Allon schoener editor (30 resultados)

Soft cover. Condición: Very Good. No Jacket.

Soft cover. Condición: Very Good. No Jacket.

Hardcover. Condición: Very Good. Estado de la sobrecubierta: Very Good. 1st. 1st printing; dj w/lite chipping, clipped price, in mylar; decorative end papers; black c w/pictorial boards that match dj; 256 clean, unmarked pages/index. B/W Photos (ilustrador).

Hardcover. Condición: Very Good+. Estado de la sobrecubierta: Very Good+. Stated First Edition. Clean hardcover first edition (stated) in clean unclipped dust jacket protected in new archival quality removable mylar cover. Brown paper-covered boards with blue, red and black lettering and small illustration on cover, black cloth spine with gold lettering. Binding is tight and square, hinges are sound. Pages and edges are clean with clean illustrated endpapers - no names, writing or marks. Illustrated with excellent historical photographs. Clean dust jacket is not price clipped, has a few short closed edge tears, no chips. Documents through photographs and stories what life was like for immigrants on the Lower East Side of Manhattan 1870-1925.…

Hardcover. Condición: Very Good. Estado de la sobrecubierta: Very Good. First Edition. first edition book is tight with no markings, minor soiling to page edges, dj has light rubbing and soiling, dj is not price clipped.

Hardcover. Condición: Fine. Estado de la sobrecubierta: Fine. First American. Paper and cloth over boards in unclipped dust jacket with clear protective cover. Hint of wear to board edges, clean, tight, spine square. Profusely illustrated with black & white photographs of immigrants and street scenes including by Jacob Riis. Section on the Triangle Fire. 256 p. Book.…

1st edition; small 4to., cloth backed boards; decorative endpapers; 256 pages; black and white photographic illustrations; a very good, clean, tight copy in a very good dustjacket.

Softcover. Condición: Very Good. Second edition. Very good paperback. 2nd edition. Text clean. Illustrated. Rubbing on spine.

Hardcover. Condición: Near Fine. Near Fine. Black and white photographs. First edition. Very near fine in like dust jacket. An attractive, well preserved copy.

Hardcover. Condición: As New. Estado de la sobrecubierta: Fine. 1st Edition. First edition stated 1967, first printing, no additional printings listed. Hardcover with DJ. Condition as new, square tight and crisp book, no edgewear, no markings of any kind, no names no underlinings no highlights no bent page corners, not a reminder. DJ fine, bright, no edgewear, no tears no chips, very slightly worn corners, price not clipped. 4to, 256 pages, illustrated with historic photographs. Will need additional postage for international orders. ASIN: B000R0HV5A.…

Softcover. First Edition; First Printing. Book condition is Very Good in wraps. ; Square 8vo 8" to 9" tall.

Hardcover. Condición: Near Fine. Estado de la sobrecubierta: Very Good+. First Edition; First Printing. A first edition/first printing in Near Fine condition in Very Good+ dust-jacket, minor edgewear; In this volume, Allon Schoener has provided a powerful account of life on the Lower East Side, including news accounts and acclaimed photographs of life for the immigrants in this are during the late nineteenth and early twentieth centuries; 8vo; 256 pages. …

Paperback. Small 4to. Stiff brown pictorial wrappers. 68pp. Illustrations. Very good. Second printing of this noted exhibit catalogue. From the library of famed photographer Archie Lieberman (1926-2008) of "Farm Boy" fame.

First Edition. First edition. Hardcover. Includes numerous black and white photographs. An about near fine copy with some bumping to the corners in a very near fine dust jacket.

Hardcover. Condición: Fine. Estado de la sobrecubierta: Very Good. First Edition. 256pp, printed in blue; 148 half- and full-page illustrations from photographs. Bound in cloth-backed printed boards, decorated endpapers, matching dust wrapper, 10.25" x 8.25".

paperback. Condición: Good. ***Please Read*** - Not marks on the text - My shelf location k-03-TOP*GREIF.

Condición: Fair. Acceptable condition. (african american studies, african americans, music) A readable, intact copy that may have noticeable tears and wear to the spine. All pages of text are present, but they may include extensive notes and highlighting or be heavily stained. Includes reading copy only books.…

Hardcover. Condición: Very Good. Estado de la sobrecubierta: Very Good. 1st Edition. Stated first printing. Nice book, tight and square with bright covers and spine, clean unmarked interior. Sturdy binding. Top edge of pageblock has mild foxing, else near fine. Jacket is bright with mild edge wear and slightly faded spine.…

Hardcover. Presumed first edition/first printing. 256 p. 27 cm. Illustrations, Facsimiles. Includes material from the exhibition, The Lower East Side: portal to American life, 1870-1924, held at the Jewish Museum in 1966. Very good in very good dust jacket. DJ has slight wear and soiling.

