Offers a reconstruction of the Sartrean system, and in particular Sartre's analysis of the nature of language, consciousness, knowledge, self, and values. A new postscript takes into account investigations into the life, work and philosophy of France's greatest post-war philosopher.

Sartre (Modern masters)

Arthur C. Danto

Literature & Fiction

Fontana Press

Now in its third edition, Narration and Knowledge is a classic work exploring the nature of historical knowledge and its reliance on narrative. Analytical philosopher Arthur C. Danto introduces the concept of "narrative sentences," in which an event is described with reference to later events (for example, "the Thirty Years' War began in 1618") and discusses why such sentences cannot be understood until the later event happens (no one could have said in 1618 that "the Thirty Years' War began today"). Danto compares narrative and scientific explanation and explores the legitimacy of historical laws. He also argues that history is an autonomous and humanist discipline incapable of being reduced to scientific descriptions.
Lydia Goehr's new introduction illustrates Danto's main arguments by questioning her very role, first, as an introducer of a book that has not yet been read by readers and, second, as an interpreter of a book written forty years ago. Frank Ankersmit's conclusion revisits the initial impact of the publication of Narration and Knowledge and considers its enduring legacy.

Narration and Knowledge

History

Columbia University Press

A central theme of this book is that the main problems of philosophy and certainly the main traditional problems in the theory of knowledge, concern the space between language and the world. Professor Danto distinguishes between descriptive concepts, concerned with saying how the world is and semantic concepts, which have to do with the application of descriptions of the world. Failure to make these distinctions is responsible for a class of seemingly irresolvable disputes over the foundations of knowledge; but when the distinction is appreciated, a plausible philosophical theory of what it is to know the world can be framed which is free from the standard scepticisms.

Analytical Philosophy of Knowledge

Politics & Social Sciences

Philosophy

Cambridge University Press

Robert Mangold

Robert Mangold's gently curving, majestic paintings are among the most beautiful abstract works of the late twentieth century. Emerging in the 1960s, Mangold is often associated with Minimalism for his non-hierarchical compositions and use of simple geometric forms. His subtle colours and soft, hand-drawn figures also recall other sources, from traditional Greek pottery to the frescoes of Piero. Among the most accomplished painters working today, Mangold is collected in the world's pre-eminent museums.
This first comprehensive monograph assesses Mangold's contribution to contemporary painting, with essays by some of the most distinguished writers on contemporary art. Richard Shiff, Chair in Art at the University of Texas, Austin, interprets Mangold's art in the context of its broad cultural history; Robert Storr, curator at The Museum of Modern Art, New York, analyses the work in relation to late twentieth-century painting; Arthur C Danto, Professor of Philosophy at Columbia University, New York, examines in depth the Zone Paintings series; and art critic Nancy Princenthal presents a chronological history of the concepts in the work. Also included is a conversation with the artist's wife, painter Sylvia Plimack Mangold, on the sources behind his work, and artist's statements accompanied by photographs of the artist in his studio by their son, the noted filmmaker James Mangold.

Arts & Photography

Richard Shiff

Nancy Princenthal

Robert. Storr

History & Criticism

Phaidon Press

The chair holds an enduring fascination as the ultimate design challenge. Artists, craftspeople, designers, and architects have relentlessly sought the perfect solution: an ideal chair blending ergonomic, aesthetic, and material considerations - all in the hope of enticing us to sit. Never one to shy from challenges, Garry Knox Bennett has for more than 30 years been one of America's most important and influential furniture makers. This full color, 96 page catalogue is a beautiful companion to the exhibition Garry Knox Bennett: Call Me Chairmaker , which debuted at the Bellevue Arts Museum, and featured 52 chairs which exemplify Bennett's boisterous bravado and professed disdain for validated technical and artistic practices. The works in Call Me Chairmaker also reveal the essence of Bennett's artistic personality and his passion for pursuing the many possibilities the chair presents. Inspired by past and present famous architects and designers of chairs, Bennett lets his raucous humor, sly wit, and visual puns dance with full abandonment. His free-spirited, irreverent oeuvre forsakes not only conventional principles of art and design but, even more, the canons of furniture craftsmanship. 
Includes essays by Deputy Head of Research from Victoria and Albert Museum, Glenn Adamson, art critic and philosopher Arthur C. Danto, and independent art critic and curator Matthew Kangas. Also included is an interview with Garry Knox Bennett conducted by curator Stefano Catalani.

