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A box of Latin manuscripts comes to light in an Argentine flea market. An apocyphral invention by some 17th or 18th century scolar, or a transcrpit of what it appears to be - a hitherto unheard of letter to St Augustine to a woman he renounced for chastity? VITA BREVIS is both an entrancing human document and a fascinating insight into the life and philosophy of St.Augustine. Gaarder'sinterpretation of Floria's letter is as playful, inventive and questioning as SOPHIE'S WORLD.
Ruso and Tilla's excitement at arriving in Rome with their new baby daughter is soon dulled by their discovery that the grand facades of polished marble mask an underworld of corrupt landlords and vermin-infested tenements. There are also far too many doctors--some skilled--but others positively dangerous. Ruso thinks he has been offered a reputable medical practice only to find that his predecessor Doctor Kleitos has fled, leaving a dead man in a barrel on the doorstep and the warning, "Be careful who you trust.” Distracted by the body and his efforts to help a friend win the hand of a rich young heiress, Ruso makes a grave mistake, causing him to question both his competence and his integrity. With Ruso's reputation under threat, he and Tilla must protect their small family from Doctor Kleitos's debt collectors and find allies in their new home while they track down the vanished doctor and find out the truth about the heiress's dead father--Ruso's patient--and the unfortunate man in the barrel.
Vita Brevis was established in 1998 to broaden the reach of The Institute for Contemporary Art, Boston (ICA), adding relevance and visibility to adventurous present-day art. The program commissions artists from around the world to create temporary works of public art in response to Boston's rich landscape and history. Unusual and challenging settings are used for these projects--public parks, urban wilds, historic sites, roadways, riverbanks and more--resulting in works that encourage people to experience Boston's environs and multifaceted history with renewed understanding and focus. Participating artists include Olafur Eliasson, Cornelia Parker, Krzysztof Wodiczko, Ann Carlson, Nari Ward, Jim Hodges and others. ICA/Vita Brevis 1998-2003: History, Landscape and Art documents the program's first five projects.
While many museums have ignored public art as a distinct arena of art production and display, others have – either grudgingly or enthusiastically – embraced it. Some institutions have partnered with public art agencies to expand the scope of special exhibitions; other museums have attempted to establish in-house public art programs. This is the first book to contextualize the collaborations between museums and public art through a range of essays marked by their coherence of topical focus, written by leading and emerging scholars and artists. Organized into three sections it represents a major contribution to the field of art history in general, and to those of public art and museum studies in particular. It includes essays by art historians, critics, curators, arts administrators and artists, all of whom help to finally codify the largely unwritten history of how museums and public art have and continue to intersect. Key questions are both addressed and offered as topics for further discussion: Who originates such public art initiatives, funds them, and most importantly, establishes the philosophy behind them? Is the efficacy of these initiatives evaluated in the same way as other museum exhibitions and programs? Can public art ever be a “permanent” feature in any museum? And finally, are the museum and public art ultimately at odds, or able to mutually benefit one another?