Here are 100 books that Art fans have personally recommended if you like
Art.
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I discovered my love for story early, growing up on TV and movies. I spent a good chunk of my teen years sitting in the dark watching everything that came out, especially foreign films. It’s safe to say that I learned the basics of storytelling by watching all the greats, from Hitchcock to David Lean to Kubrick. It’s no wonder I became a screenwriter rather than a novelist. But when I realized that story is story, regardless of the story form (book, movie, or TV commercial) a whole other world opened to me and my talent for story blossomed. Over the years, I grew this talent and passion and launched a career in Hollywood.
Beginning, middle, and an end—what writer doesn’t know about these three concepts? Well, Aristotle is the guy who wrote about these ideas in his book, and thousands of years later we’re still using them and thinking about them.
The foundations of modern literature and theater rest on this book and every writer should be familiar with its ideas and concepts. Story is story, and Aristotle started the ball rolling for everyone who is interested in storytelling.
One of the most powerful, perceptive and influential works of criticism in Western literary history
In his near-contemporary account of classical Greek tragedy, Aristotle examines the dramatic elements of plot, character, language and spectacle that combine to produce pity and fear in the audience, and asks why we derive pleasure from this apparently painful process. Taking examples from the plays of Aeschylus, Sophocles and Euripides, the Poetics introduced into literary criticism such central concepts as mimesis ('imitation'), hamartia ('error') and katharsis ('purification'). Aristotle explains how the most effective tragedies rely on complication and resolution, recognition and reversals. The Poetics has…
The Victorian mansion, Evenmere, is the mechanism that runs the universe.
The lamps must be lit, or the stars die. The clocks must be wound, or Time ceases. The Balance between Order and Chaos must be preserved, or Existence crumbles.
Appointed the Steward of Evenmere, Carter Anderson must learn the…
I am a professor of philosophy, specializing in the philosophy of art at the Graduate Center of the City University of New York. When I was a practicing critic, notably of cinema, I backed into philosophy insofar as being a practitioner forced me to ask abstract questions about what I was doing. I have written over fifteen books as well as five documentaries. I am also a former Guggenheim fellow.
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.
I am a professor of philosophy, specializing in the philosophy of art at the Graduate Center of the City University of New York. When I was a practicing critic, notably of cinema, I backed into philosophy insofar as being a practitioner forced me to ask abstract questions about what I was doing. I have written over fifteen books as well as five documentaries. I am also a former Guggenheim fellow.
Because of his prior reputation as a metaphysician and epistemologist, when Nelson Goodman turned his attention to the philosophy of art, he lent unprecedented prestige to aesthetics. In his book, Goodman treats art as a matter of symbol systems whose major structures include representation, exemplification, and expression. Given his emphasis on symbolism, Goodman regarded artistic projects, like picturing, as conventional and he maintained that our conviction of the realism of pictorial representations was merely an affair of our habituation to various styles. Languages of Art is a book noteworthy for its bold and bracing literary style.
"Like Dewey, he has revolted against the empiricist dogma and the Kantian dualisms which have compartmentalized philosophical thought. . . . Unlike Dewey, he has provided detailed incisive argumentation, and has shown just where the dogmas and dualisms break down." --Richard Rorty, The Yale Review
Magical realism meets the magic of Christmas in this mix of Jewish, New Testament, and Santa stories–all reenacted in an urban psychiatric hospital!
On locked ward 5C4, Josh, a patient with many similarities to Jesus, is hospitalized concurrently with Nick, a patient with many similarities to Santa. The two argue…
I am a professor of philosophy, specializing in the philosophy of art at the Graduate Center of the City University of New York. When I was a practicing critic, notably of cinema, I backed into philosophy insofar as being a practitioner forced me to ask abstract questions about what I was doing. I have written over fifteen books as well as five documentaries. I am also a former Guggenheim fellow.
This book is an amazing combination of the philosophy of art, the philosophy of art history, and art criticism. The late Arthur Danto was not only a distinguished philosopher but also an award-winning art critic. In this book, Danto tracks the decline and fall of Modernism (which he describes as “the end of art”) and the advent of our present artistic moment which can be critically characterized as an era of post-historical pluralism. Danto, following GFW Hegel, proposes a partial definition of the artwork as an embodied meaning – thereby addressing the challenge to say what art is -- as it was posed by Clive Bell.
Originally delivered as the prestigious Mellon Lectures on the Fine Arts in 1995, After the End of Art remains a classic of art criticism and philosophy, and continues to generate heated debate for contending that art ended in the 1960s. Arthur Danto, one of the best-known art critics of his time, presents radical insights into art's irrevocable deviation from its previous course and the decline of traditional aesthetics. He demonstrates the necessity for a new type of criticism in the face of contemporary art's wide-open possibilities. This Princeton Classics edition includes a new foreword by philosopher Lydia Goehr.
