stephanie barron editor (13 Ergebnisse)

Paperback. Zustand: Good. vminor wear and creasing.

paperback. Zustand: New. In shrink wrap.

Hardcover & Dust Jacket. Zustand: Good +.

Hardcover & Dust Jacket. Zustand: Very Good. 430 pp. Exhibition catalog and collection of articles concerning exile artists in America. Meaning and consequence of the displacement.

Paperback. Zustand: Good. Paperback. Pages are clean and unmarked. Covers show light edge wear.; 100% Satisfaction Guaranteed! Ships same or next business day!

Paperback. Zustand: Brand New. reprint edition. 370 pages. 9.50x6.25x1.00 inches. In Stock.

Zustand: Good. 4to. Hard Cover [ca. 150 pp.], First edition, B&W and Color Plates. Very Good, Provenance: Gagosian Gallery.

Hardcover. Zustand: Brand New. 01 edition. 144 pages. 11.00x9.00x1.00 inches. In Stock.

Hardcover. Zustand: Good. Presumed First Edition, First printing. 423, [1] pages. Oversized book, measuring 12 inches by 9-1/2 inches. Small dings/damage at bottom edge of front cover and spine. Contributors to this book include Peter Guenther, Andreas Huneke, Annegret Janda, Mario-Andreas von Luttichau, Michael Meyer, William Moritz, George L. Mosse, and Chrisoph Zuschlag. Includes Foreword, Chronology, Register of Frequently Cited Names and Organizations, Exhibition Ephemera, Entartete Kunst: The Literature, Selected Bibliography, Acknowledgments, List of Lenders, and Index. This book was published in conjunction with the exhibition "Degenerative Art": The Fate of the Avant-Garde in Nazi Germany, which was organized by the Los Angels County Museum of Art. This is a key work in the field of what was termed 'Degenerate Art' ('Entartete Kunst') by the Nazis. Particularly valuable for its reconstruction of the 'Entartete Kunst' Exhibition held in Munich in 1937 on the basis of existing photographs and documentation, and the touring of versions to other major cities. This book examines the events surrounding the condemnation of modern art by the National Socialists. This book documents one of the most appalling moments in our century's cultural history, but it also reminders us that art and creativity will survive censorship and oppression. Degenerate Art also was the title of an exhibition, held by the Nazis in Munich in 1937, consisting of 650 modernist artworks chaotically hung and accompanied by text labels deriding the art. The National Socialists rejected and censured virtually everything that had existed on the German modern art scene. The book also includes a detailed description of the exhibit, explanations of how the exhibit design influenced the viewers, and short biographies of every artist included, as well as examples of their work, many of which were destroyed. Degenerate art was a term adopted in the 1920s by the Nazi Party in Germany to describe modern art. During the dictatorship of Adolf Hitler, German modernist art, including many works of internationally renowned artists, was removed from state-owned museums and banned in Nazi Germany on the grounds that such art was an "insult to German feeling", un-German, Jewish, or Communist in nature. Those identified as degenerate artists were subjected to sanctions that included being dismissed from teaching positions, being forbidden to exhibit or to sell their art, and in some cases being forbidden to produce art. The Nazis promoted paintings and sculptures that were traditional in manner and that exalted the "blood and soil" values of racial purity, militarism, and obedience. In 1937 the National Socialists staged the most virulent attack ever mounted against modern art with the opening on July 19 in Munich of the Entartete Kunst (Degenerate art) exhibition, in which were brought together more than 650 important paintings, sculptures, prints, and books that had until a few weeks earlier been in the possession of thirty-two German public museum collections. The works were assembled for the purpose of clarifying for the German public by defamation and derision exactly what type of modern art was unacceptable to the Reich, and thus "un-German." During the four months Entartete Kunst was on view in Munich it attracted more than two million visitors, over the next three years it traveled throughout Germany and Austria and was seen by nearly one million more. On most days twenty thousand visitors passed through the exhibition, which was free of charge; records state that on one Sunday August 2, 1937-thirty six thousand people saw it. The popularity of Entartete Kunst has never been matched by any other exhibition of modern art. According to newspaper accounts, five times as many people visited Entartete Kunst as saw the Grosse Deutsche Kunstaussiellung (Great German art exhibition), an equally large presentation of Nazi-approved art that had opened on the preceding day to inaugurate Munich's Haus der Deutschen Kunst (House of German art.

Hardcover. Zustand: Brand New. 360 pages. 11.75x10.25x1.50 inches. In Stock.

Paperback. Zustand: New. In shrink wrap.

Wraps. Zustand: Very good. Presumed First Edition, First printing. The format is approximately 8.5 inches by 11 inches. 288 pages. Illustrations. Illustrated front cover. The cover has slight wear and soiling. This is an exhibition catalogue. This exhibition is funded in part by a grant from the National Endowment for the Humanities, by an indemnity from the Federal Council on the Arts and Humanities, and by an grant from the Shubert Foundation. Los Angeles County Museum of Art and Hershhorn Museum and Sculpture Garden Smithsonian Institution Washington D.C. The contents include a Foreword, Lenders, Contributors, Essays, Notes to the Reader, Catalogue, Supplemental Checklist, Chronologies, and Selected Bibliography. This catalogue includes a suite of insightful essays. This exhibition included information on Avant-Garde architectural influences. The Russian avant-garde was a large, influential wave of avant-garde modern art that flourished in the Russian Empire and the Soviet Union, approximately from 1890 to 1930although some have placed its beginning as early as 1850 and its end as late as 1960. The term covers many separate, but inextricably related, art movements that flourished at the time; including Suprematism, Constructivism, Russian Futurism, Cubo-Futurism, Zaum, Imaginism, and Neo-primitivism. In Ukraine, many of the artists who were born, grew up or were active in what is now Belarus and Ukraine (including Kazimir Malevich, Aleksandra Ekster, Vladimir Tatlin, David Burliuk, Alexander Archipenko), are also classified in the Ukrainian avant-garde. The Russian avant-garde reached its creative and popular height in the period between the Russian Revolution of 1917 and 1932, at which point the ideas of the avant-garde clashed with the newly emerged state-sponsored direction of Socialist Realism. The influence of the Russian avant-garde on recent developments in Western art is now undisputed. Without Kazimir Malevich's Black Square on White Background (1915), his later Suprematist composition White on White, Rodchenko's series of Black Pictures (1917/18), and his primary-colored triptych (1921), the evolution of non-representational art by artists such as Yves Klein, Barnett Newman, and Ad Reinhardt would be inconceivable. the same applies, for example, to works of American minimal art by Donald Judd and Carl Andre, which can be traced back to the materiality and functionality of early sculptures by Tatlin and Rodchenko. The founding of the National Academy of Arts in 1923, promoted by Lunacharsky, and the associated journals were primarily intended to promote exchange with Western countries. This was reflected above all in the establishment of the Soviet pavilion at the Paris Exhibition of Applied Arts in 1925 and in a major exhibition of contemporary French art in Moscow in 1928. The politicized Western art influenced by the Russian avant-garde also had an impact on Russia, as demonstrated by the exhibition of revolutionary art from the West in Moscow in 1926.

New York, Harry Abramsn Los Angeles County Museum of Art, 1991, in-4°, 423 pp , index, ills. publisher's cloth with printed dust wrapper. Fine copy. Published in conjunction with an exhibition with the same name.