Soft cover. Condición: Very Good. 1st Edition. Very good condition. edge wear else very good slip case. 11 X 14 Slipcase with 37 b/w photos of the Lower East Side. Photos not bound, LOOSE as issued in slipcase, Designed for people to to create their own displays . Four page introduction Each photo titled at bottom.…

Hardcover. Condición: Good. Book has mild rubbing to cover, mild rubbing to corners of cover, mild bumping to top corners of cover, mild rubbing to edges of spine, modest scratching to back cover, mild staining to front endpage and title pages, very slight toning to edges of pages, and mild toning to edgeblock.otherwise book is in good condition with a glossy cover, bright pages, and solid binding. Photos available upon request.…

hardcover. Condición: Good. Torn/worn dj. Good hardcover with some shelfwear; may have previous owner's name inside. Oversized.

Soft cover. Condición: Very Good. Not Indicated. Some tanning and creases on cover, otherwise in nice condition. b/w Photos (ilustrador).

Soft cover. Condición: Very Good. Not Indicated. Some foxing and tanning. Rubber stamp on tittle page. b/w Photos (ilustrador).

Hardcover. Condición: Very Good. 50 B/W HALFTONE PHOTOGRAPHS LOOSE AS ISSUED IN PUBLISHER'S PRINTED SLIPCASE; INTRODUCTION BY THE EDITOR. FIRST EDITION THUS VERY GOOD.

Hardcover. Condición: Very good. Estado de la sobrecubierta: Good. First Printing [Stated]. The format is approximately 8.75 inches by 11.25 inches. 255, [1] pages. Illustrations. DJ has some weartears, chips and soiling. Illustrated endpapers. Preface by Thomas P. F. Hoving. Introduction by Candice van Ellison. Presents images on a decadal basis starting with From White to Black Harlem; An Urban Black Culture; Depression and Hard Times; War, Hope and Opportunity; Frustration and Ambivalence; and Militancy and Identity. This is associated with a Metropolitan Museum of Art Exhibition. That exhibition was produced in association with the New York State Council on the Arts. On January 18, 1969, one of the first exhibits to showcase the Black American experience. Now, a generation later, Harlem on My Mind still influences the way museums around the world present African American culture to the public. The exhibition was also an attempt to respond to the Civil Rights movement, which had reached a fever pitch with the assassination of Martin Luther King, Jr. and the Civil Rights Act of 1968. It was a contentious moment, and there were signs of controversy long before the show opened to the public. As early as a year in advance of the opening, various committee members and prominent Black artists withdrew their support for the exhibition. One of the central complaints was the exclusion of work by Black artists, such as Romare Bearden, Faith Ringgold, and Jacob Lawrenceâ"all of whom were living in Harlem, creating works that would have easily fit the exhibition's narrative. The Museum's collection already included works by Bearden and Lawrence. Allon Schoener was the curator who organized the Metropolitan Museum of Art's infamous 1969 show "Harlem on My Mind," which caused protests that stopped traffic on Fifth Avenue because it didn't include any paintings or sculptures by Black artists. The tumultuous legacy of "Harlem on My Mind," the Met's first landmark show documenting Black culture in America, has been revisited by critics and historians. The storm over the exhibition fractured his life. Protesters picketed outside his apartment, he endured threats and intimidation, and he left New York with his family to start anew in rural Vermont. He never worked on a show for the Met again. In the 1960s, Mr. Schoener was a rising star in the city's museum scene, known for curating immersive ethnographic multimedia shows that explored New York history. Utilizing archival photography, music recordings and wall texts, the exhibitions he developed were engulfing spectacles. His approach was pioneering at the time. "Harlem on My Mind" opened at the Met in 1969 with blockbuster billing, and some 70,000 people attended the show within its first nine weeks. Alongside the enthusiastic crowds, however, were protesters who marched holding signs that read "Harlem on Whose Mind?" They were led by a group of artists, called the Black Emergency Cultural Coalition, who were incensed that the show included no paintings by African-American artists. Joining them were New Yorkers protesting the exhibition's catalog, which included an essay written by a 16-year-old Bronx high school student using anti-Semitic language. Mayor John V. Lindsay threatened to withhold financial support from the museum if it didn't pull the catalog from sale. He went on to write three photography-based cultural history books, "The American Jewish Album," "The Italian Americans" and "New York: An Illustrated History of the People," and to work as a consultant for clients like the Smithsonian.…

