Robinson, basketball legend Wilt Chamberlain, British philosopher John Stuart Mill, and Christian theologian C.S. Lewis, Jacobs digs into the nuts and bolts of the cognitive process, offering hope that each of us can reclaim our mental lives from the impediments that plague us all. Because if we can learn to think together, maybe we can learn to live together, too.

Best Book of the Year – Kirkus Reviews A spirited biography of the prophetic and sympathetic philosopher who helped build the foundations of the modern world. Denis Diderot is often associated with the decades-long battle to bring the world’s first comprehensive Encyclopédie into existence. But his most daring writing took place in the shadows. Thrown into prison for his atheism in 1749, Diderot decided to reserve his best books for posterity–for us, in fact. In the astonishing cache of unpublished writings left behind after his death, Diderot challenged virtually all of his century's accepted truths, from the sanctity of monarchy, to the racial justification of the slave trade, to the norms of human sexuality. One of Diderot’s most attentive readers during his lifetime was Catherine the Great, who not only supported him financially, but invited him to St. Petersburg to talk about the possibility of democratizing the Russian empire. In this thematically organized biography, Andrew S. Curran vividly describes Diderot’s tormented relationship with Rousseau, his curious correspondence with Voltaire, his passionate affairs, and his often iconoclastic stands on art, theater, morality, politics, and religion. But what this book brings out most brilliantly is how the writer's personal turmoil was an essential part of his genius and his ability to flout taboos, dogma, and convention.

A world-class thinker counts the 100 ways in which humans behave irrationally, showing us what we can do to recognize and minimize these “thinking errors” to make better decisions and have a better life Despite the best of intentions, humans are notoriously bad—that is, irrational—when it comes to making decisions and assessing risks and tradeoffs. Psychologists and neuroscientists refer to these distinctly human foibles, biases, and thinking traps as “cognitive errors.” Cognitive errors are systematic deviances from rationality, from optimized, logical, rational thinking and behavior. We make these errors all the time, in all sorts of situations, for problems big and small: whether to choose the apple or the cupcake; whether to keep retirement funds in the stock market when the Dow tanks, or whether to take the advice of a friend over a stranger. The “behavioral turn” in neuroscience and economics in the past twenty years has increased our understanding of how we think and how we make decisions. It shows how systematic errors mar our thinking and under which conditions our thought processes work best and worst. Evolutionary psychology delivers convincing theories about why our thinking is, in fact, marred. The neurosciences can pinpoint with increasing precision what exactly happens when we think clearly and when we don’t. Drawing on this wide body of research, The Art of Thinking Clearly is an entertaining presentation of these known systematic thinking errors--offering guidance and insight into everything why you shouldn’t accept a free drink to why you SHOULD walk out of a movie you don’t like it to why it’s so hard to predict the future to why shouldn’t watch the news. The book is organized into 100 short chapters, each covering a single cognitive error, bias, or heuristic. Examples of these concepts include: Reciprocity, Confirmation Bias, The It-Gets-Better-Before-It-Gets-Worse Trap, and the Man-With-A-Hammer Tendency. In engaging prose and with real-world examples and anecdotes, The Art of Thinking Clearly helps solve the puzzle of human reasoning.

"Games are a unique art form. The game designer doesn't just create a world; they create who you will be in that world. They tell you what abilities to use and what goals to take on. In other words, they specify a form of agency. Games work in the medium of agency. And to play them, we take on alternate agencies and submerge ourselves in them. What can we learn about our own rationality and agency, from thinking about games? We learn that we have a considerable degree of fluidity with our agency. First, we have the capacity for a peculiar sort of motivational inversion. For some of us, winning is not the point. We take on an interest in winning temporarily, so that we can play the game. Thus, we are capable of taking on temporary and disposable ends. We can submerge ourselves in alternate agencies, letting them dominate our consciousness, and then dropping them the moment the game is over. Games are, then, a way of recording forms of agency, of encoding them in artifacts. Our games are a library of agencies. And exploring that library can help us develop our own agency and autonomy. But this technology can also be used for art. Games can sculpt our practical activity, for the sake of the beauty of our own actions. Games are part of a crucial, but overlooked category of art - the process arts. These are the arts which evoke an activity, and then ask you to appreciate your own activity. And games are a special place where we can foster beautiful experiences of our own activity. Because our struggles, in games, can be designed to fit our capacities. Games can present a harmonious world, where our abilities fit the task, and where we pursue obvious goals and act under clear values. Games are a kind of existential balm against the difficult and exhausting value clarity of the world. But this presents a special danger. Games can be a fantasy of value clarity. And when that fantasy leaks out into the world, we can be tempted to oversimplify our enduring values. Then, the pleasures of games can seduce us away from our autonomy, and reduce our agency."--

2014 Outstanding Academic Title, Choice "What’s going on in this picture?" With this one question and a carefully chosen work of art, teachers can start their students down a path toward deeper learning and other skills now encouraged by the Common Core State Standards. The Visual Thinking Strategies (VTS) teaching method has been successfully implemented in schools, districts, and cultural institutions nationwide, including bilingual schools in California, West Orange Public Schools in New Jersey, and the San Francisco Museum of Modern Art. It provides for open-ended yet highly structured discussions of visual art, and significantly increases students’ critical thinking, language, and literacy skills along the way. Philip Yenawine, former education director of New York’s Museum of Modern Art and cocreator of the VTS curriculum, writes engagingly about his years of experience with elementary school students in the classroom. He reveals how VTS was developed and demonstrates how teachers are using art—as well as poems, primary documents, and other visual artifacts—to increase a variety of skills, including writing, listening, and speaking, across a range of subjects. The book shows how VTS can be easily and effectively integrated into elementary classroom lessons in just ten hours of a school year to create learner-centered environments where students at all levels are involved in rich, absorbing discussions.