Fans pick 100 books like After the End of Art

Aristotle was the world’s first story expert.

As a story consultant myself, it was incredible to have a man from 2,300 years ago talk to me about story theory! And more than that… everything he says is spot on. 

The real meaning of much of what Aristotle said has been debated for millennia. However, when I used his principles as story dynamics in real stories, they became very clear to me; so, in my own work, I have distilled Aristotle’s principles into a modern three-part interpretation, and I give examples of them working in classical and popular modern stories.

Aristotle’s principles are not only applicable today, but they are still better than almost any other new thinking of the last 100 years. Aristotle is amazing. I love him! 

This book was instrumental in introducing the English-speaking world to Modern Art. As criticism, it taught readers how to appreciate Neo-Impressionism. But it was also a seminal contribution to Anglo-American philosophy. By demanding an answer to the question “What is Art?” Bell set the agenda for subsequent philosophers who sought to develop a definition of art in response. Bell’s own answer is that something is art if and only if it possesses significant form which itself is the cause of aesthetic emotions. Bell’s emphasis on significant form earned him a reputation as one of the foremost Philosophical Formalists.

Originally published in 1958 as a textbook, when Aesthetics was updated, it was recognized as the “summa” of the aesthetic theory of art. This is the view that something is art just in case it is made with the intention to afford a certain magnitude of aesthetic experience. Because of his emphasis on aesthetic experience, Beardsley defended the notion of the autonomy of art – the idea that art is essentially independent of all other social practices. Using this lens, Beardsley explores an impressive range of topics including literature, fiction, pictorial representation, criticism, and interpretation.

Because of his prior reputation as a metaphysician and epistemologist, when Nelson Goodman turned his attention to the philosophy of art, he lent unprecedented prestige to aesthetics. In his book, Goodman treats art as a matter of symbol systems whose major structures include representation, exemplification, and expression. Given his emphasis on symbolism, Goodman regarded artistic projects, like picturing, as conventional and he maintained that our conviction of the realism of pictorial representations was merely an affair of our habituation to various styles. Languages of Art is a book noteworthy for its bold and bracing literary style.

This book explores McLuhan’s relationship with avant-garde art. While McLuhan’s engagement with artistic endeavours, has received some attention, Kitnick examines in detail not only how McLuhan’s work on art developed over an extended period, but how his views on artistic practice came to inform the work of others. He builds on McLuhan’s contention that art was not primarily a means of self-expression, but rather the basis for cultural exploration and environmental change. Drawing inspiration from figures such as James Joyce, T.S. Eliot, and Wyndham Lewis. McLuhan, according to Kitnick, saw members of the avant-garde as artists who work within conventional structures in order to disrupt them, thereby throwing them into relief. 

This book accuses art historians of being indifferent to environmental issues… It is a wake-up call for the profession. I certainly took heed and experimented in my essays in a variety of ways to reconnect. The artistic vision of nature to great works of art. 

In 2018 Andrew Patrizio published a book titled The Ecological Eye, which exposed the lack of environmental thinking in the practice of art historians. Here is what he wrote: “How can we awaken, define and orientate an ecological sensibility within the history of art?” Building on the latest work in the discipline, this book provides the blueprint for an 'ecocritical art history,' one that is prepared to meet the challenges of the Anthropocene, climate change, and global warming. Without ignoring its own histories, the book looks beyond – at politics, posthumanism, new materialism, feminism, queer theory, and critical animal studies – invigorating the art-historical practices… show more.

Art Is Everything is a book about obsession, about love, about artistry, about the limits of aesthetics within an industry in which the marketplace is an unspoken but all-powerful factor. When I began reading it, I was amazed and exhilarated by how clearly it is in conversation with the preoccupations of my own novel, although from a different standpoint. Also: this book is hilarious. The humor is sharp, wry, sometimes skewering, but never inhumane. I laughed so hard reading it – and this was in 2020, so I wasn’t doing much laughing otherwise. I would walk up and down the floors of my apartment and read entire sections out loud to my partner. I do believe in the bold declaration of its title, and by the time I finished reading, I felt sure the author did too. 

Where Thompson concentrates on the economic aspects of the art market, Thornton takes a sociological perspective.

She is like an anthropologist exploring a strange culture, and in the best participative tradition, takes pains to understand it non-judgementally, on its own terms.

The seven days refer to seven distinct events that make up the ecosystem of the contemporary art world: the auction house where pieces are sold, the university where artists learn their craft, the fair where collectors find new talent, the prize that spotlights tomorrow’s stars, the magazine that critiques and identifies the latest trends, the studio where the artist works, and the exhibition where the triumphant art is displayed and celebrated.

If Thompson’s book is about the finance of art, this is about people.

I love I Love Dick! This is a hilarious, shocking, keenly intelligent interrogative adventure into the art world and ideas about stalking a muse and being female. The book was published in 1997 but I didn’t discover it until a decade later, so I was late to the game. In her forward, Eileen Myles describes Chris Kraus as “marching boldly into self-abasement and self-advertisement,” which is a perfect way of putting it. Shredding the veil between reality and fiction, in her relentless pursuit of Dick (a real person), Chris Kraus embraces the world, no holds barred. If you’re curious about being female, being an artist, being a failure (whatever that means), chasing your desires, and fighting your way out of limitations both within and without, this riveting, lacerating, revealing, surprising book is for you.

This book explains what not to do to know the Universe, with examples from non-fiction postmodern nonsense "texts." These texts include discourses detached from experimental verification and scientific terms used completely out of context.

I love this book because I find pseudo- and postmodern science distasteful and harmful. I think it shows clearly how some famous postmodern intellectuals promote antipathy for facts, clear thinking, empirical tests, and, in general, science — our best shot at understanding the Universe. These postmodern intellectuals have huge influence and have helped spread the trend of rejection of reason and science throughout the World.

I adore this book stressing science is not an arbitrary "narration" or a collection of metaphors for postmodern essays. I share the authors’ dreams about a future after postmodernism.