As a child, I spent hours marveling at my father’s collection of ties. In love with tailoring, he taught me the meaning of “sprezzatura” and the joys that come from thinking of clothes as a part of yourself. Fashion returned to me as I studied philosophy, art history, and film. It took a few years, but then it just became clear to me that I had to talk about it. So I started writing, curating, and experimenting a bit more. I always say that fashion is a verb: my work is to explore what It can do, whether by curating a show, writing articles, or perusing local boutiques in my travels.
I don’t know how many times I referred to chapters of this book in my lectures. And I don’t know how many times my students asked for more. But this is not an academia-only kind of affair.
Taylor’s book is an intelligent, curious, and meticulous investigation into all there is to love, appreciate, and discover about black aesthetics. He moves from black hair and Black Panther to questions of identity and intersectional debates. I’ll keep assigning it, and I’ll keep reading it.
Black is Beautiful identifies and explores the most significant philosophical issues that emerge from the aesthetic dimensions of black life, providing a long-overdue synthesis and the first extended philosophical treatment of this crucial subject.
The first extended philosophical treatment of an important subject that has been almost entirely neglected by philosophical aesthetics and philosophy of art
Takes an important step in assembling black aesthetics as an object of philosophical study
Unites two areas of scholarship for the first time - philosophical aesthetics and black cultural theory, dissolving the dilemma of either studying philosophy, or studying black expressive culture
Brings a…
I discovered philosophy while still in high school and was lucky to study with some of the most exciting philosophers of the twentieth century in college and graduate school. I then taught philosophy in several of America’s great universities for fifty years myself. I have been fascinated by the philosophy of Kant since my first year of college and I gradually came to see Kant’s theory of the value of freedom as the core of his philosophy and a reason to devote a lifetime to studying it. I hope you will find these books as illuminating and rewarding as I have.
Nehamas’s lucid prose and lovely illustrations take us away from politics to a very different topic, our individual experience of art in all its many forms, from popular media to highfalutin forms, as an arena for the freedom of our imagination and taste.
I love Nehamas’s personal and personable voice, which cuts through centuries of theory to speak to the reader, one person to another. Few philosophy books are so accessible or have such beautiful pictures!
Neither art nor philosophy was kind to beauty during the twentieth century. Much modern art disdains beauty, and many philosophers deeply suspect that beauty merely paints over or distracts us from horrors. Intellectuals consigned the passions of beauty to the margins, replacing them with the anemic and rarefied alternative, "aesthetic pleasure." In Only a Promise of Happiness, Alexander Nehamas reclaims beauty from its critics. He seeks to restore its place in art, to reestablish the connections among art, beauty, and desire, and to show that the values of art, independently of their moral worth, are equally crucial to the rest…
A Duke with rigid opinions, a Lady whose beliefs conflict with his, a long disputed parcel of land, a conniving neighbour, a desperate collaboration, a failure of trust, a love found despite it all.
Alexander Cavendish, Duke of Ravensworth, returned from war to find that his father and brother had…
I’m lucky to have grown up as all these new genres and kinds of games were being invented and gaining in popularity: euro-boardgames, role-playing games, videogames, collectible card games, gamebooks, ALL the games. What a time to be alive since I’ve always been curious about, interested in, and passionate about them. Again, I was fortunate to learn about the nascent academic study of games just as I was entering my college years. So, I’ve been playing games and studying games for over a quarter century! But you can teach an old dog new tricks (and to play new games), and the books on this list have helped me do just that!
Frank Lantz’s book opened my eyes to a different and deeper way of appreciating, loving, and talking about games.
All kinds of games, board games, card games, sports, and, yes, video games too. Oh, and best of all, Lantz does so without sounding like a fanboy or a pretentious ivory tower snob. He loves games, just as I do, but is so much more eloquent than I.
How games create beauty and meaning, and how we can use them to explore the aesthetics of thought.
Are games art? This question is a dominant mode of thinking about games and play in the twenty-first century, but it is fundamentally the wrong question. Instead, Frank Lantz proposes in his provocative new book, The Beauty of Games, that we think about games and how they create meaning through the lens of the aesthetic. We should think of games, he writes, the same way we think about literature, theater, or music-as a form that ranges from deep and profound to easy…
I am a philosophy post-doc at Unesp and a poet who has always felt that politics is not the exclusive business of politicians; that violence is not the exclusive business of warfare or of “vulgar” people, say, drunkards in bars. Violence, I have felt while doing philosophy in the USA, Brazil, Germany, and France, is likewise expressed by well-educated and apparently “peaceful” philosophers who are engaged in implicit politics and practice “subtle” violence. To handle the relation between politics and metaphysics is to do justice to this feeling. The Politics of Metaphysics, I hope, does that. I believe that though more tacitly, the same is done by this list’s books.
