Susan e cahan (37 risultati)
Lingua: Inglese
Editore: Duke University Press, 2016
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Da: Better World Books, Mishawaka, IN, U.S.A.Better World Books
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Condizione: Good. Pages intact with minimal writing/highlighting. The binding may be loose and creased. Dust jackets/supplements are not included. Stock photo provided. Product includes identifying sticker. Better World Books: Buy Books. Do Good.
Lingua: Inglese
Editore: Duke University Press, 2016
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Hardcover. Condizione: Very Good. No Jacket. Missing dust jacket; May have limited writing in cover pages. Pages are unmarked. ~ ThriftBooks: Read More, Spend Less.
Lingua: Inglese
Editore: Duke University Press, 2016
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Da: Better World Books, Mishawaka, IN, U.S.A.Better World Books
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Condizione: Very Good. Former library copy. Pages intact with possible writing/highlighting. Binding strong with minor wear. Dust jackets/supplements may not be included. Includes library markings. Stock photo provided. Product includes identifying sticker. Better World Books: Buy Books. Do Good.
Lingua: Inglese
Editore: Duke University Press, 2016
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Hardcover. Condizione: Very Good. No Jacket. Former library book; May have limited writing in cover pages. Pages are unmarked. ~ ThriftBooks: Read More, Spend Less.
Lingua: Inglese
Editore: Duke University Press, 2016
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Da: Better World Books, Mishawaka, IN, U.S.A.Better World Books
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Condizione: Good. Former library copy. Pages intact with minimal writing/highlighting. The binding may be loose and creased. Dust jackets/supplements are not included. Includes library markings. Stock photo provided. Product includes identifying sticker. Better World Books: Buy Books. Do Good.
Lingua: Inglese
Editore: Duke University Press Books, 2016
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Da: Kennys Bookstore, Olney, MD, U.S.A.Kennys Bookstore
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Condizione: New. In Mounting Frustration Susan E. Cahan uncovers the moment when the civil rights movement reached New York City's elite art galleries. Focusing on three controversial exhibitions that integrated African American culture and art, Cahan shows how the art world's racial politics is far more complicated than overcom…ing past exclusions. Series: Art History Publication Initiative. Num Pages: 360 pages, 113 illustrations (incl. 20 in color). BIC Classification: 1KBB; ACX; HBJK; JFSL4. Category: (G) General (US: Trade). Dimension: 195 x 266 x 27. Weight in Grams: 1110. . 2016. hardcover. . . . . Books ship from the US and Ireland.
Lingua: Inglese
Editore: Duke University Press Books, 2016
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Da: Kennys Bookshop and Art Galleries Ltd., Galway, GY, IrlandaKennys Bookshop and Art Galleries Ltd.
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Condizione: New. In Mounting Frustration Susan E. Cahan uncovers the moment when the civil rights movement reached New York City's elite art galleries. Focusing on three controversial exhibitions that integrated African American culture and art, Cahan shows how the art world's racial politics is far more complicated than overcom…ing past exclusions. Series: Art History Publication Initiative. Num Pages: 360 pages, 113 illustrations (incl. 20 in color). BIC Classification: 1KBB; ACX; HBJK; JFSL4. Category: (G) General (US: Trade). Dimension: 195 x 266 x 27. Weight in Grams: 1110. . 2016. hardcover. . . . .
Lingua: Inglese
Editore: Duke University Press, 2018
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Da: ThriftBooks-Atlanta, AUSTELL, GA, U.S.A.ThriftBooks-Atlanta
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Paperback. Condizione: Very Good. No Jacket. May have limited writing in cover pages. Pages are unmarked. ~ ThriftBooks: Read More, Spend Less.
Lingua: Inglese
Editore: Duke University Press Books, 2016
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Da: Hilltop Book Shop, Marshfield, WI, U.S.A.Hilltop Book Shop
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hardcover. Condizione: Good. Ex-library with usual markings (date due slip, stickers, stamps, etc.). Dust jacket protected by plastic. Cover in great shape. Pages in great condition. Binding is secure. Our feedback says it all! Feel confident when you order from Hilltop Book Shop.
Lingua: Inglese
Editore: Duke University Press Books, 2016
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Da: Half Price Books Inc., Dallas, TX, U.S.A.Half Price Books Inc.
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Hardcover. Condizione: Very Good. Connecting readers with great books since 1972! Used books may not include companion materials, and may have some shelf wear or limited writing. We ship orders daily and Customer Service is our top priority.
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Da: Midtown Scholar Bookstore, Harrisburg, PA, U.S.A.Midtown Scholar Bookstore
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Hardcover. Condizione: Good. Good - Bumped and creased book with tears to the extremities, but not affecting the text block, may have remainder mark or previous owner's name - GOOD Oversized.
