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52 short, understandable Conversations provide artists in all genres with a working knowledge of the legal issues affecting their arts and businesses. Copyright. Trademark. Contracts. Lawyers. Courts. Nonprofits.
52 short, understandable Conversations provide artists in all genres with a working knowledge of the legal issues affecting their arts and businesses. Uses a humorous, storytelling format. Organized sequentially for classroom use; includes exercises for reinforcement and further study. Fully indexed. Extensive glossary. Arts Law Conversations is divided into four sections: Navigating the Legal System; Intellectual Property; Contracts; and Business Issues You Might Have Overlooked. This book is for everyone! It's for you, creatives: musicians, filmmakers, writers, performers, visual artists. It's for you, industry professionals: agents, managers, lawyers, galleries, venues. It's for you, teachers and students. It's for you, business community. We all create, and we all consume the creative work of others. These brief Conversations, featuring characters in real-life situations, will help readers spot and understand the legal issues that too often cause creators and consumers alike to roll their eyes and use bad words. You'll get it. You might even laugh.
Ditch the negative mental habits that derail conversations and destroy projects, and discover a framework for forging authentic, enduring, and productive connections. We live in conversations like fish live in water-we're in them all the time, so we don't think about them much. As a result, we often find ourselves stuck in cyclical patterns of unproductive behaviors. We listen half-heartedly, react emotionally, and respond habitually, like we're on autopilot. This bookis a practical guide for thoughtfully reflecting on conversations so we can avoid the common pitfalls that cause our relationships and work to go sideways. Chuck Wisner identifies four universal types of conversations and offers specific advice on maximizing the effectiveness of each: Storytelling-Investigate the stories we tell ourselves about ourselves and others Collaborative-Explore the way our stories and other people's stories interact Creative-See new possibilities and discover unforeseen solutions Commitment-Make promises we know we can keep These conversations unfold sequentially: our awareness of our and others' stories transforms our ability to listen and collaborate, which opens our thoughts to creative possibilities, guiding us toward mindful agreements. Our conversations-at home, at work, or in public-can be sources of pleasure and stepping-stones toward success, or they can cause pain and lead to failure. Wisner shows how we can form a connection from the very first conversation and keep our discourse positive and productive throughout any endeavor.
One L, Scott Turow's journal of his first year at law school and a best-seller when it was first published in 1977, has gone on to become a virtual bible for prospective law students. Not only does it introduce with remarkable clarity the ideas and issues that are the stuff of legal education; it brings alive the anxiety and competiveness--with others and, even more, with oneself--that set the tone in this crucible of character building. Each September, a new crop of students enter Harvard Law School to begin an intense, often grueling, sometimes harrowing year of introduction to the law. Turow's group of One Ls are fresh, bright, ambitious, and more than a little daunting. Even more impressive are the faculty. Will the One Ls survive? Will they excel? Will they make the Law Review, the outward and visible sign of success in this ultra-conservative microcosm? With remarkable insight into both his fellows and himself, Turow leads us through the ups and downs, the small triumphs and tragedies of the year, in an absorbing and thought-provoking narrative that teaches the reader not only about law school and the law but about the human beings who make them what they are. In the new afterword for this edition of One L, the author looks back on law school from the perspective of ten years' work as a lawyer and offers some suggestions for reforming legal education.
Love God, love people. Could evangelism really be that simple? Often, it doesn’t seem so. It can feel scary, awkward, and uncomfortable as we try to navigate loaded questions and different perspectives. Even the most faithful of believers sometimes get stumped. But can you imagine if we, as Christians, simply spent time with people who are far from God and provided a safe place to talk about spiritual matters? If we listened to them and discovered what was really important to them? After all . . . it’s what Jesus did. And it’s what you can do too. Drawing straight from the life and ministry of Jesus, The 9 Arts of Spiritual Conversations offers simple practices to help you build relationships with people who believe differently. Anyone who has read and appreciated Becoming a Contagious Christian or Just Walk across the Room won’t want to miss this book on creating a safe space to have natural, loving, and spiritual conversations with others.
