chunikhin (24 risultati)

Condizione: Good. Wolters-Noordhoff Publishing Groningen, 1969. Ex-library, with typical library markings; Cover very barely rubbed/bumped, edges/corners ever-so-slightly rubbed/bumped, ever-so- slightly soiled at bottom edge of front board; binding tight; cover, edges, and interior intact and very clean except where noted. hardcover. Good.

Hardcover. Condizione: Very Good+. Condizione sovraccoperta: Very Good. 1st Edition Thus. First edition thus w/SD & NAP, hardcover, has a very slight skew to binding, slight bumps to board corners, and very faint wear to spine ends and board edges, otherwise a solid, tight VG+ copy in VG dust jacket which has a short tear to top edge of front panel, faint vertical scrape to front panel, slight bumps to spine ends and corners, faint edgewear, and some very slight rubbing.

Condizione: Good. This is an ex-library book and may have the usual library/used-book markings inside.This book has hardback covers. In good all round condition. No dust jacket. Please note the Image in this listing is a stock photo and may not match the covers of the actual item,400grams, ISBN:

Hardcover (Original Cloth). Condizione: Good. Condizione sovraccoperta: No Dust Jacket. First Edition; First Edition. 142 pages. With library stamps & labels. Slight wear to spine, covers & corners. ; Ex-Library; Octavo (standard book size).

Hard Cover. Condizione: VG+. Condizione sovraccoperta: VG. First English. VG+/VG. 8vo. original red leatherette gilt in dustwrapper (some crinkling, tape marks on reverse); pp. 142. A very good copy.

Condizione: New.

HRD. Condizione: New. New Book. Shipped from UK. Established seller since 2000.

HRD. Condizione: New. New Book. Shipped from UK. Established seller since 2000.

Condizione: As New. Unread book in perfect condition.

Condizione: New.

Condizione: As New. Unread book in perfect condition.

Buch. Condizione: Neu. Neuware -Who organized numerous exhibitions of American art in the Cold War Soviet Union - and why Did Americans truly want to 'subvert' the Soviet regime with abstraction, and were the Soviets really 'afraid' of non-figurative art And, most noteworthy, can we adequately assess the role of art as a 'weapon' of the Cold War The significance of Shared Images lies in its revision of what, to date, has been a biased, politicized approach to American art and Soviet cultural policies during the Cold War. Shared Images proposes that we write Cold War art history without merely projecting political events onto the art historical timeline and interpolating the logic of Cold War politics into cultural history. Instead, the monograph presents a careful narrative which, along with major political events, also considers individual agencies, affective regimes, and, of course, formative contexts other than the political. Exploring American art as an essentially global phenomenon, the monograph employs the concept of a 'shared history' to analyze interconnections and mutual dependence of Soviet and American art histories from the late 1940s to the 1960s. Shared Images, thus, revises narratives on Soviet and American isolationism, allegedly a distinctive feature of Cold War cultures. Englisch.

Buch. Condizione: Neu. Neuware -Who organized numerous exhibitions of American art in the Cold War Soviet Union - and why Did Americans truly want to 'subvert' the Soviet regime with abstraction, and were the Soviets really 'afraid' of non-figurative art And, most noteworthy, can we adequately assess the role of art as a 'weapon' of the Cold War The significance of Shared Images lies in its revision of what, to date, has been a biased, politicized approach to American art and Soviet cultural policies during the Cold War. Shared Images proposes that we write Cold War art history without merely projecting political events onto the art historical timeline and interpolating the logic of Cold War politics into cultural history. Instead, the monograph presents a careful narrative which, along with major political events, also considers individual agencies, affective regimes, and, of course, formative contexts other than the political. Exploring American art as an essentially global phenomenon, the monograph employs the concept of a 'shared history' to analyze interconnections and mutual dependence of Soviet and American art histories from the late 1940s to the 1960s. Shared Images, thus, revises narratives on Soviet and American isolationism, allegedly a distinctive feature of Cold War cultures. Englisch.

Hardcover. Condizione: Brand New. 240 pages. 9.05x6.10x9.21 inches. In Stock.

Condizione: New. Kirill Chunikhin is Associate Professor at the Department of History and Head of Laboratory for Visual History at the National Research University Higher School of Economics, St. Petersburg, Russia. Who organized numerous exhi.

Buch. Condizione: Neu. Neuware -Who organized numerous exhibitions of American art in the Cold War Soviet Union - and why Did Americans truly want to 'subvert' the Soviet regime with abstraction, and were the Soviets really 'afraid' of non-figurative art And, most noteworthy, can we adequately assess the role of art as a 'weapon' of the Cold War The significance of Shared Images lies in its revision of what, to date, has been a biased, politicized approach to American art and Soviet cultural policies during the Cold War. Shared Images proposes that we write Cold War art history without merely projecting political events onto the art historical timeline and interpolating the logic of Cold War politics into cultural history. Instead, the monograph presents a careful narrative which, along with major political events, also considers individual agencies, affective regimes, and, of course, formative contexts other than the political. Exploring American art as an essentially global phenomenon, the monograph employs the concept of a 'shared history' to analyze interconnections and mutual dependence of Soviet and American art histories from the late 1940s to the 1960s. Shared Images, thus, revises narratives on Soviet and American isolationism, allegedly a distinctive feature of Cold War cultures.Walter de Gruyter GmbH, Genthiner Strasse 13, 10785 Berlin Englisch.

