“The rhythm of the body moving through space has been the motivating source of most of my work.”—Richard Serra Drawn from talks between celebrated artist Richard Serra and acclaimed art historian Hal Foster held over a fifteen-year period, this volume offers revelations into Serra’s prolific six-decade career and the ideas that have informed his working practice. Conversations about Sculpture is both an intimate look at Serra’s life and work, with candid reflections on personal moments of discovery, and a provocative examination of sculptural form from antiquity to today. Serra and Foster explore such subjects as the artist’s work in steel mills as a young man; the impact of music, dance, and architecture on his art; the importance of materiality and site specificity to his aesthetic; the controversies and contradictions his work has faced; and his belief in sculpture as experience. They also discuss sources of inspiration—from Donatello and Brancusi to Japanese gardens and Machu Picchu—revealing a history of sculpture across time and culture through the eyes of one of the medium’s most brilliant figures. Introduced with an insightful preface by Foster, this probing dialogue is beautifully illustrated with duotone images that bring to life both Serra's work and his key commitments.

We're living a national ideology that's invisible to us because we're inside it." "We're living a national ideology that's invisible to us because we're inside it." At the outset of his career E. L. Doctorow told Paul Levine, "History written by historians is clearly insufficient." Doctorow's novels carry out that conviction by imagining the great moments of American history--the Old West, the gilded age, the Depression, the cold war--as backdrops for tales of excruciating moral pain and injustice in America. In Conversations with E. L. Doctorow Christopher D. Morris has gathered over twenty of the most revelatory interviews with the acclaimed author of Ragtime, World's Fair, Billy Bathgate, The Book of Daniel, and other novels, plays, and short stories. Whatever the setting or time period, Doctorow's characters spark an unparalleled urgency in the novelist's recreations of history. In his work the American dream and the values his characters try to live by turn to madness and ashes. Within this collection Doctorow explores the themes of his work not only in the contexts of national and literary history but also in terms of disturbing trends in contemporary American culture. Talking about style, Doctorow discusses his experiments with shifting points of view and unreliable narrators as part of the modernist heritage to which readers have become accustomed. But he stresses that these techniques are always subordinate to the telling of a good story and the creation of memorable characters. "My portrait of J. P. Morgan in Ragtime is truer to the man's soul and the substance of his life than his authorized biography," he says. Doctorow's critical and popular success comes from the creation and re-creation of such great characters and the telling of captivating stories in which the writer serves as an independent witness to both the ideals and the corruptions that have driven our history. Christopher D. Morris has been the Charles A. Dana Professor of English at Norwich University in Northfield, Vermont, since 1996. He is also the author of Models of Misrepresentation: On the Fiction of E. L. Doctorow and regularly publishes in journals like The Ohio Review, Critique, and Film Criticism.

Selected interviews and essays of Marjorie Perloff, a well-known critic.

This book is the product of a unique collaboration between Israeli artist and philosopher Aïm Deüelle Lüski and visual culture theorist Ariella Azoulay. In their longstanding working relationship, they research how to theorize the structure of the contemporary scopic regime and open a space for its civil transformation. On this occasion, Azoulay interprets a particular series of cameras built by Deüelle Lüski, along with photographs taken by these cameras. Unlike conventional cameras and their vertical photography, Deüelle Lüski's cameras seek to generate new sets of relations between the camera and the world. Azoulay's text unfolds four different 'short histories' of problems in photography, each of which deconstructs what otherwise might appear as a coherent photographic regime, yet which is shown to be based solely on principles of sovereignty and possession. Through and with Deüelle Lüski's project Azoulay seeks to 'potentialize' the history of photography, that is, to recover long forgotten, un-materialized possibilities

