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Reuben_ears.jpgReuben Sinha

Reuben Sinha is a painter who trusts his ears more than his eyes.






Studio |My Projects | Teaching | Research | References
Studio
Describe your past work or work you are currently engaged in.

My Projects

Some of your previous assignments have been uploaded to Wiki, but use these pages as a way to elaborate on your ideas and to post comments about other's work.
Class Project One
Class Project Two
Class Project Three

Teaching

How your knowledge applies to teaching and teaching aids and resources

Research

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References

Art, Artists and Art History
1. Albers, Josef. (2006). Interaction of Color. New Haven: Yale University Press.
2. Ashton, Dore. (2003). About Rothko. New York: De Capo Press.
3. Auden, W. H., (1989). Van Gogh: A Self Portrait. New York : Paragon House.
4. Smith, Elizabeth A. T. (Exhibition Curator). (2003). Lee Bontecour: A Retrospective. New York: Abrahms.
5. Brown, C. Kelch, J., Thiel, P.V. (1991). Rembrandt: the Master and his Workshop, Paintings. New Haven: Yale Univeristy Press.
6. Brown, J., Garrido Carmen. (1998).Velazquez, The Technique of Genius. New Haven. Yale University Press.
7. Buchloh, B. H. D., edited by. (2009). Gerhard Richter. Cambridge: MIT Press.
8. Cahill, James. (1982). The Compelling Image. Cambridge: Harvard University Press.
9. Danto, Arthur C., (1997). After the End of Art. Princeton: Princeton University Press.
10. Danto, Arthur C., (2000). The Madonna of the Future, Essays in a Pluralistic art world. New York: Farrar, Straus and Grioux
11. Earle, J. (2008). New Bamboo: Contemporary Japanese Masters. New York: Japan Society.
12. Eastlake, Sir C. L. (1960). Methods & Materials of Painting of the Great Schools & Masters. New York: Dover. Volume 1 & 2.
13. Elderfield, John. (2007). Martin Puryear. New York: Museum of Modern Art.
14. Fels, Donald C., Jr. (2001). Lost Secrets of Flemish Painting, including the De Mayerne Manuscript 2052. Hillsville, VA; Alchemist.
15. Fong, Wen C. (1984). Images of the Mind. Princeton: the Art Museum, Princeton University.
16. Goldwater, R. and Treves, M. (1945). Artists on Art. New York: Pantheon.
17. Lord, J. (1977). Giacometti: A biography. New York: Farrar, Straus and Giroux.
18. Obrist, Hans Ulrich. (2008). Olafur Eliasson: The conversation Series. New York: Distributed Art Press.
19. Shiner, E. C., Tomii, R. (2007). Making Home: Japanese Contemporary Artists in New York. New York: Japan Society.
20. Stevens, M., Swan, A. (2004). de Kooning: An American Master. New York: Alfred Knopf.
21. Wehlte. K. (1975). The Materials and Techniques of Painting. New York: Prentice Hall.
22. Wetering, E. V. (2004). Rembrandt: The Painter at Work. Los Angeles: University of California Press.


Aesthetics
1. Austin, J. H. (2003). Chase, chance, and creativity: The lucky art of novelty. Cambridge, MA: MIT Press.
2. Gadamer, H. (1986). The Relevance of the Beautiful and Other Essays, trans. By N. Walker, ed. By R. Bernasconi, Cambridge: Cambridge University Press.
3. Greene, Maxine. (1978). Landscapes of learning. New York: Teachers College Press.
4. Greene, Maxine. (2000). Releasing the Imagination: Essays on Education, the Arts, and Social Change. New York: Teachers College Press.
5. Greene, Maxine. (2001). Variations on a Blue Guitar. New York: Teachers College Press.
6. Plagens, P. (1986). Moonlight blues: An artist’s art criticism. Ann Arbor, MI: UMI Research Press.
7. Rancière J. (2004). The politics of aesthetics (Trans. with Introduction by Gabriel Rockhill). New York: Continuum.
8. Storr, R. (2007). Think with the senses – Feel with the mind. Art in the present tense. Venezia: Fondazione La Biennale di Venezia.
9. Tufte, Edward R. Envisioning Information. Chesire, Connecticut: Graphics Press.


Education and Art Education
1. Arnheim, R. (1989). Thoughts on Art Education. Los Angeles; Getty Publications.
2. Arnheim, R. (1969). Visual thinking. Berkeley: University of California Press.
3. Baldacchino, J. (2009). Education beyond education: Self and the imaginary in Maxine Greene’s philosophy. New York: Peter Lang.
4. Barrett, T. (1996). Criticizing photographs: An introduction to understanding images (2nd ed.). Mountain View, CA: Mayfield Publishing Company.
5. Barrett, T. (2000). Criticizing art: Understanding the contemporary.(2nd Ed.) Mountain View CA: Mayfield Publishing Company.
6. Berger, John. (1977). Ways of Seeing. New York: Penguin Press.
7. Bruner, J. (1990). Acts of meaning. Cambridge, MA: Harvard University Press.
8. Bruner, J. (1986). Actual minds, possible worlds. Cambridge, MA: Harvard University Press.
9. Bruner, J. (1997). On Konwing, Essays for the Left Hand. Cambridge: Harvard University Press.
10. Dewey, John. (1934). Art As Experience. New York: Peguin Publishers.
11. Davies, S. (1991). Definitions of art. Ithaca, NY: Cornell University Press.
12. Eisner, Elliot. (2002). The Arts and the Creation of Mind. New Haven: Yale university Press.
13. Elkins, J. (1999). What painting is. New York: Routledge.
14. Gardner, H. (1983). Frames of mind: The theory of multiple intelligences. New York: Basic Books.
15. Sullivan, G. (2005). Art practice as research: Inquiry in the visual arts. Thousand Oaks, CA: Sage.
16. Perkins, D. (1994). The Intelligent Eye: Learning to Think by Looking at Art. Los Angeles: Getty Publications.
17. Weintraub, L., Danto, A., & McEvilley, T. (1996). Art on the edge and over: Searching for art’s meaning in contemporary society 1970s-1990s. Litchfield, CT: Art Insights.
18. Weisberg, R. W. (1993). Creativity: Beyond the myth of genius. New York: W. H. Freeman and Company.

