Esther Pasztory sought refuge in the United States after the 1956 anti-communist revolution in Hungary. Her memoir chronicles the difficulty of straddling two cultures both personally and professionally and Pasztory's escape into a third, ancient culture where she felt her spirit was free to roam. Interweaving her work with the Aztec and Incan history with her past experiences in Hungary and her present life in America. Her story will appeal not only to readers who wrestle with their dual heritage but also to historians who seek an intimate account of post-communist Hungary.

This book is the first comprehensive study and reinterpretation of the unique arts of Teotihuacan, including architecture, sculpture, mural painting, and ceramics. Comparing the arts of Teotihuacan - not previously judged "artistic" - with those of other ancient civilizations, Ester Pasztory demonstrates how they created and reflected the community's ideals.

Most people associate the pyramids of central Mexico with the Aztecs, but these colossal constructions antedate the Aztecs by more than a thousand years. The people of Teotihuacan, who built the pyramids as part of a city of unprecedented size, remain a mystery.

"As a major scholar of Meso-American art, Pasztory has written a valuable and substantive text." --Art Documentation"It would greatly contribute to the revitalization of art history if its practitioners would respond to Esther Pasztory's book with an energy commensurate with its critical polemic. She views art from a very long historical perspective, places it in a social science context, shifts the emphasis from taste to cognition, and brings it under the methodology implied by her title Thinking with Things. Taken together, this involves nothing less than a transformation of vision, with the widest implications for the practice of her discipline."--Arthur C. Danto, art critic, The Nation"Thinking with Things is an ambitious essay that addresses some of the fundamental issues in the fields of art history, anthropology, and aesthetics. Extending the discourse of George Kubler's classic The Shape of Time, Pasztory more directly confronts questions of form, representation, and the meaning of objects created by homo faber."--David Rosand, Meyer Schapiro Professor of Art History, Columbia University"Esther Pasztory, a renowned art historian, has immersed herself in the data and theory of anthropology, helping her forge tools which she employs to great advantage in this volume. Eschewing a narrowly 'esthetic' point of view, she shows, over and over again, how a people's art emerges from and reflects its social context. Fearlessly invading the thorny thickets of esthetic theory, Dr. Pasztory grapples with its great issues and presents to the reader a succession of views that are at once engaging, incisive, and provocative."--Robert L. Carneiro, Curator, American Museum of NaturalHistory

What is "art"? Why have human societies through all time and around the globe created those objects we call works of art? Is there any way of defining art that can encompass everything from Paleolithic objects to the virtual images created by the latest computer technology? Questions such as these have preoccupied Esther Pasztory since the beginning of her scholarly career. In this authoritative volume, she distills four decades of research and reflection to propose a pathbreaking new way of understanding what art is and why human beings create it that can be applied to all cultures throughout time.

At its heart, Pasztory's thesis is simple and yet profound. She asserts that humans create things (some of which modern Western society chooses to call "art") in order to work out our ideas--that is, we literally think with things. Pasztory draws on examples from many societies to argue that the art-making impulse is primarily cognitive and only secondarily aesthetic. She demonstrates that "art" always reflects the specific social context in which it is created, and that as societies become more complex, their art becomes more rarefied.

Pasztory presents her thesis in a two-part approach. The first section of the book is an original essay entitled "Thinking with Things" that develops Pasztory's unified theory of what art is and why we create it. The second section is a collection of eight previously published essays that explore the art-making process in both Pre-Columbian and Western societies. Pasztory's work combines the insights of art history and anthropology in the light of poststructuralist ideas. Her book will be indispensable reading for everyone who creates or thinksabout works of art.

In the past fifty years, the study of indigenous and pre-Columbian art has evolved from a groundbreaking area of inquiry in the mid-1960s to an established field of research. This period also spans the career of art historian Esther Pasztory. Few scholars have made such a broad and lasting impact as Pasztory, both in terms of our understanding of specific facets of ancient American art as well as in our appreciation of the evolving analytical tendencies related to the broader field of study as it developed and matured. The essays collected in this volume reflect scholarly rigor and new perspectives on ancient American art and are contributed by many of Pasztory's former students and colleagues. A testament to the sheer breadth of Pasztory's accomplishments, Visual Culture of the Ancient Americas covers a wide range of topics, from Aztec picture-writing to nineteenth-century European scientific illustration of Andean sites in Peru. The essays, written by both established and rising scholars from across the field, focus on three areas: the ancient Andes, including its representation by European explorers and scholars of the nineteenth century; Classic period Mesoamerica and its uses within the cultural heritage debate of the twentieth and twenty-first centuries; and Postclassic Mesoamerica, particularly the deeper and heretofore often hidden meanings of its cultural production. Figures, maps, and color plates demonstrate the vibrancy and continued allure of indigenous artworks from the ancient Americas. ""Pre-Columbian art can give more,"" Pasztory declares, and the scholars featured here make a compelling case for its incorporation into art theory as a whole. The result is a collection of essays that celebrates Pasztory's central role in the development of the field of Ancient American visual studies, even as it looks toward the future of the discipline.