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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
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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


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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.

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.

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.

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.

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.

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.