Buch. Condizione: Neu. Neuware - Who organized numerous exhibitions of American art in the Cold War Soviet Union - and why Did Americans truly want to 'subvert' the Soviet regime with abstraction, and were the Soviets really 'afraid' of non-figurative art And, most noteworthy, can we adequately assess the role of art as a 'weapon' of the Cold War The significance of Shared Images lies in its revision of what, to date, has been a biased, politicized approach to American art and Soviet cultural policies during the Cold War. Shared Images proposes that we write Cold War art history without merely projecting political events onto the art historical timeline and interpolating the logic of Cold War politics into cultural history. Instead, the monograph presents a careful narrative which, along with major political events, also considers individual agencies, affective regimes, and, of course, formative contexts other than the political. Exploring American art as an essentially global phenomenon, the monograph employs the concept of a 'shared history' to analyze interconnections and mutual dependence of Soviet and American art histories from the late 1940s to the 1960s. Shared Images, thus, revises narratives on Soviet and American isolationism, allegedly a distinctive feature of Cold War cultures.

Buch. Condizione: Neu. Shared Images | A History of American Art in the Soviet Union during the Cold War | Kirill Chunikhin | Buch | Rethinking the Cold War | XI | Englisch | 2025 | De Gruyter Oldenbourg | EAN 9783111388120 | Verantwortliche Person für die EU: Walter de Gruyter GmbH, De Gruyter GmbH, Genthiner Str. 13, 10785 Berlin, productsafety[at]degruyterbrill[dot]com | Anbieter: preigu.

Condizione: Sehr gut. Zustand: Sehr gut | Sprache: Englisch | Produktart: Bücher | Shared Images brings attention to an intriguing paradox: before the Cold War, with no Iron Curtain to restrict cultural exchange, few minor exhibitions of American art took place in the Soviet Union. In sharp contrast, dozens of shows circulated in.

Hardcover. Condizione: Very good +. 142 p. 23 cm. Burgundy hardcover. Faint dent bottom of rear board. Ink signature on front free endpaper. Bibliography and index.

Ensayo. Ciencia. Ingeniería. Unión Soviética. Moscow. Editorial: MIR. 1989. Primera edición. 359 pags. 22x15 cms. Cartoné editorial con sobrecubierta. Muy buen estado. Sobrecubierta levemente rozada. Ilustraciones en b/n entre el texto. Traducción de M. Edelev. GASTOS DE ENVÍO: 1 EURO PARA EL ENVÍO ORDINARIO (SIN NÚMERO DE SEGUIMIENTO). 2,50 EUROS PARA EL ENVÍO CERTIFICADO CON RECOGIDA EN OFICINA DE CORREOS. 3,50 EUROS PARA EL ENVÍO CERTIFICADO CON ENTREGA EN DOMICILIO.

Hardcover. Condizione: Good. In Russian. Chunikhin, Ivan Antonovich. Agricultural production - the industrial basis. Moscow: Profizdat, 1975. All images are for identification of editions only. Several books of the same edition may be available. Please feel free to request photos of available books.SKU6952694.

Hardcover. Condizione: Good. In Russian. Chunikhin, Alexander Adolfovich. Electrical Devices. Moscow: Energiya, 1975. All images are for identification of editions only. Several books of the same edition may be available. Please feel free to request photos of available books.SKU6952693.

Hardcover. Condizione: new. Hardcover. Who organized numerous exhibitions of American art in the Cold War Soviet Union and why? Did Americans truly want to subvert the Soviet regime with abstraction, and were the Soviets really afraid of non-figurative art? And, most noteworthy, can we adequately assess the role of art as a weapon of the Cold War? The significance of Shared Images lies in its revision of what, to date, has been a biased, politicized approach to American art and Soviet cultural policies during the Cold War. Shared Images proposes that we write Cold War art history without merely projecting political events onto the art historical timeline and interpolating the logic of Cold War politics into cultural history. Instead, the monograph presents a careful narrative which, along with major political events, also considers individual agencies, affective regimes, and, of course, formative contexts other than the political. Exploring American art as an essentially global phenomenon, the monograph employs the concept of a shared history to analyze interconnections and mutual dependence of Soviet and American art histories from the late 1940s to the 1960s. Shared Images, thus, revises narratives on Soviet and American isolationism, allegedly a distinctive feature of Cold War cultures. Shared Images brings attention to an intriguing paradox: before the Cold War, with no Iron Curtain to restrict cultural exchange, few minor exhibitions of American art took place in the Soviet Union. In sharp contrast, dozens of shows circulated in This item is printed on demand. Shipping may be from our UK warehouse or from our Australian or US warehouses, depending on stock availability.