What defines a work of art and determines the way in which we respond to it?

Richard Wollheim's classic reflection on art considers central questions regarding expression, representation, style, the significance of the artist's intention and the essentially historical nature of art. Presented in a fresh series livery for the twenty-first century, with a specially commissioned preface written by Richard Eldridge, illuminating its continuing importance and relevance to philosophical enquiry, Art and its Objects continues to be a perceptive and engaging introduction to the questions and philosophical issues raised by works of art and the part they (...) play in our culture and society. Wollheim's insights into theories of art, criticism, perception and the nature of aesthetic value make this one of the most influential works on aesthetics of the twentieth century. (shrink)

. . . Unlike Dewey, he has provided detailed incisive argumentation, and has shown just where the dogmas and dualisms break down." -- Richard Rorty, The Yale Review.

The A.W. Mellon lectures in the fine arts 1956, National Gallery of Art, Washington.

Barbara Maria Stafford is at the forefront of a growing movement that calls for the humanities to confront the brain’s material realities. In _Echo Objects,_ she argues that humanists should seize upon the exciting neuroscientific discoveries that are illuminating the underpinnings of cultural objects. In turn, she contends, brain scientists could enrich their investigations of mental activity by incorporating phenomenological considerations—particularly the intricate ways that images focus intentional behavior and allow us to feel thought. As a result, _Echo Objects_ is (...) a stunningly broad exploration of how complex images—or patterns that compress space and time—make visible the invisible ordering of human consciousness. Stafford demonstrates, for example, how the compound formats of emblems, symbols, collage, and electronic media reveal the brain’s grappling to construct mental objects that are redoubled by prior associations. In contrast, she shows that findings in evolutionary biology and the neurosciences are providing profound opportunities for understanding aesthetic conundrums such as the human urge to imitate and the role of narrative and nonnarrative representation. Ultimately, she makes an impassioned plea for a common purpose—for the acknowledgement that, at the most basic level, these separate projects belong to a single investigation. “Heroic.... The larger message of Stafford’s intense, propulsive prose is unassailable. If we are to get much further in the great puzzle of ‘binding’—how the perception of an image, the will to act on intention, or the forging of consciousness is assembled from the tens of thousands of neurons firing at any one moment in time—then there needs to be action on all fronts.”—_Science_. (shrink)

Based on John Dewey's lectures on esthetics, delivered as the first William James Lecturer at Harvard in 1932, Art as Experience has grown to be considered internationally as the most distinguished work ever written by an American on the formal structure and characteristic effects of all the arts: architecture, sculpture, painting, music, and literature.