دانلود کتاب Seeing slowly: looking at modern art

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Note continued: But It's In a Museum, So It Must Be Good! -- Trusting Your Eye -- The Artist Speaks: Should We Listen? -- How Do I Know If What I Like Is Any Good? -- Familiarity Breeds Good Judgment -- Should I Learn Artspeak? -- Comparisons Are Not Always Invidious -- ch. Seven Getting Personal -- Learning Backward -- Spotting New Talent, Then and Now -- Best of the Best.;Machine generated contents note: ch. One Peeling the Onion -- The Uses of Art -- The Essential Value of Art -- ch. Two Baggage Handling -- Prior Agreements -- Open Mind Required -- ch. Three What Is a Work of Art? -- Skill -- Materials -- Color -- Imagery and Scale -- So What Makes It Art? -- ch. Four Can We Look and See at the Same Time? -- Art and Technology -- Art and Language -- Art and the Brain -- The Difference Between Looking and Seeing -- Can Art Be Heard? -- Can Art Be Read? -- Can Art Be in a Hurry? -- ch. Five The Art of Being Present -- Prescriptions -- Ain't Nothing Like the Real Thing -- Fresh Air Art -- Ignorance Is Knowledge? -- Intimacy -- Achieving Contact: A Dialogue -- The Work of Art Needs To Be Seen -- Make It Real (Reprise) -- Don't Curb Your Enthusiasm -- Share! -- ch. Six Real Connoisseurs Are Not Snobs -- The Qualities of Art -- The Connoisseur as Detective -- The Connoisseur as Critic -- The Connoisseur as Moneybags -- Me? A Connoisseur? --;When it comes to viewing art, living in the information age is not necessarily a benefit. So argues Michael Findlay in this book that encourages a new way of looking at art. Much of this thinking involves stripping away what we have been taught and instead trusting our own instincts, opinions, and reactions. Including reproductions of works by Mark Rothko, Paul Klee, Joan Miro , Jacob Lawrence, and other modern and contemporary masters, this book takes readers on a journey through modern art. Chapters such as "What Is a Work of Art?" "Can We Look and See at the Same Time?" and "Real Connoisseurs Are Not Snobs," not only give readers the confidence to form their own opinions, but also encourages them to make connections that spark curiosity, intellect, and imagination. "The most important thing for us to grasp," writes Findlay, "is that the essence of a great work of art is inert until it is seen. Our engagement with the work of art liberates its essence." After reading this book, even the most intimidated art viewer will enter a museum or gallery feeling more confident and leave it feeling enriched and inspired.