Born in Paris in 1905 to a German-Jewish family from Frankfurt and dying a century later in Montreal, Raymond Klibansky lived a life indelibly coloured by the history of the twentieth century. His thought shaped and was shaped by intellectual currents both European and American, and his scholarly work entailed an intellectual reckoning with tradition that was unique in its scope and ambition, long before talk of academic interdisciplinarity. Klibansky, a student of Karl Jaspers and Ernst Cassirer, was educated in the liberal milieu of the Weimar Republic. Forced to emigrate from Germany in 1933, Klibansky spent the war years in London, where he participated in the British war effort. Working in the tradition established by Aby Warburg and the Warburg Library, he completed with Erwin Panofsky and Fritz Saxl the German text of Saturn and Melancholy. The book's cast metal type was reclaimed for the war effort before it could be printed, but it was eventually published in English in 1964 and has deeply influenced understandings of the interrelations between humanities disciplines ever since. After the war Klibansky came to McGill University, where he enjoyed a brilliant career as a scholar of platonic studies and the history of ideas, mainly in the works of Locke and Hume. Over twelve chapters, each devoted to questions that were dear to Klibansky during his long life, Georges Leroux presents dialogues with his mentor selected from decades of conversation, exploring themes including philosophical traditions, melancholy, tolerance, peace, and the role of philosophy in international relations. Scholarship, interlinked with the events of a turbulent century, is at the centre of these fascinating conversations between student and teacher. A richly illustrated autobiography through dialogue, Raymond Klibanskyis a portrait of a heroic figure in twentieth-century philosophy, a model for a younger generation who can find in his scholarship an admirable example of virtue in the service of peace.

This collection of interviews provides a revealing self-portrait of Martin Ritt (1914-1990), America's preeminent maker of social films and one of the most sensitive portraitists of the rural South. Ritt's Hollywood career began in 1958 with Edge of the City and ended in 1990 with the release of Stanley and Iris. In all, he directed twenty-six movies, including some of Hollywood's most enduring films--Hud, Hombre, The Spy Who Came in from the Cold, The Brotherhood, The Molly Maguires, The Front, and Norma Rae. Although he gave mostly boilerplate interviews to the press when promoting a movie, Ritt provided more revealing interviews for seminars, oral histories, and documentary filmmakers. The most significant of these, published here for the first time, create a close-up portrait of this distinguished director of plays and films. Ritt speaks eloquently about his years with the Group Theatre and recreates the passion of the director Harold Clurman. He tells how the Group shaped his ideas about art and the communal nature of the theatrical enterprise, which he extended into his work in film. He speaks of his relationship with Clifford Odets and Elia Kazan, and he talks in detail about his experiences with the blacklist, directing and acting in TV during its Golden Age, his career as a theater director, and his experiences working with such actors as Paul Newman, Sally Field, Sophia Loren, Orson Welles, and Robert De Niro. Ritt discusses his philosophy of directing, the place of film in the history of art, his quarrels with ""auteur theory,"" and the influence of his politics on his work. Gabriel Miller, a professor of English at Rutgers University, is the author of The Films of Martin Ritt: Fanfare for the Common Man (University Press of Mississippi). Articles by him have appeared in the Los Angeles Times, American Book Review, and Literature/Film Quarterly, among other publications.

"Ivan Illich alights on such topics as education, history, language, politics, and the church. The conversations range over the whole of Illich's published work and public career as a priest, vice-rector of a university, founder of the Centre for Intercultural Documentation in Cuernavaca, Mexico, and author of such classics as Tools for Conviviality , Medical Nemesis , and Deschooling Society ."

Contains the transcripts of in-depth interviews conducted by The Association of Diplomatic Studies and Training of Washington, D.C. with American diplomats who during their careers served either at the American Embassy in Ankara or in the country's consulates in Istanbul, Adana and Izmir. These retired diplomats were first-hand witnesses of the Turkish political and cultural scene in the years they served in Turkey and their comments and observations are therefore extremely valuable. This book thus represents a significant contribution to the history of modern Turkey and should be of great interest to both scholars in a variety of fields as well as other interested observers of the Turkish Republic.