100 books like Seven Days in the Art World

This book was introduced on the first day of art school. Then, it was reintroduced and repeated by each professor for the duration of my education. As such, it's fair to say that it's an enduring force within academic circles. 

The book touches on major points essential for any informed artist and the need for modern artists to subvert our viewers' hidden biases. It eloquently teaches artists to dive beneath the surface of a work to understand the unseen, the context, and the subtext. Ways of Seeing skillfully inspires a new lens through which to view the world and urges its readers to peel back the layers of meaning from even the most minimal artworks.

For me and so many other artists, this book was an awakening and is one that I turn back to often and am doomed to cite for eternity. It's a transformative journey that challenges and… show more.

The staggering thing about contemporary art is the money involved. Why would anyone pay $12 million for a dead shark preserved in formaldehyde?

This question drives Don Thompson’s book, as he explores the contemporary art market from the point of view of a professional economist. It’s a relatively unbiased work, free of ridicule or outrage, and is perhaps the better for that. Thompson shows us how the market works, and the role of each player – the buyers and collectors and investors, the rock star artists, the museums and galleries and auction houses – but also explores the psychology at work.

Why did hedge fund manager Steven A. Cohen buy Damien Hirst’s The Physical Impossibility of Death in the Mind of Someone Living for $12 million?

Before you judge contemporary art, it’s only fair that you try to understand it.

As such, Susie Hodges’ book does a valuable service, collecting together one hundred of the most important, influential, and controversial artworks from the last century or so. This ranges from Picasso to Damien Hirst, from Andy Warhol’s silkscreen prints of tins of tomato soup to Tracy Emin’s unmade bed.

Each entry gives some background to the work, some critical analysis, and attempts to justify why, although your five-year-old might indeed leave their bed unmade, they could not have done so in a way that explores the poignancy of the human condition (or something like that…).

A partisan book, defending the importance of modern art, but an informative introduction.

The shortest book on the list – I wish it were longer! – is the hardest hitting.

Julian Spalding, art critic, and former gallery and museum curator, is well qualified to critique contemporary art trends. But the “con” of the title also stands for “conceptual” (requiring only ideas and little skill or craft), and the “con” or scam that he believes much conceptual art to be.

Spalding has no problem with “modern” or progressive art that challenges the status quo – Picasso, Magritte, or David Hockney – but only the intellectual bankruptcy that the conceptual movement has ushered in.

His forthright take is controversial, but its feisty, informed, and well-argued critique suggests that the little boy pointing out the emperor’s lack of clothes may just have a point.

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. 

This book is an amazing combination of the philosophy of art, the philosophy of art history, and art criticism. The late Arthur Danto was not only a distinguished philosopher but also an award-winning art critic. In this book, Danto tracks the decline and fall of Modernism (which he describes as “the end of art”) and the advent of our present artistic moment which can be critically characterized as an era of post-historical pluralism. Danto, following GFW Hegel, proposes a partial definition of the artwork as an embodied meaning – thereby addressing the challenge to say what art is -- as it was posed by Clive Bell.

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. 

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.

For fans of true crime, there’s plenty to recommend in this artfully crafted investigation into the murder of casino heir Ted Binion. But the book takes a gonzo turn when its author – a writing teacher from Chicago – uses his advance to enter the World Series of Poker, the tournament started by the Binion family. The deeper he digs into the murder, the deeper he runs in the tournament, creating a once-in-a-lifetime mashup memoir that’s almost too good to be true.