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Da: Midtown Scholar Bookstore, Harrisburg, PA, U.S.A.Midtown Scholar Bookstore
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Hardcover. Condizione: Acceptable. HARDCOVER Acceptable - This is a significantly damaged book. It should be considered a reading copy only. Please order this book only if you are interested in the content and not the condition. May be ex-library. Oversized.
- Altre immagini
Lingua: Inglese
Editore: Duke University Press, Durham, 2016
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Da: Argosy Book Store, ABAA, ILAB, New York, NY, U.S.A.Argosy Book Store, ABAA, ILAB
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hardcover. Condizione: fine. Condizione sovraccoperta: fine. Illustrated in color and in black and white. xvi, 344 pages. Large 8vo, grey boards with silver spine lettering, d.w. Durham: Duke University Press, 2016). Fine in a fine dust wrapper.
Soul of a Nation Art in the Age of Black Power
Godfrey, Mark & Zoé Whitley & Linda Goode Bryant & Susan E. Cahan & David Driskell & Edmund Gaither & Jae Jarrell & Wadsworth Jarrell & Samella Lewis
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Da: Daedalus Books, Portland, OR, U.S.A.Daedalus Books
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Condizione: Usato - Quasi ottimo
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Hardcover. Condizione: Near Fine. Condizione sovraccoperta: No Dust Jacket As Issued. Light wear to corners. A nice, bright copy. ; Color Plates; 8.6 X 1.1 X 10.7 inches; 256 pages.
- Altre immagini
All These Liberations : Women Artists in the Eileen Harris Norton Collection
Aldridge, Taylor Renee (EDT); Belsheim, Sophia (CON); Cahan, Susan (CON); Frazier, Chelsea (CON); Golden, Thelma (CON)
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Da: GreatBookPrices, Columbia, MD, U.S.A.GreatBookPrices
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Condizione: New.
Lingua: Inglese
Editore: Contemporary Art Museum St. Louis, St. Louis, Missouri, 2007
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Da: Mullen Books, ABAA, Marietta, PA, U.S.A.Mullen Books, ABAA
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Hardbound. Condizione: VG+. White patterned boards, 112pp, numerous color and BW plates. I Remember Heaven explores shared affinities in the work of the Pop art superstar Andy Warhol, and contemporary artist Jim Hodges. This cross-generational study looks at both artists' work within a continuum of art production that finds hist…ory in everyday artifacts and uses aesthetic representation as a means to understand visibility and invisibility, sexuality, selfhood, love and death. Essayist Jose Esteban Munoz discusses the artists' work in relation to queer aesthetics before and after Stonewall. Susan E. Cahan examines the personal and social aspects of collective grief, a subject which preoccupied both artists. I Remember Heaven captures a sense of the America of the 60s as not so different from today: Once again, the American public is fiercely divided over social issues; once again, an unpopular war enters American homes via television; and once again, American culture is experiencing an explosion of information--this time spawned by the Internet.
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All These Liberations : Women Artists in the Eileen Harris Norton Collection
Aldridge, Taylor Renee (EDT); Belsheim, Sophia (CON); Cahan, Susan (CON); Frazier, Chelsea (CON); Golden, Thelma (CON)
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Da: GreatBookPrices, Columbia, MD, U.S.A.GreatBookPrices
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Condizione: As New. Unread book in perfect condition.
- Altre immagini
Lingua: Inglese
Editore: Duke University Press, US, 2018
- Brossura
Da: Rarewaves USA, OSWEGO, IL, U.S.A.Rarewaves USA
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EUR 48,34
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Paperback. Condizione: New. Prior to 1967 fewer than a dozen museum exhibitions had featured the work of African American artists. And by the time the civil rights movement reached the American art museum, it had already crested: the first public demonstrations to integrate museums occurred in late 1968, twenty years after the d…esegregation of the military and fourteen years after the Brown vs. Board of Education decision. In Mounting Frustration Susan E. Cahan investigates the strategies African American artists and museum professionals employed as they wrangled over access to and the direction of New York City's elite museums. Drawing on numerous interviews with artists and analyses of internal museum documents, Cahan gives a detailed and at times surprising picture of the institutional and social forces that both drove and inhibited racial justice in New York's museums. Cahan focuses on high-profile and wildly contested exhibitions that attempted to integrate African American culture and art into museums, each of which ignited debate, dissension, and protest. The Metropolitan Museum's 1969 exhibition Harlem on My Mind was supposed to represent the neighborhood, but it failed to include the work of the black artists living and working there. While the Whitney's 1971 exhibition Contemporary Black Artists in America featured black artists, it was heavily criticized for being haphazard and not representative. The Whitney show revealed the consequences of museums' failure to hire African American curators, or even white curators who possessed knowledge of black art. Cahan also recounts the long history of the Museum of Modern Art's institutional ambivalence toward contemporary artists of color, which reached its zenith in its 1984 exhibition "Primitivism" in Twentieth Century Art. Representing modern art as a white European and American creation that was influenced by the "primitive" art of people of color, the show only served to further devalue and cordon off African American art. In addressing the racial politics of New York's art world, Cahan shows how aesthetic ideas reflected the underlying structural racism and inequalities that African American artists faced. These inequalities are still felt in America's museums, as many fundamental racial hierarchies remain intact: art by people of color is still often shown in marginal spaces; one-person exhibitions are the preferred method of showing the work of minority artists, as they provide curators a way to avoid engaging with the problems of complicated, interlocking histories; and whiteness is still often viewed as the norm. The ongoing process of integrating museums, Cahan demonstrates, is far broader than overcoming past exclusions.