Hardcover. dj. First Bookstore Edition, First Printing. Quarto, 255 pages. In Very Good minus condition with Very Good minus condition dust jacket. Spine is white with red, yellow, and black lettering. Dust jacket protected by mylar covering, price cut, and has mild general soiling and shelving wear along extremities. Boards have mild general shelving wear along extremities. Text block moderately age toned, publisher's glue visible along tail edge of rear pastedown. Signed flat by 1966-1977 director of the Metropolitan Museum, Thomas Hoving, on title page. Contains insert from publisher regarding the decision to include Candice Van Ellison's controversial introduction between the rear cover of DJ and mylar covering. Contains pages from April 21, 1968 THE SUNDAY MAGAZINE of Bruce Davidson's photographs of Harlem and accompanying text between front endpapers. Controversy shrouded The Metropolitan Museum of Art's "Harlem on my Mind" long before its doors opened in 1969. The exhibition, which then-director Thomas Hoving asked Allon Schoener to guest curate as part of the museum's suite of centennial exhibitions, was nascent when Black artists began to withdraw support. They cited the lack of inclusion of Black artists working in and transforming the Harlem art scene, some of whom were already part of The MET's collection, such as the painter Jacob Lawrence. Inclusion was not in the vocabulary of the exhibition, which consisted of photographs featuring (yet clearly decentering) unnamed Harlem residents pictured next to prominent figures. The introduction chosen by Schoener for the catalog, an essay written by 17 year old Harlem resident Candice Van Ellison, contained anti-semitic and anti-Irish slurs which further offended Harlem residents in the wake of racial battles over the school district. In response to the exhibition, Black New York artists formed the Black Emergency Cultural Coalition to protest the exhibition for the entirety of its 16-week run. These protests responded to the exhibition with the question "Harlem on Whose Mind?", calling out white supremacy in the museum setting. Hoving agreed to pull the catalogue from publication and include inserts addressing the controversy in all existing copies. The BECC acted as a catalyst for major change in the ways that museums exhibit Black art, the reverberations of which are felt in the art world today as diverse artists continue the struggle to tell their own narratives. 1395659. Special Collections - Downstairs. Signed.…

Softcover. dj. First Edition, First Printing. Quarto, 255 pages. In Very Good minus condition. Spine is white with yellow and red lettering. Wraps have mild general soiling and scuffing along extremities. Text block moderately age toned throughout, mild bumping and bending wear to fore corners. Contains catalogue insert of Candice Van Ellison's response to the controversy surrounding her introduction. Signed flat on title page by 1966-1977 director of the Metropolitan Museum, Thomas Hoving. Controversy shrouded The Metropolitan Museum of Art's "Harlem on my Mind" long before its doors opened in 1969. The exhibition, which then-director Thomas Hoving asked Allon Schoener to guest curate as part of the museum's suite of centennial exhibitions, was nascent when Black artists began to withdraw support. They cited the lack of inclusion of Black artists working in and transforming the Harlem art scene, some of whom were already part of The MET's collection, such as the painter Jacob Lawrence. Inclusion was not in the vocabulary of the exhibition, which consisted of photographs featuring (yet clearly decentering) unnamed Harlem residents pictured next to prominent figures. The introduction chosen by Schoener for the catalog, an essay written by 17 year old Harlem resident Candice Van Ellison, contained anti-semitic and anti-Irish slurs which further offended Harlem residents in the wake of racial battles over the school district. In response to the exhibition, Black New York artists formed the Black Emergency Cultural Coalition to protest the exhibition for the entirety of its 16-week run. These protests responded to the exhibition with the question "Harlem on Whose Mind?", calling out white supremacy in the museum setting. Hoving agreed to then pull the catalogue from publication and put inserts in the remaining copies. The BECC acted as a catalyst for major change in the ways that museums exhibit Black art, the reverberations of which are felt in the art world today as diverse artists continue the struggle to tell their own narratives. This is the original exhibition catalogue for "Harlem on my Mind" with the insert stating Candice Van Ellison's response to being held accountable for her racist remarks. 1395660. Special Collections - Downstairs. Signed. …

Paperback. Condición: As New.

Condición: Near Fine. 1st Ed. A collection of 50 Near Fine B&W photographs in a VG+ brown cardboard SLIPCASE, Jewish Studies, Immigrants, New York.