Books like Aphorisms for Artists — picked by fans

I love this book because it not only explores the way in which art gets made, it delves into the reasons art often doesn’t get made, and the difficulties that cause so many artists to give up along the way.

All too often, the give-up factor is prevalent both in the art-making process and in the art-marketing process. I particularly liked the chapter “ Fears of Others,” which offers excellent insights into artists giving their power away. 

As a career coach and artist advocate, I was curious about what the author had to say about the inner workings of the art world. Quite happily, I read an insightful and humorous probe from a writer who sincerely wanted to understand art and its importance.

Bosker is not afraid of naming names when discussing critics, gallery owners, curators, collectors, and artists. She goes undercover, so to speak, and writes about her experiences as a gallery assistant, an artist’s assistant, a museum security guard, and a sales assistant at Art Basel Miami. And to add to her experiences, she tackles the use of the foreign language of “art speak.”   

Filled with many humorous pages of ridicule about the modern art world, one big reason that I love this book is Wolfe’s attack on “art speak,” the nauseating language used by critics and artists alike. He smugly suggests that in today’s world, visual art only exists to illustrate the text!

Pretentious prose has become a norm in art world communication. Although artists vehemently criticize this style of writing, unfortunately, many believe that their work will not be taken seriously unless they imitate what they despise.

When I was very young, I experienced firsthand an ugly lawsuit involving an art gallery. I can’t stress enough how important it is for artists to be knowledgeable and up-to-date on the legal aspects affecting their careers.

The new edition of this book will be of great help because it thoroughly covers the many changes in art laws and artists' legal rights and obligations, including, for example, the laws protecting artists in artist-gallery relationships.

Nietzsche said; “Only those with very large lungs have the right to write long sentences.” Montaigne was of the same opinion. He pre-dated Nietzsche in couching his philosophy simply and clearly in short, sharp aphorisms. Like Nietzsche’s aphorisms, they are often very funny.

This is a well-argued and illuminating book to understand the complexity of terrorism. Primoratz focuses mostly on what we understand by the term “terrorism” and some of its most important characteristics. In doing so, he offers a definition of terrorism that meshes with our ordinary use of it. So, for him, terrorism is the deliberate use of violence against innocent people to intimidate and coerce others into doing what they otherwise would not do.

One of the virtues of his definition is that it avoids the double standard that policymakers presuppose when they define terrorism solely as the deliberate use of violence by non-state actors. Such a narrow definition of terrorism allows for representatives of states, be they tyrannical or democratic, to engage in vicious violence against innocent noncombatants without assuming moral or legal responsibility for their despicable violent acts that are no less terroristic, sometimes even more so, than… show more.

Originally published in 1958 as a textbook, when Aesthetics was updated, it was recognized as the “summa” of the aesthetic theory of art. This is the view that something is art just in case it is made with the intention to afford a certain magnitude of aesthetic experience. Because of his emphasis on aesthetic experience, Beardsley defended the notion of the autonomy of art – the idea that art is essentially independent of all other social practices. Using this lens, Beardsley explores an impressive range of topics including literature, fiction, pictorial representation, criticism, and interpretation.

This classic, written by the authors of the 11-volume The Story of Civilization, is a must-read for those who want to understand everything, from history to economics, from foreign policy to politics. I have read and re-read this book multiple times as it is my go-to book for when I rethink issues and problems. This short collection of essays offers simple yet critical lessons on geography, biology, economics, religion, and government all of which help explain the foreign policies of empires and states.  

Weinstein takes the age-old question – what is literature? – and transforms it into why we (would want to) read literature. For him, literature changes us, allows us to be someone else, and provides us insight into the world we inhabit, and many more worlds we haven’t. He reads a broad array of works, from Sophocles to James Joyce and Toni Morrison, and thinks about such issues as identification, empathy, and sympathy with those we come to ‘know’ through our reading.

Thomas Berry was a cultural historian who studied the cultures of Europe, China, America, India, and the Indigenous worlds with a single burning question in his mind: What is the role of humanity in the universe? Of course, this idea that humanity has a cosmic role is the opposite of the view promoted by modern science of an evolving universe that is going nowhere.

Given his professional background in the humanities, it is surprising that Berry names science as the primary revelation of the divine. He is committed to the idea that the sciences have discovered a common creation story, one that will play an important role for centuries to come. 

When I first met Thomas Berry and asked him about my personal role in the universe, he said simply, "Tell science's story of a developing universe; but tell it with a feeling for its music. That's what the spiritual… show more.