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Author: Museum of Fine Arts, Boston
Publisher:
ISBN:
Category : Art
Languages : en
Pages : 52
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Book Description
Author: Museum of Fine Arts, Boston
Publisher:
ISBN:
Category : Art
Languages : en
Pages : 52
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Book Description
Author: Smithsonian Institution. Libraries. National Museum of African Art Branch
Publisher: G. K. Hall
ISBN:
Category : Art
Languages : en
Pages : 832
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Book Description
Author: Metropolitan Museum of Art (New York, N.Y.). Library
Publisher:
ISBN:
Category : Art
Languages : en
Pages : 696
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Book Description
Author:
Publisher:
ISBN:
Category : Union catalogs
Languages : en
Pages : 642
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Book Description
Includes entries for maps and atlases.
Author: Harvard University. Fine Arts Library
Publisher:
ISBN:
Category : Art
Languages : en
Pages : 878
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Book Description
Author: Peabody Museum of Archaeology and Ethnology. Library
Publisher:
ISBN:
Category : Anthropology
Languages : en
Pages : 578
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Book Description
Author: Peabody Museum of Archaeology and Ethnology. Library
Publisher:
ISBN:
Category : Anthropology
Languages : en
Pages : 568
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Book Description
Author: Robert Goldwater Library
Publisher:
ISBN:
Category : Art
Languages : en
Pages : 866
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Book Description
Author: Peabody Museum of Archaeology and Ethnology. Library
Publisher:
ISBN:
Category : Anthropology
Languages : en
Pages : 568
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Book Description
Author: Raoul J. Granqvist
Publisher: MSU Press
ISBN: 1628952881
Category : Photography
Languages : en
Pages : 270
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Book Description
This book is the first to question both why and how the colonialist mythologies represented by the work of photographer Eliot Elisofon persist. It documents and discusses a heterogeneous practice of American coloniality of power as it explores Elisofon’s career as war photographer-correspondent and staff photographer for LIFE, filmmaker, author, artist, and collector of “primitive art” and sculpture. It focuses on three areas: Elisofon’s narcissism, voyeurism, and sexism; his involvement in the homogenizing of Western social orders and colonial legacies; and his enthused mission of “sending home” a mass of still-life photographs, annexed African artifacts, and assumed vintage knowledge. The book does not challenge his artistic merit or his fascinating personality; what it does question is his production and imagining of “difference.” As the text travels from World War II to colonialism, postcolonialism, and the Cold War, from Casablanca to Leopoldville (Kinshasa), it proves to be a necessarily strenuous and provocative trip.
