This book addresses one of the most troubling questions of contemporary art theory and practice: Who is contemporary art for? Although the divide between contemporary art and the public has long been acknowledged, this is the first time that artists, critics, and the public have come together to debate the problem and to make artmaking, criticism, and public reaction part of the same process. Like the exhibitions, discussions, and seminars held at "The Castle" during the summer 1996 Olympic Games in Atlanta, this book is based on the premise that contemporary artists and the general public have something to say to each other. By positing the space of "conversation" as one in which artworks can be experienced as creative sites open to multilayered interpretations by changing audiences, the book provides an antidote to the modernist connoisseurial silence that has long been used to define quality. The book is divided into three sections. The first contains essays by project curator Mary Jane Jacob, critic and coeditor Michael Brenson, and cultural critic Homi K. Bhabha. Their essays describe fresh approaches to contemporary art and its audiences at a time of increased access through technology and decreased government funding. The second section contains essays by the six artists/collaborative teams involved in the project. Their works, aimed at public participation, included installation-performances, collaborations with Atlanta communities, cross-country tours, and the creation and presentation of food as a means to stimulate conversation and construct community. The artists are: artway of thinking (Italy), Ery Camara (Senegal/Mexico), Mauricio Dias and Walter Riedweg (Brazil/Switzerland), Regina Frank (Germany), IRWIN (Slovenia), and Maurice O'Connell (Ireland).The final section contains seven essays by the critics, curators, educators, administrators, and artists who led the "Conversations on Culture" at The Castle. The essays are by Jacquelynn Baas, Michael Brenson, Lisa Graziose Corrin, Amina Dickerson and Tricia Ward, Steven Durland, Susan Krane, and Susan Vogel.

In The Art of Listening, Anthony Arnone interviews 13 of the top cello teachers of our time, sharing valuable insights about performing, teaching, music, and life. While almost every other aspect of twenty-first-century life has been changed by technological advancements, the art of playing and teaching the cello has largely remained the same. Our instruments are still made exactly the same way and much of what we learn is passed on by demonstration and word of mouth from generation to generation. We are as much historians of music as we are teachers of the instrument. The teaching lineage in the classical music world has formed a family tree of sorts with a select number of iconic names at the top of the tree, such as Pablo Casals, Gregor Piatigorsky, and Leonard Rose. A large percentage of professional cellists working today studied with these giants of the cello world, or with their students. In addition to discussing the impact of these masters and their personal experience as their students, the renowned cellists interviewed in this book touch on a variety of topics from teaching philosophies to how technology has changed classical music.

So begins the imaginary interview that comprises this novel. Professor Y, the interviewing academic, asks questions that allow Céline, a character in his own book, the chance to rail against convention and defend his idiosyncratic methods. In the course of their outrageous interplay, Céline comes closer to defining and justifying his poetics than in any of his other novels. But this is more than just an interview. As the book moves forward, Professor Y reveals his real identity and the characters travel through the streets of Paris toward a bizarre climax that parodies the author, the critic, and, most of all, the establishment.

"An engaging history and examination of the studio furniture movement, Speaking of Furniture: Conversations with 14 American Masters is an informative, firsthand presentation of the creative processes of 14 diverse and highly accomplished artisan furniture makers: James Krenov, Wendell Castle, Jere Osgood, Judy Kensley McKie, David Ebner, Richard Scott Newman, Hank Gilpin, Alphonse Mattia, John Dunnigan, Wendy Maruyama, James Schriber, Timothy S. Philbrick, Michael Hurwitz and Thomas Hucker. Through these insightful and wide-ranging interviews, each describes his or her evolution as a furniture maker and reveals a uniquely personal approach to a craft characterized by its delicate and vital balance of concept and functionality. In his foreword, Edward S. Cooke, Jr., provides a succinct analysis of the American Studio Furniture movement and how the individuality of its practitioners contrasts with the constraints and task-specific demands of the traditional furniture trade. Author and furniture maker Roger Holmes offers an insider's perspective on the art and craft of producing exquisite contemporary furniture in his conversational Introduction and maintains that 'art or craft, this is very personal work' while emphasizing 'the fundamental connection between hand, mind, and the making of things.' The extraordinary range of exquisite and eclectic works presented in Speaking of Furniture is a feast for the eyes and a testimony to the makers' professionalism and mastery of their craft."--Page 2 of cover.

