Add this copy of Conversations at the Castle: Changing Audiences and to cart. $25.26, very good condition, Sold by Fireside Bookshop rated 4.0 out of 5 stars, ships from Stroud, GLOUCESTERSHIRE, UNITED KINGDOM, published 1998 by MIT Press.
Add this copy of Conversations at the Castle: Changing Audiences and to cart. $10.58, very good condition, Sold by ThriftBooks-Atlanta rated 5.0 out of 5 stars, ships from Austell, GA, UNITED STATES, published 1998 by MIT Press (MA).
Add this copy of Conversations at the Castle: Changing Audiences and to cart. $10.58, very good condition, Sold by ThriftBooks-Baltimore rated 5.0 out of 5 stars, ships from Halethorpe, MD, UNITED STATES, published 1998 by MIT Press (MA).
Add this copy of Conversations at the Castle: Changing Audiences and to cart. $13.48, good condition, Sold by Midtown Scholar Bookstore rated 5.0 out of 5 stars, ships from Harrisburg, PA, UNITED STATES, published 1998 by The MIT Press.
Add this copy of Conversations at the Castle: Changing Audiences and to cart. $13.58, very good condition, Sold by spellbound rated 5.0 out of 5 stars, ships from McKeesport, PA, UNITED STATES, published 1998 by The MIT Press.
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Seller's Description:
Very Good. Size: 8x0x10; Very Good Condition-May show some limited signs of wear and may have a remainder mark. Pages and dust cover are intact and not marred by notes or highlighting.
Add this copy of Conversations at the Castle: Changing Audiences and to cart. $10.99, very good condition, Sold by Books From California rated 4.0 out of 5 stars, ships from Simi Valley, CA, UNITED STATES, published 1998 by The MIT Press.
Add this copy of Conversations at the Castle: Changing Audiences and to cart. $33.95, good condition, Sold by Hennessey + Ingalls rated 4.0 out of 5 stars, ships from Los Angeles, CA, UNITED STATES, published 1998 by MIT Press (MA).
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Seller's Description:
Used-Good. 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 andWalter 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. This book addresses one of the most troubling questions of contemporary art theory and practice: Who is contemporary art for? Book has minor shelf wear.
Add this copy of Conversations at the Castle: Changing Audiences and to cart. $36.75, like new condition, Sold by Pistil Books Online rated 4.0 out of 5 stars, ships from Seattle, WA, UNITED STATES, published 1996 by MIT Pr/Arts Festival of Atlanta.
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Seller's Description:
Fine. No Jacket. Art A clean, unmarked book with a tight binding. 173 pages. Pictorial cover. "This book documents the exhibition program, 'Conversations at The Castle, ' organized by Mary Jane Jacob under the auspices of the Arts Festival of Atlanta and on public view from June 28 to September 29, 1996."
Add this copy of Conversations at the Castle: Changing Audiences and to cart. $37.19, good condition, Sold by Bonita rated 4.0 out of 5 stars, ships from Newport Coast, CA, UNITED STATES, published 1998 by Mit Pr.
Add this copy of Conversations at the Castle: Changing Audiences and to cart. $38.47, very good condition, Sold by Mullen Books, Inc. ABAA / ILAB rated 4.0 out of 5 stars, ships from Marietta, PA, UNITED STATES, published 1998 by MIT Press.
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Seller's Description:
VG-light corner bumping. Color-illustrated boards with navy and white lettering. 172 pp. Color and BW illustrations. 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. -Amazon.