- Altre immagini
I Remember Heaven: Jim Hodges and Andy Warhol
HODGES, Jim, Andy Warhol, Susan E. Cahan, and Jose Esteban Munoz
Lingua: Inglese
Editore: Contemporary Art Museum St. Louis, Saint Louis, MO, 2007
- Rilegato
- Prima edizione
- Firmato
Da: Jeff Hirsch Books, ABAA, Wadsworth, IL, U.S.A.Jeff Hirsch Books, ABAA
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First Edition. First edition. Hardcover. 112 Philadelphia, PAExhibition catalog for a show that ran January 26 through April 8, 2007. Features texts by Susan E. Cahan and Jose Esteban Munoz. Includes numerous illustrations and a checklist. A very good plus copy in illustrated boards with some light bumping to the top right corne…rs. No dust jacket as issued. Includes a laid in postcard with a signed handwritten note from Jim Hodges to two prominent Chicago art collectors.
- Altre immagini
Lingua: Inglese
Editore: Duke University Press, US, 2016
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Da: Rarewaves.com USA, London, LONDO, Regno UnitoRarewaves.com USA
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Hardback. Condizione: New. Prior to 1967 fewer than a dozen museum exhibitions had featured the work of African American artists. And by the time the civil rights movement reached the American art museum, it had already crested: the first public demonstrations to integrate museums occurred in late 1968, twenty years after the de…segregation of the military and fourteen years after the Brown vs. Board of Education decision. In Mounting Frustration Susan E. Cahan investigates the strategies African American artists and museum professionals employed as they wrangled over access to and the direction of New York City's elite museums. Drawing on numerous interviews with artists and analyses of internal museum documents, Cahan gives a detailed and at times surprising picture of the institutional and social forces that both drove and inhibited racial justice in New York's museums. Cahan focuses on high-profile and wildly contested exhibitions that attempted to integrate African American culture and art into museums, each of which ignited debate, dissension, and protest. The Metropolitan Museum's 1969 exhibition Harlem on My Mind was supposed to represent the neighborhood, but it failed to include the work of the black artists living and working there. While the Whitney's 1971 exhibition Contemporary Black Artists in America featured black artists, it was heavily criticized for being haphazard and not representative. The Whitney show revealed the consequences of museums' failure to hire African American curators, or even white curators who possessed knowledge of black art. Cahan also recounts the long history of the Museum of Modern Art's institutional ambivalence toward contemporary artists of color, which reached its zenith in its 1984 exhibition "Primitivism" in Twentieth Century Art. Representing modern art as a white European and American creation that was influenced by the "primitive" art of people of color, the show only served to further devalue and cordon off African American art. In addressing the racial politics of New York's art world, Cahan shows how aesthetic ideas reflected the underlying structural racism and inequalities that African American artists faced. These inequalities are still felt in America's museums, as many fundamental racial hierarchies remain intact: art by people of color is still often shown in marginal spaces; one-person exhibitions are the preferred method of showing the work of minority artists, as they provide curators a way to avoid engaging with the problems of complicated, interlocking histories; and whiteness is still often viewed as the norm. The ongoing process of integrating museums, Cahan demonstrates, is far broader than overcoming past exclusions.
Lingua: Inglese
Editore: MD - Duke University Press, 2016
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HRD. Condizione: New. New Book. Shipped from UK. Established seller since 2000.
All These Liberations : Women Artists in the Eileen Harris Norton Collection
Aldridge, Taylor Renee (EDT); Belsheim, Sophia (CON); Cahan, Susan (CON); Frazier, Chelsea (CON); Golden, Thelma (CON)
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Condizione: New.
