An engaging history of studio furniture, Speaking of Furniture: Conversations with 14 American Masters is a fresh, interesting, and in-depth examination of the modus operandi of 14 accomplished-and diverse-furniture makers. The colourful, informative study includes expository conversations with 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. The insightful interviews illuminate how these creative and gifted craftspeople arrived professionally and what their craft means to them individually. In his interpretive and elucidatory Foreword, Edward S. Cooke, Jr. maps out and gives the background on the parameters of the studio furniture world. 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, "Art or craft, this is very personal work." This elegant presentation skilfully sheds light on the thought processes and techniques of a celebrated and exceptional gathering of studio furniture makers who are as unique as they are stellar. As sculptor and furniture designer Wendell Castle remarks, 'What I admired was that...fine art and craft were the same thing.'

A bold reorientation of art history that bridges the divide between fine art and material culture through an examination of objects and their uses Art history is often viewed through cultural or national lenses that define some works as fine art while relegating others to the category of craft. Global Objects points the way to an interconnected history of art, examining a broad array of functional aesthetic objects that transcend geographic and temporal boundaries and challenging preconceived ideas about what is and is not art. Avoiding traditional binaries such as East versus West and fine art versus decorative art, Edward Cooke looks at the production, consumption, and circulation of objects made from clay, fiber, wood, and nonferrous base metals. Carefully considering the materials and process of making, and connecting process to product and people, he demonstrates how objects act on those who look at, use, and acquire them. He reveals how objects retain aspects of their local fabrication while absorbing additional meanings in subtle and unexpected ways as they move through space and time. In emphasizing multiple centers of art production amid constantly changing contexts, Cooke moves beyond regional histories driven by geography, nation-state, time period, or medium. Beautifully illustrated, Global Objects traces the social lives of objects from creation to purchase, and from use to experienced meaning, charting exciting new directions in art history.

Cooke offers a fresh and appealing cross-disciplinary study of the furnituremakers, social structure, household possessions, and surviving pieces of furniture of two neighboring New England communities. Winner of the Decorative Arts Society, Inc.'s Charles F. Montgomery Prize Originally published in 1996. In Making Furniture in Preindustrial America Edward S. Cooke Jr. offers a fresh and appealing cross-disciplinary study of the furnituremakers, social structure, household possessions, and surviving pieces of furniture of two neighboring New England communities. Drawing on both documentary and artifactual sources, Cooke explores the interplay among producer, process, and style in demonstrating why and how the social economies of these two seemingly similar towns differed significantly during the late colonial and early national periods. Throughout the latter half of the eighteenth century, Cooke explains, the yeoman town of Newtown relied on native joiners whose work satisfied the expectations of their fellow townspeople. These traditionalists combined craftwork with farming and made relatively plain, conservative furniture. By contrast, the typical joiner in the neighboring gentry town of Woodbury was the immigrant innovator. Born and raised elsewhere in Connecticut and serving a diverse clientele, these craftsmen were free of the cultural constraints that affected their Newtown contemporaries. Relying almost entirely on furnituremaking for their livelihood, they were free to pay greater attention to stylistically sensitive features than to mere function.