Partisan Canons (27 results)

Paperback. Condition: Fine. Publisher overstock. May have remainder mark / minimal shelfwear. 99% of orders arrive in 4-10 days. Discounted shipping on multiple books.

Paperback. Condition: New. New item in gift quality condition. 99% of orders arrive in 4-10 days. Discounted shipping on multiple books.

Paperback. Condition: Very Good. Very Good - Crisp, clean, unread book with some shelfwear/edgewear, may have a remainder mark - NICE Standard-sized.

Paperback. Condition: 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 PAPERBACK Standard-sized.

Condition: new.

Hardcover. Condition: 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 Standard-sized.

Condition: very good. Gut/Very good: Buch bzw. Schutzumschlag mit wenigen Gebrauchsspuren an Einband, Schutzumschlag oder Seiten. / Describes a book or dust jacket that does show some signs of wear on either the binding, dust jacket or pages.

Paperback. Condition: new. New Copy. Customer Service Guaranteed.

Condition: As New. Unread book in perfect condition.

PAP. Condition: New. New Book. Shipped from UK. Established seller since 2000.

Condition: New.

Condition: New. Partisan Canons (Paperback or Softback).

Condition: New. In English.

Condition: New. Case studies that counter the idea of a transcendent art canon by demonstrating that the content of any and every canon is historically and culturally specific. Editor(s): Brzyski, Anna. Num Pages: 376 pages, 38 illustrations, 8 tables. BIC Classification: AC. Category: (P) Professional & Vocational. Dimension: 233 x 159 x 22. Weight in Grams: 532. . 2007. Paperback. . . . . …

Hardcover Oct 08, 2007. Condition: New. Nice clean copy with a tight binding. Looks unread! No jacket.

Condition: New.

Softcover. Condition: VG-. Beige and white wraps with red and black arrows and lettering; 370 pp. with occasional bw illustrations. Focusing on various moments from the 17th century to the present, the essays highlight the diverse factors that affect the production of art canons: market forces, aesthetic and political positions, nationalism and ingrained ideas concerning the cultural superiority of particular groups, perceptions of gender and race, artists' efforts to negotiate their status within particular professional environments, and the dynamics of art history as an academic discipline and discourse. …

Paperback. Condition: New. Whether it is being studied or critiqued, the art canon is usually understood as an authoritative list of important works and artists. This collection breaks with the idea of a singular, transcendent canon. Through provocative case studies, it demonstrates that the content of any canon is both historically and culturally specific and dependent on who is responsible for the canon's production and maintenance. The contributors explore how, where, why, and by whom canons are formed; how they function under particular circumstances; how they are maintained; and why they may undergo change.Focusing on various moments from the seventeenth century to the present, the contributors cover a broad geographic terrain, encompassing the United States, France, Germany, the Netherlands, Poland, Taiwan, and South Africa. Among the essays are examinations of the working and reworking of a canon by an influential nineteenth-century French critic, the limitations placed on what was acceptable as canonical in American textbooks produced during the Cold War, the failed attempt to define a canon of Rembrandt's works, and the difficulties of constructing an artistic canon in parts of the globe marked by colonialism and the imposition of Eurocentric ideas of artistic value. The essays highlight the diverse factors that affect the production of art canons: market forces, aesthetic and political positions, nationalism and ingrained ideas concerning the cultural superiority of particular groups, perceptions of gender and race, artists' efforts to negotiate their status within particular professional environments, and the dynamics of art history as an academic discipline and discourse. This volume is a call to historicize canons, acknowledging both their partisanship and its implications for the writing of art history.Contributors. Jenny Anger, Marcia Brennan, Anna Brzyski, James Cutting, Paul Duro, James Elkins, Barbara Jaffee, Robert Jensen, Jane C. Ju, Monica Kjellman-Chapin, Julie L. McGee, Terry Smith, Linda Stone-Ferrier, Despina Stratigakos.…

Paperback / softback. Condition: New. New copy - Usually dispatched within 4 working days.

