ostrowitz judith (50 resultados)

Paperback. Condición: Very Good.

Paperback. Condición: VG. VERY-GOOD TRADE-PAPERBACK NO PRIORITY OR FOREIGN SHIPPING DUE TO SIZE/WEIGHT.

Hardcover. Condición: Good. some shelfwear/edgewear but still NICE! - may have remainder mark or previous owner's name Standard-sized.

Condición: 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.

Hardcover. Condición: Very Good. Estado de la sobrecubierta: Very Good. Color, B/w Illustrations By Cyrus Leroy Baldridge Ilustrador. First Edition Presumed. Size: 4to - over 9¾" - 12" tall. Book.

hardcover. Condición: Near Fine. Condition Notes: Excellent, unmarked copy with little wear and tight binding. We ship in recyclable American-made mailers. 100% money-back guarantee on all orders.

Hardcover. Condición: Very Good. crisp clean w/light shelfwear/edgewear - may have remainder mark Oversized.

Cloth. Condición: Very Good +. Estado de la sobrecubierta: Very Good +. Edition Not Stated. Cloth. Very Good +/Very Good +. Edition Not Stated. 4to - over 9¾" - 12" tall. Unread!

Hardcover. xii, 211p., frontis, b&w photos in-text, color plate section, fine first edition in black cloth and gilt, unclipped dj.

Hardcover. Condición: New. Estado de la sobrecubierta: New. 1st Edition. 1st. Edition , 2003 , Hardcover in the dust jacket and still in the publishers shrink wrap, 352 page book with color and black & white illustrations . Condition : NEW. Size: 4to - over 9¾ - 12" tall. Book.

Hardcover. pp. xiii, 201. 4to. Colour plates, black and white photographs.

Hardcover. Condición: Near Fine. Estado de la sobrecubierta: Near Fine. First Edition. 8vo. - over 7¾ in. - 9¾ in., 201pp. Light shelfwear, tight binding, interior text clean. Dust jacket slightly worn but clean, no tears. Near Fine copy in Near Fine dust jacket.

Hardcover. Condición: Used-Very Good. Edition Not Stated. Cloth, dj. Minor shelf wear. Else a bright, clean copy.

Paperback. Condición: Near Fine. 300 pages, illustrations (some colour); 26 x 27 cm. Published to accompany the exhibition held at the American Museum of Natural History, October 1991 to February 1992; and other venues. Firm binding, clean inside copy. Light edgewear to wraps, age toning. OVERSIZE! Additional shipping charges may be requested for international & priority orders. *** Masks, head-dresses, blankets, coppers, feast dishes, and other ceremonial objects by the Kwakiutl Indians of northern Vancouver Island and environs. Richly illustrated with colour plates. *** CONTENTS: The spelling of Kwakwala, by Wayne Suttles; Chiefly feasts: the creation of an exhibition, by Aldona Jonaitis; Streams of property, armor of wealth: the traditional Kwakiutl potlatch, by Douglas Cole; George Hunt, collector of Indian specimens, by Ira Jacknis; The contemporary potlatch, by Gloria Cranmer Webster; Postscript: the treasures of Siwidi, by Judith Ostrowitz and Aldona Jonaitis. Size: Oblong.

Hardcover. Condición: Fine. Estado de la sobrecubierta: Fine. Cloth, xiii, 201 pages, illustrations (some colour); 27 cm. Firm binding, clean inside copy. Dust jacket protected in a mylar cover. *** "What makes Northwest Coast Native American art authentic? And why, when most of art history is a history of the avant-garde, is tradition so deeply valued by contemporary Native American artists and their patrons? In Privileging the Past, Judith Ostrowitz approaches these questions through a careful consideration of replicas, reproductions, and creative translations of past forms of Northwest Coast dances, ceremonies, masks, painted screens, and houses. Ostrowitz examines several different art forms - two very different architectural constructions, a dance performance, and modern sculptures and dance paraphernalia-considering their relations to arts of the past. Chief Shakes' Community House has endured, in various forms, at the same site in Wrangell, Alaska, for close to 170 years as an 'old style' Tlingit tribal house. The Grand Hall of the Canadian Museum of Civilization at Hull, Quebec, is constructed as a Native village with an assemblage of replicated houses made by contemporary Native artists, both old and new totem poles, and references to the Northwest Coast landscape. The opening ceremonies of the exhibition Chiefly Feasts: The Enduring Kwakiutl Potlatch at the American Museum of Natural History in New York in October 1991 included a dance program by a group of Native performers from Vancouver Island, B.C., adapting traditional elements for a long and complex theatrical presentation. Finally, artists such as Art Thompson, Beau Dick, Doug Cranmer, Robert Davidson, Susan Point, and Jim Schoppert produce vital and lively art - masks, rattles, prints, and paintings are considered here - that utilizes inherited subject matter and conventionalized stylistic devices. Ostrowitz finds that these replicas and performances function as do most other works of art, referencing history in a highly selective manner. Ostrowitz draws on an extensive body of interviews she conducted with tribal leaders, artists, and artisans long known and highly respected in both Native and non-Native venues. Throughout the book, we hear their voices-members of the Alfred, Cranmer, Hunt, Tallio, and Webster families, and many other individuals-as they relate their responses to the modern adaptation of their cultural heritage. Privileging the Past explores intellectual issues raised by postmodern theory, supported by detailed studies of projects that will interest a broad audience of students, historians, museum-goers, and those intrigued by Native American art and cultural history." - Publisher. *** CONTENTS: Expedience and classicism at the Chief Shakes Community House; The map and the territory in the grand hall at the Canadian Museum of Civilization; Making dance history: Kwakwaka'wakw performance art at the American Museum of Natural History; False cognates: looking backward at the latest thing in contemporary Northwest coast art; The style in which they were imagined. Size: 4to. Collectible.