Legal issues touch every aspect of organizations in the creative and cultural sectors. This book teaches non-lawyer, arts administration professionals and students how to identify and manage legal issues common to arts organizations. Legal Issues for Arts Organizations demystifies common legal problems and helps readers to approach them proactively. With an easy-to-remember “issue-spotting” process, the book helps develop the average administrator’s “eye” for legal issues, so that the administrator knows when to do more research and when to seek out professional legal assistance. Written by a law professor and former intellectual property litigator with experience in arts policy and administration, this book provides a framework that arts professionals can use to navigate legal issues with increased confidence. It provides an overview of the American legal system, teaches a systematic process for identifying legal issues, trains administrators to read and understand contracts, gives practical advice for working with professional lawyers, and puts theory into practice with an applied learning component. Packed with practical tips and advice, this book provides a primer that every arts administrator and every arts- and nonprofit-management student will find immediately useful. A book adoption gift containing teaching support materials is available to instructors. To gain access, visit www.routledge.com/9780367771133.
For those intimidated by the complexity of personal interaction, or those simply looking to polish their speaking skills, The Art of Civilized Conversation is a powerful guide to communicating in an endearing way. In our fast-paced, electronic society, the most basic social interaction—talking face-to-face—can be a challenge for even the most educated and self-assured individuals. And yet making conversation is a highly practical skill: those who do it well shine at networking parties, interviews, and business lunches. Good conversation also opens doors to a happier love life, warmer friendships, and more rewarding time with family. In The Art of Civilized Conversation, author Margaret Shepherd offers opening lines, graceful apologies, thoughtful questions, and, ultimately, the confidence to take conversations beyond hello. From the basics—first impressions, appropriate subject matter, and graceful exits—to finding the right words for difficult situations and an insightful discussion of body language, Shepherd uses her skilled eye and humorous anecdotes to teach readers how to turn a plain conversation into an engaging encounter. Filled with common sense and fresh insight, The Art of Civilized Conversation is the perfect inspiration not only for what to say but for how to say it with style.
Gallery director, artist, and lecturer Jackie Battenfield offers expert advice on how to develop a sustained and rewarding career as a visual artist.
This book is for art market researchers at all levels. A brief overview of the global art market and its major stakeholders precedes an analysis of the various sales venues (auction, commercial gallery, etc.). Library research skills are reviewed, and advanced methods are explored in a chapter devoted to basic market research. Because the monetary value of artwork cannot be established without reference to the aesthetic qualities and art historical significance of our subject works, two substantial chapters detail the processes involved in researching and documenting the fine and decorative arts, respectively, and provide annotated bibliographies. Methods for assigning values for art objects are explored, and sources of price data, both in print and online, are identified and described in detail. In recent years, art historical scholarship increasingly has addressed issues related to the history of art and its markets: a chapter on resources for the historian of the art market offers a wide range of sources. Finally, provenance and art law are discussed, with particular reference to their relevance to dealers, collectors, artists and other art market stakeholders.
Even if Peirce were well understood and there existed· general agreement among Peirce scholars on what he meant by his semiotics, or philosophy of signs, the undertaking of this book-wliich intends to establish a theoretical foundation for a new approach to understanding the interrelations of law, economics, and politics against referent systems of value-would be a risky venture. But since such general agreement on Peirce's work is lacking, one's sense of adventure in ideas requires further qualification. Indeed, the proverbial nerve for failure must in any case be attendant. If one succeeds, one has introduced for further inquiry the strong possibility that should our social systems of law, economics, and politics---our means of interpersonal transaction as a whole-be understood against the theoretical back ground of a dynamic, "motion-picture" universe that is continually becoming, that is infinitely developing and changing in response to genuinely novel elements that emerge as existents, then the basic concepts of rights, resources, and reality take on new dimensions of meaning in correspondence with n-dimensional, infinite value judgments or truth-like beliefs which one holds. If such a view, as Peirce maintained, were possible and tenable not only for philosophy but as the basis for action and interaction in the world of human experience and practical affairs, one would readily say that risk taking is a small price for the realization of such possibility.