Derek Matravers introduces students to the philosophy of art through a close examination of eight famous works of twentieth-century art. Each work has been selected in order to best illustrate and illuminate a particular problem in aesthetics. Each artwork forms the basis of a single chapter and readers are introduced to such issues as artistic value, intention, interpretation, and expression through a careful analysis of the artwork. Questions considered include what does art mean in contemporary art practice? Is the artistic value of a painting the same as how much you like it? If a painting isn't of anything, then how do we understand it? Can art be immoral? By grounding abstract and theoretical discussion in real examples the book provides an excellent way into the subject for readers new to the philosophical dimension of art appreciation.

For seven years, from 1956 to 1962, a young French artist electrified the European art world with visual, conceptual and performance art works far ahead of their time. His rise was wildly celebrated by some as the appearance of a prophetic genius, and derisively dismissed by others as scandalous nonsense. His monochrome paintings, body art works, fire paintings, conceptual exhibitions and music, and monumental public space works threatened to upend the very categories of art, in both Europe and America. Indeed, after his tragically premature death in 1962, some of the most far-reaching transformations in contemporary art would follow directly in his wake. But by the 1970s his reputation seemed headed for oblivion, until in 1977 a young classics scholar at Rice University, Thomas McEvilley, proposed Klein for a retrospective show to Dominique deMenil, then director of the Rice gallery, and wrote several texts about Klein that would transform our understanding of Yves Klein's aesthetics. The project grew to involve major institutions, resulting in 1982 with exhibitions in Houston, New York, Paris and Chicago. Virtually overnight Yves Klein's art reentered the art canon. Coincidentally, the career of an important critic was launched. Yves the Provocateur collects those writings of Thomas McEvilley which rejuvenated Klein's stature and hitherto were only available in journals and exhibition catalogues. In effect, it provides the "skeleton key" to clearly examine the full dimensions of Klein's accomplishment. In two opening essays, McEvilley briefly surveys and places Klein's art into context. Then, in the centerpiece essay -- which amounts to a miniature critical biography bearing all the best features of a novella -- he traces the formative and crucial events in Klein's life. Finally, he describes Klein's intellectual development, demonstrating how Klein embedded and parodied in his work the philosophical system of a particular form of Rosicrucianism.

Drawing on the primary sources and little known publications from museum archives, collections in the region, and privately owned archives, Art and Visual Culture on the Riviera, 1956-1971 offers the first in-depth study of the Ecole de Nice. The author shows how artists indigenous to the region challenged the dominance of Paris as the national standard at this moment of French decentralization efforts, and growing internationalism in the arts.

'Extraordinary. An intellectual feast as well as a visual one' Edmund de Waal, author of The Hare with Amber Eyes The world comes to us in colour. But colour lives as much in our imaginations as it does in our surroundings, as this scintillating book reveals. Each chapter immerses the reader in a single colour, drawing together stories from the histories of art and humanity to illuminate the meanings it has been given over the eras and around the globe. Showing how artists, scientists, writers, philosophers, explorers and inventors have both shaped and been shaped by these wonderfully myriad meanings, James Fox reveals how, through colour, we can better understand their cultures, as well as our own. Each colour offers a fresh perspective on a different epoch, and together they form a vivid, exhilarating history of the world. 'We have projected our hopes, anxieties and obsessions onto colour for thousands of years,' Fox writes. 'The history of colour, therefore, is also a history of humanity.'

The Riviera in the 1950s and 1960s was culturally rich with modernist icons such as Matisse and Picasso in residence, but also a burgeoning tourist culture, that established the C?d'Azur as a center of indigenous artists associated with Nouveau R?isme, Fluxus, and Supports/Surfaces, emerged under the mantle of the "Ecole de Nice." Drawing on the primary sources and little known publications generated during the period from museum archives, collections in the region, and privately owned archives, this study integrates material published in monographic studies of individuals and art movements, to offer the first in-depth study of this important movement in twentieth-century art. The author situates the work of the Ecole de Nice within the broader social currents that are so important in contextualizing this phenomenon within this internal region of France, and underscores why this work was so significant at this historical moment within the context of the broader European art scene, and contemporary American art, with which it shared affinities. Despite their stylistic differences, and associations with groups that are generally considered distinct, O'Neill discloses that these artists shared conceptual affinities?theatrical modes of presentation based on appropriation, use of the ready-made, and a determination to counter style-driven painting associated with the postwar Ecole de Paris. Art and Visual Culture on the Riviera, 1956-1971 suggests that the emergence of an Ecole de Nice internally eroded the dominance of Paris as the national standard at this moment of French decentralization efforts, and that these artists fostered a model of aesthetic pluralism that remained locally distinct yet fully engaged with international vanguard trends of the 1960s.

**NAMED ONE OF THE BEST ART BOOKS OF THE DECADE BY ARTNEWS** The first and definitive biography of the celebrated collectors Dominique and John de Menil, who became one of the greatest cultural forces of the twentieth century through groundbreaking exhibits of art, artistic scholarship, the creation of innovative galleries and museums, and work with civil rights. Dominique and John de Menil created an oasis of culture in their Philip Johnson-designed house with everyone from Marlene Dietrich and René Magritte to Andy Warhol and Jasper Johns. In Houston, they built the Menil Collection, the Rothko Chapel, the Byzantine Fresco Chapel, the Cy Twombly Gallery, and underwrote the Contemporary Arts Museum. Now, with unprecedented access to family archives, William Middleton has written a sweeping biography of this unique couple. From their ancestors in Normandy and Alsace, to their own early years in France, and their travels in South America before settling in Houston. We see them introduced to the artists in Europe and America whose works they would collect, and we see how, by the 1960s, their collection had grown to include 17,000 paintings, sculptures, drawings, photographs, rare books, and decorative objects. And here is, as well, a vivid behind-the-scenes look at the art world of the twentieth century and the enormous influence the de Menils wielded through what they collected and built and through the causes they believed in.

Praised in recent years as a “calculating, improvisatory, essential poet” by Daisy Fried in the New York Times, Charles Bernstein is a leading voice in American literary theory. Pitch of Poetry is his irreverent guide to modernist and contemporary poetics. Subjects range across Holocaust representation, Occupy Wall Street, and the figurative nature of abstract art. Detailed overviews of formally inventive work include essays on—or “pitches” for—a set of key poets, from Gertrude Stein and Robert Creeley to John Ashbery, Barbara Guest, Larry Eigner, and Leslie Scalapino. Bernstein also reveals the formative ideas behind the magazine L=A=N=G=U=A=G=E. The final section, published here for the first time, is a sweeping work on the poetics of stigma, perversity, and disability that is rooted in the thinking of Edgar Allan Poe, Emily Dickinson, Ralph Waldo Emerson, and William Blake. Pitch of Poetry makes an exhilarating case for what Bernstein calls echopoetics: a poetry of call and response, reason and imagination, disfiguration and refiguration.