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David Carrier examines the history and practice of art writing and reveals its importance to the art museum, the art gallery, and aesthetic theory. Artists, art historians, and art lovers alike can ga

From Gary Larson's The Far Side to George Herriman's Krazy Kat, comic strips have two obvious defining features. They are visual narratives, using both words and pictures to tell stories, and they use

In Museum Skepticism, art historian David Carrier traces the birth, evolution, and decline of the public art museum as an institution meant to spark democratic debate and discussion. Carrier contends

In Museum Skepticism, art historian David Carrier traces the birth, evolution, and decline of the public art museum as an institution meant to spark democratic debate and discussion. Carrier contends

A close reading of Baudelaire's most important writings on art criticism.The great poet Charles Baudelaire (1821-1867) was also an extremely influential art critic. High Art relates the philosophical

"Explores the question of how an art history of all cultures could be written or if it is even possible to do so. Examines the political and moral issues raised by the consideration of a multicultural

Principles of Art History Writing traces the changes in the way in which writers about art represent the same works. These differ in such deep ways as to raise the question of whether those at the beg

In the 1980s, when the American art market flourished, critics were heavily concerned with theory. In The Aesthete in the City David Carrier offers a personal view on the artistic activity of that dec

"The best single source on his compelling work."Chicago TribuneOver more than thirty years, Sean Scully has produced a vibrant and compelling body of work that is widely collected and internationally

Both of these artists are important in distinctly different ways to modernism, and Carrier (art criticism, Case Western Reserve U. the Cleveland Institute of Art) extracts from Proust and Warhol the e

Argues that not all art can be made by anyone or anything and take any form.

Rosalind Krauss is, without visible rival, the most influential American art writer since Clement Greenberg. Together with her colleagues at DEGREESIOctober DEGREESR, the journal she co-founded, she h

The artwork of Maria Bussmann, a trained academic German philosopher and a significant visual artist, provides an ideal test case for a philosophical study of visual art. Bussmann has internalized the relationship between art and philosophy. In this exploration of the history of German aesthetics through Bussmann's work, David Carrier places the philosophical tradition in the context of contemporary visual culture.Each chapter focuses on the arguments of a major philosopher whose concerns Bussmann has dealt with as an artist: Kant, Hegel, Merleau-Ponty, Wittgenstein and Arendt. Offering comparative accounts of artists and philosophers whose work is of especial relevance, Carrier shows how Bussmann responds visually to writings of philosophers in art that has an elusive but essential relationship to theorizing. Tackling the question of whether philosophical subjects can be presented visually, Carrier offers a fresh perspective on the German idealist position through the visual art of

“Wild Art” refers to work that exists outside the established, rarified world of art galleries and cultural channels. It encompasses uncatalogued, uncommodified art not often recognized as

Sean Scully is one of today's best-loved abstract painters. Over more than thirty years, he has produced a vibrant and compelling body of work that is widely collected and internationally exhibited. H

Boldly developing the central traditions of American modernist abstraction, Lawrence Carroll's paintings engage with a fundamental issue of aesthetic theory, the nature of the medium of painting, in h