Condition: New. Case studies that counter the idea of a transcendent art canon by demonstrating that the content of any and every canon is historically and culturally specific. Editor(s): Brzyski, Anna. Num Pages: 376 pages, 38 illustrations, 8 tables. BIC Classification: AC. Category: (P) Professional & Vocational. Dimension: 233 x 159 x 22. Weight in Grams: 532. . 2007. Paperback. . . . . Books ship from the US and Ireland. …

Condition: As New. Unread book in perfect condition.

Paperback. Condition: Brand New. 370 pages. 8.75x6.00x0.75 inches. In Stock.

Paperback. Condition: New. In shrink wrap. Looks like an interesting title.

Kartoniert / Broschiert. Condition: New. Case studies that counter the idea of a transcendent art canon by demonstrating that the content of any and every canon is historically and culturally specific.&Uumlber den AutorAnna Brzyski is Assistant Professor of Art His.

Paperback. Condition: New. Whether it is being studied or critiqued, the art canon is usually understood as an authoritative list of important works and artists. This collection breaks with the idea of a singular, transcendent canon. Through provocative case studies, it demonstrates that the content of any canon is both historically and culturally specific and dependent on who is responsible for the canon's production and maintenance. The contributors explore how, where, why, and by whom canons are formed; how they function under particular circumstances; how they are maintained; and why they may undergo change.Focusing on various moments from the seventeenth century to the present, the contributors cover a broad geographic terrain, encompassing the United States, France, Germany, the Netherlands, Poland, Taiwan, and South Africa. Among the essays are examinations of the working and reworking of a canon by an influential nineteenth-century French critic, the limitations placed on what was acceptable as canonical in American textbooks produced during the Cold War, the failed attempt to define a canon of Rembrandt's works, and the difficulties of constructing an artistic canon in parts of the globe marked by colonialism and the imposition of Eurocentric ideas of artistic value. The essays highlight the diverse factors that affect the production of art canons: market forces, aesthetic and political positions, nationalism and ingrained ideas concerning the cultural superiority of particular groups, perceptions of gender and race, artists' efforts to negotiate their status within particular professional environments, and the dynamics of art history as an academic discipline and discourse. This volume is a call to historicize canons, acknowledging both their partisanship and its implications for the writing of art history.Contributors. Jenny Anger, Marcia Brennan, Anna Brzyski, James Cutting, Paul Duro, James Elkins, Barbara Jaffee, Robert Jensen, Jane C. Ju, Monica Kjellman-Chapin, Julie L. McGee, Terry Smith, Linda Stone-Ferrier, Despina Stratigakos.…

Taschenbuch. Condition: Neu. Neuware - Whether it is being studied or critiqued, the art canon is usually understood as an authoritative list of important works and artists. This collection breaks with the idea of a singular, transcendent canon. Through provocative case studies, it demonstrates that the content of any canon is both historically and culturally specific and dependent on who is responsible for the canon's production and maintenance. The contributors explore how, where, why, and by whom canons are formed; how they function under particular circumstances; how they are maintained; and why they may undergo change.Focusing on various moments from the seventeenth century to the present, the contributors cover a broad geographic terrain, encompassing the United States, France, Germany, the Netherlands, Poland, Taiwan, and South Africa. Among the essays are examinations of the working and reworking of a canon by an influential nineteenth-century French critic, the limitations placed on what was acceptable as canonical in American textbooks produced during the Cold War, the failed attempt to define a canon of Rembrandt's works, and the difficulties of constructing an artistic canon in parts of the globe marked by colonialism and the imposition of Eurocentric ideas of artistic value. The essays highlight the diverse factors that affect the production of art canons: market forces, aesthetic and political positions, nationalism and ingrained ideas concerning the cultural superiority of particular groups, perceptions of gender and race, artists' efforts to negotiate their status within particular professional environments, and the dynamics of art history as an academic discipline and discourse. This volume is a call to historicize canons, acknowledging both their partisanship and its implications for the writing of art history.Contributors. Jenny Anger, Marcia Brennan, Anna Brzyski, James Cutting, Paul Duro, James Elkins, Barbara Jaffee, Robert Jensen, Jane C. Ju, Monica Kjellman-Chapin, Julie L. McGee, Terry Smith, Linda Stone-Ferrier, Despina Stratigakos.…

Paperback. Condition: Brand New. 370 pages. 8.75x6.00x0.75 inches. In Stock. This item is printed on demand.