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"Works of art sometimes leave us speechless. But they almost never shut us up. They can't. There's just too much to say. Talking about art doesn't leave things as they are; it changes everything. To look, to think, to say what you see, or why you respond as you do, this changes what you see and it changes your response. The effort and the caring remake us. They remake us, in real time, as we listen to the song, or examine the painting, or watch the movie. This is not unique to art, of course. What I have just outlined goes for all experience and is really life's first principle: life is a process of growth and reorganization, a process that commences right then when we first act, for we reorganize ourselves and develop in response to the ways what we do changes what we undergo, as Dewey might have said. But art aims at this; there is art so that we may remake ourselves, and also, so that we may catch ourselves in the act of this remaking. Art requires creation, even from its beholder. Yogi Berra was right: you can see a lot by observing. But observation - the effort and the caring - this requires thought, attention, focus. It can be play, but it is also work-like. Art always proposes a task, and the task is neither easy nor quite well-enough defined. The task, though, is only this: try to perceive, try to bring what is there into focus. If you do this, you will find yourself unveiled and, to whatever little extent, put together anew. The crucial thing to accept is that we don't get all this - the wow, the pleasure, the unveiling, and the reorganization - just for the price of admission. We have to join in, turn on, throw thoughts and reactions at the works themselves, position ourselves to catch them on the rebound, and allow room for emotions, not always positive. This is something we typically do with other people, and in the field cast by their responses and their words and argument. Works of art are always strange provocations; sometimes they offend us; more often they leave us untouched, unaffected, even bored. And this is where their value lies. Each of the short writings collected here is an exercise in giving art and myself the time to let something happen; I try to do this work so that art may do its work. Some of them were written while I was working on my 2015 book Strange Tools: Art and Human Nature, and they flow from the same well of curiosity that nourished that project. The title is borrowed from Joshua C Taylor's famous Learning To Look, which was the first book about art that I ever read"--

Art - Psychology --- Art appreciation --- Art criticism --- Arts

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In recent decades, art historians and critics have occasionally emphasized a dynamic, embodied mode of looking, accenting the role of the viewer and the complex interplay between beholders and works of art. In The Place of the Viewer , Kerr Houston shows that an attention to the position and physical experiences of beholders has in fact long informed art historical analyses – and that close study of the theme can lead to a fuller understanding of the discipline, the act of viewership and individual works of art. Simultaneously attentive to historical ideas and contemporary scholarship, this book identifies a vein of thought that has been generally overlooked, and proposes new ways of seeing familiar works and traditions.

Art --- Art criticism --- Psychology. --- History. --- Art - Psychology. --- Art criticism - History.

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Cet ouvrage fait le point sur la modernité et l'avant-garde. L'abstraction imposé après 1945 aux pays occidentaux n'est que la figure inverse de l'art d'Etat que le réalisme socialiste a imposé aux pays socialistes. Ceci a entraîné une crise des modèles.

Aesthetics of art --- Modernism (Art) --- Art --- Modernisme (Art) --- Psychology --- Psychologie --- Analyse de l'art --- Modernité --- Art - Psychology

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"The Archaeology of Seeing provides readers with a new and provocative understanding of material culture through exploring visual narratives captured in cave and rock art, sculpture, paintings, and more. The engaging argument draws on current thinking in archaeology on how we can interpret the behaviour of people in the past through their use of material culture, and how this affects our understanding of how we create and see art in the present. Exploring themes of gender, identity and story-telling in visual material culture, this book forces a radical reassessment of how the ability to see makes us and our ancestors human; as such, it will interest lovers of both art and archaeology. Illustrated with examples from around the world, from the earliest art from hundreds of thousands of years ago, to the contemporary art scene, including street art and advertising, Janik cogently argues that the human capacity for art, which we share with our most ancient ancestors and cousins, is rooted in our common neurophysiology. The ways in which our brains allow us to see is a common heritage that shapes the creative process; what changes, according to time and place, are the cultural contexts in which art is produced and consumed. The book argues for an innovative understanding of art through the interplay between the way the human brain works and the culturally specific creation and interpretation of meaning, making an important contribution to the debate on art/archaeology"--

Art --- Art and society --- Archaeology and art --- Psychology --- Art and sociology --- Society and art --- Sociology and art --- Art and archaeology --- Social aspects --- Art - Psychology

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Art and society --- Art et société --- Kunst en maatschappij --- Maatschappij en kunst --- Society and art --- Société et art --- Arts and society --- Arts et société --- Art and society. --- Art --- Psychology. --- Arts et société --- Arts and society. --- Art - Psychology