I love this book because it problematizes a popular assumption among contemporary Anglo-American authors who like to call themselves “analytic philosophers” and who only care to acknowledge the existence of a few past philosophers, e.g., Russell and Ryle. The assumption is that philosophers, such as the latter two, tackled in an apolitical “noble” fashion metaphysical matters.
Akehurst, by his turn, indicates how the likes of Russell and Ryle aligned themselves with a right-wing British policy whose “vulgar” propaganda is echoed throughout works published by British philosophers in the first half of the 20th century.
Also, I appreciate Akehurst’s way of showing that while contributing to the creation of the so-called “analytic-continental gap,” this attitude helped to naturalize the attribution of the shortness of logos to German philosophers like Hegel, Marx, and Nietzsche.
British Analytic Philosophy in the Twentieth Century examines three generations of analytic philosophers, who between them founded the modern discipline of analytic philosophy in Britain. The book explores how philosophers such as Bertrand Russell, A.J. Ayer, Gilbert Ryle and Isaiah Berlin believed in a link between German aggression in the twentieth century and the nineteenth-century philosophy of Hegel and Nietzsche. Thomas L. Akehurst thus identifies in this political critique of continental philosophy the origins of the hugely significant faultline between analytic and continental thought, an aspect of twentieth-century philosophy that is still poorly understood. The book also uncovers a tripartite…
Since I was a child, I have been fascinated by the question, “What is the nature of reality, and how can we know it?” To engage this question, I have explored neuroscience throughout my career, trying to understand how our brain perceives reality. During that time, I have also come to recognize the profound importance of religious, spiritual, and philosophical approaches to this question. I have been particularly fascinated by the intense spiritual experiences that people throughout time and all cultures have described. My work in this book and throughout my career has looked at this intersection of spirituality and the brain, a field, sometimes referred to as Neurotheology.
Mysticism and Logic is a significant work written by British philosopher Bertrand Russell. It has always been a favorite of mine as it engages two seemingly contradictory aspects of human thought: mysticism and logic.
He delves into the nature of mystical experiences and attempts to analyze them with the principles of logical reasoning. By exploring these contrasting perspectives, Russell invites readers to question and critically examine different ways of understanding the world and reality. While acknowledging the profound influence of mystical experiences on human thought and culture, he subjects mystical beliefs and experiences to logical scrutiny.
By applying principles of rationality, he challenges the coherence and evidential basis of mystical claims. This critical evaluation encourages us to approach mystical experiences with a balanced and critical mindset that I feel is at the heart of neurotheology.
First published in 1918, this collection from famous philosopher Bertrand Russell contains previously published works slightly refined for their new printing. Among these essays are: . "Mysticism and Logic" . "The Place of Science in Liberal Education" . "On the Notion of Cause" . "The Ultimate Constituents of Matter" As an analytic philosopher, Russell's work focuses on the use of logic and science to explore philosophical ideas. And, conversely, he uses philosophy to study scientific systems and scientific inquiry. He opens the book with "Mysticism and Logic," a discussion of the two major impulses in human and philosophical thought. Here…
It is April 1st, 2038. Day 60 of China's blockade of the rebel island of Taiwan.
The US government has agreed to provide Taiwan with a weapons system so advanced that it can disrupt the balance of power in the region. But what pilot would be crazy enough to run…
I am a retired professor of philosophy, but my academic training was in modern languages. I am also an active jazz saxophonist. My dissatisfaction with many established approaches to literature led me to look at literary theory, which then made me focus on philosophy. Academic philosophy, though, seemed to me too often to concentrate on questions about theorising knowledge that neglected questions about how we actually make sense of the world. This led me to reassess the importance of art, particularly music, for philosophy. My chosen books suggest alternative ways of looking at the concerns of philosophy at a time when humankind’s relationship to nature is clearly in deep crisis.
Moore’s book seems exemplary to me because it offers a broad historical picture of alternatives in modern philosophy, based on the simple idea that metaphysics is ‘the most general attempt to make sense of things’.
This connects philosophy to everyday experience, which relies precisely on how we make sense of things.
I like the fact that the book allows one to ask questions about the sense knowledge makes of the world, given that much of the sense we make actually comes through active participation in the world, for example in listening to or playing music, or, indeed, in doing philosophy in relation to a real world problem.
This book is concerned with the history of metaphysics since Descartes. Taking as its definition of metaphysics 'the most general attempt to make sense of things', it charts the evolution of this enterprise through various competing conceptions of its possibility, scope, and limits. The book is divided into three parts, dealing respectively with the early modern period, the late modern period in the analytic tradition, and the late modern period in non-analytic traditions. In its unusually wide range, A. W. Moore's study refutes the tired old cliche that there is some unbridgeable gulf between analytic philosophy and philosophy of other…