Fiction
1. Melville, Herman. (1993). Moby Dick. USA: Barnes and Noble.
2. Saramago, Jose. (1999). All the Names. New York: Hartcourt.

Indian Art & Philosophy
1. Boner, A. (1990). Principles of Composition in Hindu Sculpture: Cave temple period. New Delhi: Motilal Banarsidass Publishers.
2. Coomaraswamy, A. K. (1934). The transformation of Nature in Art. New York: Dover.
3. Khanna, M. (1979). Yantra: the Tantric symbol of cosmic unity. London: Thames and Hudson.
4. Kramrisch, Stella. (1981). The Presence of Siva. Princeton: Princeton Univerisity Press.
5. Mookerjee, Ajit. (1994). Tantra Art, its Philosophy and Physics. New Delhi: Rupa & Co..
6. Radhakrishnan, S. (1997). Indian Philosophy Vol. 2. Delhi: Oxford University Press.
7. Radhakrishnan, S. (1950). The Dhammapada. New Delhi: Oxford University Press.
8. Sthapati, V. G., (2002). Indian Sculpture and iconography, form and Measurments. Ahmedabad: Mapin Publishing.


Neurophysiology and Neuropsychology
1. Feinberg, Todd e. & Farah, Martha J. (2003) Behavioral Neurology and Neuropsychology. McGraw-Hill Medical Pub. Dividion. New York. Emotional Disorders: pp 709-762.
2. Rose, F. Clifford. (2006) International Review of Neurobiology, Vol 74: The Neurobiology of Painting. Elsevier, San Diego, California.


Philosophy
1. Appigannesi, R., Garratt, C. (2004). Introducing Postmodernism. Cambridge: Icon Books.
2. Baxandall, Michael (1985) Patterns of Intention: On the Historical Explanation of Pictures. New Haven: Yale University Press.
3. Carrol, Noel. (2001) Beyond Aesthetics, Philosophical Essays. Cambridge: Cambridge University Press.
4. Danto, A.C. (1981). The transfiguration of the commonplace. Cambridge, MA: Harvard University press.
5. Danto, A.C. (1981). The Philosophical Disenfranchisement of Art. Cambridge, MA: Harvard University press.
6. Dostal, Robert J. (ed.), (2002). The Cambridge Companion to Gadamer. Cambridge: Cambridge University Press.
7. Gadamer, H. (1989), Truth and Method, 2nd rev. ed. (1st English edn, 1975), Trans. By J. Weinsheimer and D.G. Mashall, New York: Crossroad.
8. Gerwen, R. (2001). Richard Wollheim on the art of painting: art as representation and Expression. Cambridge: Cambridge University Press.
9. Wollheim, Richard (1980) Art and its Objects Cambridge University Press; 2 edition.


Psychology
1. Damasio, A. R. (1999). The feeling of what happens: Body and emotion in the making of consciousness.New York: Harcourt.
2. Field, Joanna. (1957). On not being able to Paint. Los Angeles: J. P. Tarcher, Inc.
3. Greenburg, J. R., Mitchell, S.A. (1983). Object relations in Psychoanalytic Theory. Cambridge: Harvard University Press.
4. Kegan, Robert. (1982). The Evolving Self: Problem and Process in Human Development. Cambridge: Harvard University Press.
5. Lear, Jonathan. (2005) Freud. New York; London: Routledge.
6. Segal Hannah. (1974). Introduction to the work of Melanie Klein. Basic Books, USA.
7. Winnicott, D.W., (1971). Playing and Reality. New York: Routledge.
8. Wollheim, R. (1981) Sigmund Freud. Cambridge; Cambridge University Press.
9. Wollheim, R. (1999). On the Emotions. New Haven: Yale University Press.
10. Wright, E. (1999). Speaking Desires can be Dangerous: The Poetics of the Unconscious. Mllden, MA: Blackwell Publishers.

Science
1. Geertz, Clifford. (1973). The interpretation of Cultures. USA: Basic Books.
2. Gould, Stephen Jay. (1998). Leonardo's Mountain of Clans and the Diet of Worms. London: Jonathan Cape.
3. Gould, Stephen Jay. (1990). Wonderful Life: The Burgess Shale and the Nature of History. New York: W. W. Norton & Company.
4. Hofstadter, Douglas R., (1979). Godel, Escher Bach: As Eternal Golden Braid. New York: Vintage Press.
5. McPhee, John. (1982). Basin and Range. New York: Farrar, Straus and Giroux.
6. McPhee, John. (1987). Rising From The Plain. New York: Farrar, Straus and Giroux.
7. McPhee, John. (1994). Assembling California. New York: Farrar, Straus and Giroux.
8. Obeyesekere, Gananath. (1981). Medusa’s Hair: Essays on Personal Symbols and Religious Experience. Chicago; University of Chicago Press.
9. Otten, Charlotte M. (1971). Antrhopology and Art. Austin, Texas: University of Texas Press.