Writing on Drawing: Essays on Drawing Practice and Research Review

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Writing on Drawing: Essays on Drawing Practice and Research ReviewI've continually been renewing this book from the library. It hosts wonderful discourse on drawing, as a verb, or as a practice. This work in no way intends to educate someone on how to draw or really needs many images for the analysis it presents. This is a collection of essays for someone already deep into drawing practice and looking for a brief overview of a diversity of contemporary thoughts on the subject and its growth from a historical context of Renaissance, Enlightment, Modernism, etc.
The writing style is rather academic. Nothing complicated, but something to be read only an essay at a time and then reviewed later. It is a resource book and not novel, or coffee table book. I have gone through academia for my art degree and am a University instructor of drawing. I think this is a great book, I would probably not recommend it to a foundations level student, but for someone who finds drawing important to their artistic practice and is considering that process conceptually, this book is quite informative. Probably best for someone at the later portion of their undergraduate studies, in or beyond graduate school, or further outside the realm of studio practice and interested in theory, but yes- for someone interested in the academic route of art.
I came to Amazon to see about purchasing the book. My only agreement with the poor review below is the pricing issue. This book would appear a bit underwhelming for the price it is at. If I had some electronic book reader, I'd probably buy that version since the hardcover book is nothing special, merely a regular 9x7" book. If the publisher chose to insert additional imagery, particularly if anything of notable artists- the price would skyrocket so I don't particularly understand the desire for more pictures.
Of course some chapters are handled better by their writers than others, but overall I find this book one of the best for conceptual and historical context to drawing.
This book has absolutely no commonality to the alternative books listed by the previous review [Vitamin D and Eight Propositions]. If you want to see brief overviews of contemporary artists and examples of work striking critical acclaim in the early 2000s then definitely pick up those books. This has very different goals.Writing on Drawing: Essays on Drawing Practice and Research OverviewAn increased public and academic interest in drawing and sketching, both traditional and digital, has allowed drawing research to emerge recently as a discipline in its own right. In light of this development, Writing on Drawing presents a collection of essays by leading artists and drawing researchers that reveal a provocative agenda for the field, analyzing the latest work on creativity, education, and thinking from a variety of perspectives. An essential resource for artists, scientists, designers, and engineers, this volume offers consolidation, discussion, and guidance for a previously fragmented discipline.

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Neuropsychology of Art: Neurological, Cognitive and Evolutionary Perspectives (Brain, Behaviour and Cognition) Review

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Neuropsychology of Art: Neurological, Cognitive and Evolutionary Perspectives (Brain, Behaviour and Cognition) ReviewIntrigued by the promise of its title, I zipped over to my local university library as soon as this book came in. Alas, this is not only the last word on the topic, it is not even an adequate summary of recent work.
The author is a neuroscientist herself, but the usual penetrating and synthesizing insight of such specialists seems lacking here. In her chapters on musical art and brain damage, I miss the central focus of this kind of study: the scientist learns about brain function from those who have lost a specific piece of it. Zaidel refers to some interesting studies and historical anecdotes (musicians who sustained this or that kind of brain damage), but I the reader do not learn what I want to from the discussions. I learn details, but the stories and studies do not cumulate in a big picture. Of course modern brain research is still developing, yet other researchers give me more of a sense that they can intuit a big picture beyond what they can clearly see.
Also in the music section, Zaidel's end-of-section paragraph of summary does not include major insights derived from Isabelle Peretz, one of the foremost neuroscientists of music, though Zaidel cites a couple of Peretz' publications in her bibliographies. Peretz gives a significantly better explanation of currently understood brain processing of musical phenomena than Zaidel does, but you wouldn't know from this book. It's not a bad book, just not a great one.Neuropsychology of Art: Neurological, Cognitive and Evolutionary Perspectives (Brain, Behaviour and Cognition) OverviewThe significance of art in human existence has long been a source of puzzlement, fascination, and mystery. In Neuropsychology of Art, Dahlia W. Zaidel explores the brain regions and neuronal systems that support artistic creativity, talent, and appreciation.Both the visual and musical arts are discussed against a neurological background. Evidence from the latest relevant brain research is presented and critically examined in an attempt to clarify the brain-art relationship, language processing and visuo-spatial perception. The consequences of perceptual problems in famous artists, along with data from autistic savants and established artists with brain damage as a result of unilateral stroke, dementia, or other neurological conditions, are brought into consideration and the effects of damage to specific regions of the brain explored. A major compilation of rare cases of artists with brain damage is provided and the cognitive abilities required for the neuropsychology of art reviewed.This book draws on interdisciplinary principles from the biology of art, brain evolution, anthropology, and the cinema through to the question of beauty, language, perception, and hemispheric specialization. It will be of interest to advanced students in neuro-psychology, neuroscience and neurology, to clinicians and all researchers and scholars interested in the workings of the human brain.

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The Psychology of Art and the Evolution of the Conscious Brain (Mit Press/Bradford Books Series in Cognitive Psychology) Review

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The Psychology of Art and the Evolution of the Conscious Brain (Mit Press/Bradford Books Series in Cognitive Psychology) ReviewThis author has a good knowledge of his subject. His earlier book is wonderful with insight. This book is a revamp of that material with a summary of some recent research. For my needs the first book is more to my taste.The Psychology of Art and the Evolution of the Conscious Brain (Mit Press/Bradford Books Series in Cognitive Psychology) OverviewHow did the human brain evolve so that consciousness of art coulddevelop? In The Psychology of Art and the Evolution of the Conscious Brain, RobertSolso describes how a consciousness that evolved for other purposes perceives andcreates art.Drawing on his earlier book Cognition and the Visual Arts and ten yearsof new findings in cognitive research (as well as new ideas in anthropology and arthistory), Solso shows that consciousness developed gradually, with distinctcomponents that evolved over time. One of these components is an adaptiveconsciousness that includes the ability to imagine objects that are not present--anability that allows us to create (and perceive) visual art.Solso describes theneurological, perceptual, and cognitive sequence that occurs when we view art, andthe often inexpressible effect that a work of art has on us. He shows that there aretwo aspects to viewing art: nativistic perception--the synchronicity of eye andbrain that transforms electromagnetic energy into neuro-chemical codes--which is"hard-wired" into the sensory-cognitive system; and directed perception, whichincorporates personal history and knowledge--the entire set of our expectations andpast experiences. Both forms of perception are part of the appreciation of art, andboth are products of the evolution of the conscious brain over hundreds of thousandsof years.Solso also investigates the related issues of neurological and artisticperception of the human face, the effects of visual illusions, and the use ofperspective. The many works of art used as examples are drawn from a wide range ofartistic traditions, from ancient Egypt to Africa and India and the EuropeanRenaissance.

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