One of the 20th century's most beloved novels is still winning hearts, Dodie Smith's I Capture the Castle! “This book has one of the most charismatic narrators I've ever met.” -- J.K. Rowling, author of the Harry Potter series Adapted to a feature film in 2003, I Capture the Castle tells the story of seventeen-year-old Cassandra and her family, who live in not-so-genteel poverty in a ramshackle old English castle. Here she strives, over six turbulent months, to hone her writing skills. She fills three notebooks with sharply funny yet poignant entries. Her journals candidly chronicle the great changes that take place within the castle's walls, and her own first descent into love. By the time she pens her final entry, she has "captured the castle"-- and the heart of the reader-- in one of literature's most enchanting entertainments.

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work.This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

Magician and television personality "The Amazing Kreskin" details his life and career through a series of interview questions posed by co-author Michael McCarty, augmented by photos and a graphic art depiction of events that led him to seek a career in magic.

The philosopher’s meditations on nature, technology, and evil, written in the final years of WWII, presented in “clear and highly readable translation” (Philosophy in Review). First published in German in 1995, volume 77 of Heidegger’s Complete Works consists of three imaginary conversations written as World War II was coming to an end. Composed at a crucial moment in history and in Heidegger’s own thinking, these conversations present meditations on science and technology; the devastation of nature, World War II, and the nature of evil. Heidegger also delves into the possibility of release from representational thinking into a more authentic relation with being and the world. The first conversation involves a scientist, a scholar, and a guide walking together on a country path; the second takes place between a teacher and a tower-warden, and the third features a younger man and an older man in a prisoner-of-war camp in Russia, where Heidegger’s two sons were missing in action. Unique because of their conversational style, this lucid and precise translation of these texts offers insight into the issues that engaged Heidegger’s wartime and postwar thinking.

Turner's daringly loose brushwork and dazzling colors shine in his watercolors J.M.W. Turner, one of Britain's greatest painters, is perhaps known best for his oil paintings. But he was a lifelong watercolorist, and he fundamentally reshaped what would be understood as possible within the medium, both during his lifetime and after. Edited in partnership with Tate Britain, where the majority of the artist's works are conserved, Conversations with Turner: The Watercolorsis published on the occasion of a major exhibition spanning the entirety of Turner's career. Divided into six thematic sections, it focuses on the critical role played by watercolors in defining Turner's personal style. The book brings together texts by prominent scholars of Turner's art, including the art historians and curators Tim Barringer, Alexander Nemerov, Oliver Meslay and Susan Grace Galassi. Comprised of 100 works (all of which are reproduced in this volume), the exhibition was selected from upward of 30,000 works on paper, 300 oil paintings, and 280 sketchbooks donated after the artist's death in 1851, as part of the collection known as the "Turner Bequest." Turner's innovations in watercolor are illustrated in this book through an emphasis on landscapes and seascapes, many of which were painted during Turner's long stays abroad in continental Europe and beyond. The works showcase the development of Turner's stylistic language, focused on experimentation with the expressive potential of light and color, which anticipated trends in late-19th-century painting. J.M.W. Turner(1775-1851) was a controversial figure throughout his career, despite being championed by Ruskin and having played a key role in the elevation of pure landscape painting as a genre, which he took to unprecedented levels of abstraction. He traveled widely in Europe, starting with France and Switzerland in 1802 and studying in the Louvre in Paris in the same year, and later making many visits to Venice.