Hardcover. Condición: VG+. Hardback in Very Good+ condition with Very Good+ dust jacket. 7.39 X 0.73 X 10.38 inches. 215 pages. Quick shipping, excellent customer service. All books carefully packaged in boxes and ship with tracking information.

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

Soft cover. Condición: Fine. 1st Edition. A LIKE NEW UNMARKED BOOK.

paperback. Condición: Very Good. 2003 Metropolitan Museum of Art Fine and unread condition, clean and bright. Cover is clean and strong and spine is smooth.

Condición: As New. Unread book in perfect condition.

Paperback. Condición: Used-Very Good. First Edition (US) First Printing. 4to. Pbk. Some shelf-wear. Else clean copy.

Hardcover. Condición: New. *NEW* oversize hardcover in DJ, sealed in plastic. Fresh from a distributor with no price tags and no remainder marks. Priority and international shipping NOT available on this itemm.

Hardcover. Condición: NF. Hardback in Near Fine condition with Near Fine dust jacket . 8.5 X 1 X 11 inches. 340 pages. Quick shipping, excellent customer service. All books carefully packaged in boxes and ship with tracking information.

Soft cover. Condición: Near Fine. No Jacket.

Hardcover. Condición: Fine. Estado de la sobrecubierta: Dustjacket included. First Edition. ISBN 0295978147. Hardcover copy in fine condition with fine condition dustwrapper. First printing. Tight clean copy. C 33-2 2. No Signature.

Hardcover. Condición: Fine. Dust Jacket Included. ISBN 0-295-97814-7. Hardback edition. Near Fine Condition book in a Near Fine Condition Dustjacket. Tight, bright, attractive copy with no markings to the book. Like new condition. No statement of later printing on copyright page. Co.

Hardcover. Condición: New. In Publisher's Shrinkwrap. 340 pages. 230 illustrations, including 202 color plates. Map. Contributions by J. C. H. King and Judith Ostrowitz. Catalogue of an exhibition. U.S. orders are shipped from N.Y. state.

Hardcover. Condición: Very Good. Estado de la sobrecubierta: Very Good. Metropolitan Museum of Art, 2003; no additional printings indicated. Binding is tight, sturdy, and square; boards, photos/illustrations, and text also very good. Very minor wear to edges of dust jacket. Due to the size/weight of this book extra charges may apply for international shipping. Ships from Dinkytown in Minneapolis, Minnesota.

Hardcover. Condición: New. Estado de la sobrecubierta: New. New oversized hardcover in new dust jacket. 4to. (8.5 x 1 x 11 inches) Pages are clean and free of marks or underlining. Includes bibliography, index, and high quality full color photos printed on heavy paper. 340 pp. Fast shipping in a secure book box mailer with tracking. Ralph T. Coe has collected American Indian art for half a century, forming a renowned collection that represents all regions and periods of American Indian art. This attractive catalogue presents two hundred works from Coe's remarkable collection. Featured are exquisite examples of prehistoric stone objects, button blankets, crest objects, masks, canoe and tipi models, dolls and figurines, woven basketry, tobacco paraphernalia, and a selection of contemporary works, all of which bring to life the vivid cultures of the American Indian throughout the centuries. In the accompanying text, Coe entertainingly describes his extensive travels in the United States and Canada as he searched for objects for his collection. The catalogue also includes an essay by Eugene V. Thaw about Coe's contribution to the awareness of the artistic heritage of American Indian art; an overview of the collecting of American Indian art by Jonathan King; and a discussion of aesthetic theory in relation to this art form by Judith Ostrowitz. Published in association with The Metropolitan Museum of Art.

Hardback. Condición: New. Interventions examines how members of Native American and Canadian First Nation groups situate their art in contemporary global environments, creating a new kind of nexus between the requirements of Native communities and the forms of public display that are of interest to worldwide audiences.Judith Ostrowitz selects several critical cases to demonstrate this strategic tacking between macro- and micro-identities. The long-term implications of the totem pole restoration projects of the second half of the twentieth century; the opening of the National Museum of the American Indian; the dance event in Juneau known as Celebration; the impact of modernism and postmodernism on Indian art; and the use of electronic media to establish Indian territory on the Internet all demonstrate facets of the purposeful and context-driven strategies of self-representation designed by Native communities.The NMAI may be the paramount example of the construction of public identity originating from Indian Country to date. Ostrowitz describes how, in the course of the museum's creation, the distinctions among many specific groups of origin were selectively blurred in service of larger goals. In contrast, the purpose of the gathering of Tlingit, Haida, and Tsimshian people at the biennial Celebration is to rejoice in distinct Native groups and in the vitality of their traditions. Postmodernism has afforded twentieth- and twenty-first century Native artists the opportunity to penetrate mainstream art worlds, where experimentation is encouraged and the former criteria for the production of "Native art" are selectively referenced.Through close readings of Native cultural productions, Ostrowitz puts Native art practices into conversation with larger issues in cultural studies. Art audiences are becoming familiar with many works that address global communities but are generated in environments affected by specific ethnic, gendered, and cultural perspectives. As the work of non-Native artists in world-system venues is now also interpreted in the context of the biographical and cultural histories of their makers, all works of art may be better appreciated as expressions of local artistic position.