Garry Knox Bennett: Call Me Chairmaker

Stefano Catalani

Michael Monroe

Glenn Adamson

Matthew Kangas

Garry Knox Bennett

Bellevue Arts Museum

The catalogue of this exhibition is the first comprehensive survey of the Pattern and Decoration Movement (P&amp;D) and an exploration of its enduring contribution to the American art scene. 
 P&amp;D flourished as an alternative in American art, in contrast to the painterly abstraction championed by critics such as Clement Greenberg. The energetic work of its artists challenged the status quo of Minimalism, Formalism, and Conceptualism. They valued the bold pattern, craft, and ornament that was prompted in the 1960s and 70s by a new regard for the Women s Movement and women s esthetic drive, non-western art, and artists travels in Europe, Mexico, North Africa, the Middle East, and Asia. The artists drew from the diverse subject matter they saw for their elaborate and eccentric images. The guest curator for the exhibition, Dr. Anne Swartz, comments: 
 P&amp;D is an interesting counterweight to claims of uni-directional cultural influence and arrogance that America sends out but does not acknowledge the importation of cultural forms and motifs. Arguably, P&amp;D is the first postmodern art movement because its artists utilized a broad array of source material and embraced the impermanent, the common, and the excluded in forming their content and images. 
 The exhibition explores the work of artists prominent within the P&amp;D Movement in the 1970s Cynthia Carlson, Brad Davis, Valerie Jaudon, Jane Kaufman, Joyce Kozloff, Robert Kushner, Kim MacConnel, Tony Robbin, Miriam Schapiro, Ned Smyth, and Robert Zakanitch. Responsive to non-western art and folk art as well as textile design and wallpaper, their work has, in turn, influenced many quarters of the art world. 
 A fully illustrated catalogue is being published in conjunction with the exhibition. It includes an introduction by Arthur Danto, art critic for The Nation; essays on the role of feminism in P&amp;D by art historian Temma Balducci, assistant professor of art history at Arkansas State University; essays on the legacy of P&amp;D by critic John Perrault; and, a major study on the scope, reception, and history of P&amp;D by Guest Curator Anne Swartz , professor of art history at the Savannah College of Art and Design. 
 The rediscovery of Pattern and Decoration places it as a principal cultural movement of the late 1960s and 70s. It was in this period that the Hudson River Museum dramatically expanded under the then director Richard Koshalek. The Museum provided a platform for some of the larger scale artworks of this period that led to site-specific installations by Dan Flavin and Red Grooms, artists far removed from the P&amp;D Movement. The Hudson River Museum had previously looked at some of the figures in P&amp;D in its influential exhibition A New Beginning 1968-1978, one of the earliest attempts to reevaluate the art of that tumultuous decade. Brad Davis, Robert Kushner, Kim MacConnel, and Ned Smyth were all featured. The Museum brought to attention the appeal of both Robert Kushner and Miriam Shapiro, highlighting them in its 1998 exhibition Hanging by a Thread. Robert Zakanitch s P&amp;D work is one of the strengths of the Museum s permanent collection.

Pattern and Decoration: An Ideal Vision in American Art

John Perreault

Hudson River Museum

Anne Swartz

Temma Balducci

Michael Botwinick

Wake of Art

Saul Ostrow

Gregg Horowitz

Tom Huhn

Taylor&Francis

Wave Music by photographer Clifford Ross, opens with explosive images of stormy seas and skies--photographs taken on the edge of hurricanes. This series presents gorgeous, formalist slices of nature at her most tempestuous and romantic. As Wave Music progresses, however, the focus tightens with increasing obsession on the processes and materials of the photographic medium. The "Hurricane" series is followed by "Horizons," classically composed images of sky and quiet surf, and finally, by images of pure photographic grain. The "Grain" pictures are pure abstractions--tonal fields of grey. Each "Grain" image echoes the tones seen in the previous two series and addresses the very stuff of black-and-white photography itself. In Wave Music, Clifford Ross provides an incredible, heuristic journey, from the ecstatic formalism of ocean waves to the abstract sublime of pure light. Underlying each of the series and providing a unifying thread, are shifting elements of gesture, composition, and tone. Each of the images is exquisitely reproduced in tritone.

Clifford Ross: Wave Music

Clifford, Ross

A.M. HOMES

Individual Artists

Aperture

Analytische Philosophie der Geschichte

Painter, photographer, watercolorist, and printmaker Sean Scully roams the world with his camera, capturing its surfaces in places as far-flung as Mexico and the Aran Islands, as close to home as his own studio. His photographs sometimes consist of close-up shots of his own paintings, wherein he zooms in on the material reality of his richly painted surfaces and transforms their colors and shapes into a different abstract configuration. More often, Scully goes from recognizable objects in the larger world to subjective impressions of them. Snapshots of fa ades, windows, and doors are never straightforward recordings of architectural elements. By depicting fading walls, cracked surfaces, rough edges, and the deep shadows created by them, these images capture beauty in decay, and evoke the basic contradiction of nature and life: solidity and fragility, timelessness and change. As metaphors of physical and mental conditions, the photographs capture the memories, feelings, and thoughts connected to the experience of that reality. It is precisely this continuing interchange of the recognizable and abstract worlds, the visible and the invisible, that empowers Scully's works in all media.

The Color of Time: The Photographs of Sean Scully

Mia Fineman

Garrett White

Sean Scully

edward-lucie-smith

Steidl

See the best price to sell, buy, or rent books by Arthur C. Danto. BookScouter helps to compare book prices from 25+ online bookstores and 30+ buyback vendors with a single search.

Books by Arthur C. Danto