Aesthetic alienation may be described as the paradoxical relationship whereby art and truth have come to be divorced from one another while nonetheless remaining entwined. J. M. Bernstein not only finds the separation of art and truth problematic, but also contends that we continue to experience art as sensuous and particular, thus complicating and challenging the cultural self-understanding of modernity. Bernstein focuses on the work of four key philosophers--Kant, Heidegger, Derrida, and Adorno--and provides powerful new interpretations of their views. Bernstein shows how each of the three post-Kantian aesthetics (its concepts of judgment, genius, and the sublime) to construct a philosophical language that can criticize and displace the categorical assumption of modernity. He also examines in detail their responses to questions concerning the relations among art, philosophy, and politics in modern societies.

In his latest graphic novel, Eddie Campbell conducts an investigation into his own sudden disappearance.In wildly comical reenactments of incidents from his curious life, his part is played by an actor. With audacious literary sleight of hand, heputs words into the mouths of those who knew him. Clues aresought in artistic blow-outs from the history of all the arts. And all the major players, even down to Monty the dog,get their own daily strip and Sunday page in yellowed newspaper sections from an imaginary long ago.In this creative mining of the rich resources of the comic strip language, Campbell gives us a complex meditation on the lonely demands of art amid the realities of everyday life.

This title was first published in 2002. Challenging the accepted orthodoxy on Nietzsche's views on art, this book seeks both to challenge and to establish a new set of concerns as far as discourses on Nietzsche's thoughts on aesthetics are concerned, whilst at the same time using such insights to illuminate more central concerns of Nietzsche scholarship, such as the will to power, the illusion/truth question, the eternal return, the death of God, tragedy, Wagner. Following the development of Nietzsche's thoughts on art from his earliest writings to his last, Pothen counters traditionally accepted interpretations by suggesting a need to recognize the deep suspicion and at times hostility that Nietzsche displays towards art and the artist throughout his text by emphasising the philosophical arguments underlying this deep suspicion, and by viewing this tendency as something deeply connected to the other areas of his thought. Readers with interests in Nietzsche studies, aesthetics, German philosophy, and the philosophy of music, will find this a particularly invaluable and distinctive contribution to Nietzsche scholarship.

I am indebted first to Thomas B. Hess and James Fitzsimmons, the editors of Artnews and Art International, who encouraged me to publish the essays and reviews that led, years later, to this book. I am equally grateful for the encouragement I have received from Elizabeth C. Baker, the editor of Art in America.

"Magdalena Abakanowicz was born to aristocratic parents in 1930 and raised on their country estate. She came of age against the tumultuous background of World War II and its aftermath. Today she is revered for her uncompromising, individualistic vision developed in her native Poland under the hostile eyes of the repressive Communist regime that was in power for most of her adult life. She has personally witnessed the worst of humanity's instinct for destructive behavior and has made art that unflinchingly presents the human condition. She had, by the 1960s, gained the beginning of an international reputation as a sculptor in soft materials with the creation of monumental environments called Abakans." "She changed sculpture from "object to look at" into "space to experience". Monumental, powerful compositions in bronze or stone, iron or concrete have been created for specific locations and are permanently installed as environments accessible to people." "Magdalena Abakanowicz also draws and paints, has choreographed dances performed by Japanese and Polish youngsters, and has designed Arboreal Architecture - buildings as "vertical gardens" - to be used as part of an extension to the principal axis in the city of Paris." "She has been determined from the very beginning to build her own vision of reality. She has never followed trends, all her creations being dictated by her imagination."--BOOK JACKET.

A TIME Best Children's Book of 2019! A Chicago Public Library 2019 Best of the Best Book! *"This minimalistic masterpiece is a must-read for all ages." --School Library Journal (starred review!) A quirky, cautionary tale from beloved New York Times bestselling picture book creator Oliver Jeffers! There was once a man who believed he owned everything and set out to survey what was his. "You are mine," Fausto said to the flower, the sheep, and the mountain, and they all bowed before him. But they were not enough for Fausto, so he conquered a boat and set out to sea . . . Combining bold art and powerful prose, and working in traditional lithographic printmaking techniques for the first time, world-renowned talent Oliver Jeffers has created a poignant modern-day fable to touch the hearts of adults and children alike. Praise for The Fate of Fausto: "Jeffers paints Fausto and the objects of his desire with the nonchalant finesse he is known for and in the richly saturated colors he generally favors... Jeffers delivers swift justice in a few concluding words that make for an ending that satisfies for being both fair-minded and irrevocable."--New York Times Book Review "Boldly conceived and gracefully executed."--Publishers Weekly "A parable sure to spark lively discussions." --Booklist "A cautionary fable on the banality of belligerence." --Kirkus Reviews