Lingua: Inglese
Editore: Duke University Press, North Carolina, 2016
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Hardcover. Condizione: new. Hardcover. In Mounting Frustration Susan E. Cahan uncovers the moment when the civil rights movement reached New York City's elite art galleries. Focusing on three controversial exhibitions that integrated African American culture and art, Cahan shows how the art world's racial politics is far more co…mplicated than overcoming past exclusions. In Mounting Frustration Susan E. Cahan uncovers the moment when the civil rights movement reached New York City's elite art galleries. Focusing on three controversial exhibitions that integrated African American culture and art, Cahan shows how the art world's racial politics is far more complicated than overcoming past exclusions. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.
Lingua: Inglese
Editore: Duke University Press, 2016
- Rilegato
Da: Majestic Books, Hounslow, Regno UnitoMajestic Books
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Condizione: New. pp. 400.
All These Liberations : Women Artists in the Eileen Harris Norton Collection
Aldridge, Taylor Renee (EDT); Belsheim, Sophia (CON); Cahan, Susan (CON); Frazier, Chelsea (CON); Golden, Thelma (CON)
- Rilegato
Da: GreatBookPricesUK, Woodford Green, Regno UnitoGreatBookPricesUK
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Condizione: As New. Unread book in perfect condition.
Lingua: Inglese
Editore: Duke University Press, 2016
- Rilegato
Da: Brook Bookstore On Demand, Napoli, NA, ItaliaBrook Bookstore On Demand
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Condizione: new.
Editore: Contemporary Art Museum St. Louis, St. Louis
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Da: Spafford Books (ABAC / ILAB), Regina, SK, CanadaSpafford Books (ABAC / ILAB)
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[0-9777528-2-8] 2007. (hardcover) Fine. pp112pp. Tall 4to. Colour photos of exhibition artwork throughout.
- Altre immagini
Lingua: Inglese
Editore: Duke University Press, US, 2016
- Rilegato
Da: Rarewaves USA, OSWEGO, IL, U.S.A.Rarewaves USA
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Hardback. Condizione: New. Prior to 1967 fewer than a dozen museum exhibitions had featured the work of African American artists. And by the time the civil rights movement reached the American art museum, it had already crested: the first public demonstrations to integrate museums occurred in late 1968, twenty years after the de…segregation of the military and fourteen years after the Brown vs. Board of Education decision. In Mounting Frustration Susan E. Cahan investigates the strategies African American artists and museum professionals employed as they wrangled over access to and the direction of New York City's elite museums. Drawing on numerous interviews with artists and analyses of internal museum documents, Cahan gives a detailed and at times surprising picture of the institutional and social forces that both drove and inhibited racial justice in New York's museums. Cahan focuses on high-profile and wildly contested exhibitions that attempted to integrate African American culture and art into museums, each of which ignited debate, dissension, and protest. The Metropolitan Museum's 1969 exhibition Harlem on My Mind was supposed to represent the neighborhood, but it failed to include the work of the black artists living and working there. While the Whitney's 1971 exhibition Contemporary Black Artists in America featured black artists, it was heavily criticized for being haphazard and not representative. The Whitney show revealed the consequences of museums' failure to hire African American curators, or even white curators who possessed knowledge of black art. Cahan also recounts the long history of the Museum of Modern Art's institutional ambivalence toward contemporary artists of color, which reached its zenith in its 1984 exhibition "Primitivism" in Twentieth Century Art. Representing modern art as a white European and American creation that was influenced by the "primitive" art of people of color, the show only served to further devalue and cordon off African American art. In addressing the racial politics of New York's art world, Cahan shows how aesthetic ideas reflected the underlying structural racism and inequalities that African American artists faced. These inequalities are still felt in America's museums, as many fundamental racial hierarchies remain intact: art by people of color is still often shown in marginal spaces; one-person exhibitions are the preferred method of showing the work of minority artists, as they provide curators a way to avoid engaging with the problems of complicated, interlocking histories; and whiteness is still often viewed as the norm. The ongoing process of integrating museums, Cahan demonstrates, is far broader than overcoming past exclusions.
Editore: Contemporary Art Museum St. Louis, 2007
Da: ANARTIST, New York, NY, U.S.A.ANARTIST
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Aggiungi al carrelloHardcover exhibition catalog without dustjacket as issued, 112 pages, new condition; still sealed in shrinkwrap; clean and crisp. Foreign shipping may be extra.
Lingua: Inglese
Editore: Duke University Press, 2016
- Rilegato
Da: THE SAINT BOOKSTORE, Southport, Regno UnitoTHE SAINT BOOKSTORE
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EUR 49,10
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Hardback. Condizione: New. New copy - Usually dispatched within 4 working days.
