The Shape Of Content

"A modern painter discusses meaning and form in contemporary painting and offers advice to aspiring artists."--

In his 1956–57 Charles Eliot Norton Lectures, the Russian-born American painter Ben Shahn sets down his personal views of the relationship of the artist—painter, writer, composer—to his material, his craft, and his society. He talks of the creation of the work of art, the importance of the community, the problem of communication, and the critical theories governing the artist and his audience.

Today when we hear the word “craft,” a whole host of things come immediately to mind: microbreweries, artisanal cheeses, and an array of handmade objects. Craft has become so overused, that it can grate on our ears as pretentious and strain our credulity. But its overuse also reveals just how compelling craft has become in modern life. In The Shape of Craft, Ezra Shales explores some of the key questions of craft: who makes it, what do we mean when we think about a crafted object, where and when crafted objects are made, and what this all means to our understanding of craft. He argues that, beyond the clichés, craft still adds texture to sterile modern homes and it provides many people with a livelihood, not just a hobby. Along the way, Shales upends our definition of what is handcrafted or authentic, revealing the contradictions in our expectations of craft. Craft is—and isn’t—what we think.

When it was first released in 1962, The Shape of Time presented a radically new approach to the study of art history. Drawing upon new insights in fields such as anthropology and linguistics, George Kubler replaced the notion of style as the basis for histories of art with the concept of historical sequence and continuous change across time. Kubler’s classic work is now made available in a freshly designed edition. “The Shape of Time is as relevant now as it was in 1962. This book, a sober, deeply introspective, and quietly thrilling meditation on the flow of time and space and the place of objects within a larger continuum, adumbrates so many of the critical and theoretical concerns of the late twentieth and early twenty-first century. It is both appropriate and necessary that it re-appear in our consciousness at this time.”—Edward J. Sullivan, New York University This book will be of interest to all students of art history and to those concerned with the nature and theory of history in general. In a study of formal and symbolic durations the author presents a radically new approach to the problem of historical change. Using new ideas in anthropology and linguistics, he pursues such questions as the nature of time, the nature of change, and the meaning of invention. The result is a view of historical sequence aligned on continuous change more than upon the static notion of style—the usual basis for conventional histories of art. A carefully reasoned and brilliantly suggestive essay in defense of the view that the history of art can be the study of formal relationships, as against the view that it should concentrate on ideas of symbols or biography.—Harper's.It is a most important achievement, and I am sure that it will be studies for many years in many fields. I hope the book upsets people and makes them reformulate.—James Ackerman.In this brief and important essay, George Kubler questions the soundness of the stylistic basis of art historical studies. . . . The Shape of Time ably states a significant position on one of the most complex questions of modern art historical scholarship.—Virginia Quarterly Review.

This book is a collection of creative pieces—poems, short stories, essays, play excerpts—that give shape to mathematical and scientific content. This book portrays by example how various people work creatively with ideas from mathematics and other sciences. Creative writing about the content of mathematics and science is rare, and creative writing about the activity of mathematical and scientific creation is even rarer. And yet, when it occurs, it can be extremely popular, as well known plays like Proof and Copenhagen and biographies like A Beautiful Mind and The Man Who Loved Only Numbers attest. What draws the public to these works? And why, given that something does, are there so few examples of literature that engages these themes? Mathematics and science are part of world culture, part of the human spirit, fit subjects for art of all kinds.

The world is filled with shapes. A bird, a car, the stars in the sky - what shapes can you see? Children will love spotting familiar shapes on every page. With bright illustrations and a heartwarming message about the shape of something very special - love. Brilliantly read by Katy Ashworth. Please note that audio is not supported by all devices, please consult your user manual for confirmation.

"The Landscape Painter's Workbook takes a modern approach to the time-honored techniques and essential elements of landscape painting, from accomplished artist, veteran art instructor, and established author Mitchell Albala"--