Isbn: 9781644282496 - rock against racism (32 resultados)

Hardcover. Condición: Good. Grade 2 out 5 points. This is a used book. Books has moderate wear on cover and pages. Books with this grade may have any of the following: Personalized notes/names, stickers/labels, markings on pages, bends/creases on cover/spine, ex-library markings. May not include extra materials such as dust jackets, access codes, CDs, accessories, etc. All orders ship by next business day! We are a small company and very thankful for your business.…

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Hardcover. Condición: new. Hardcover. An outstanding photography book documenting a movement that rocked the world.Syd Shelton: Rock Against Racism is a body of photographs that Syd Shelton produced for and about theBritish Rock Against Racism movement (RAR) of 19761981. For Shelton,this work was a socialist act, what he calls a "graphic argument," on behalf of marginalized lives. His practice of photographic activism began in 1973 when he was driven to document the socio cultural and political dynamics expressed on the streets of Sydney by urban Australian Aboriginal communities, the working class, and the architectural landscapes of these groups. Shelton's first solo show in 1975, "Working Class Heroes" at the Sydney Film-makers Cooperative, established his distinct activist eye.Shelton joined RAR in early 1977 on his return to England from Australia. He did so because he found his birthplace a more racist country than it had been when he left. This was marked by the increased political presence of the National Front, notably its gain of some 119,000 votes in the Greater London Council Elections of May 1977. Shelton, like millions of others, feared for the future of multi-cultural Britain. His contribution to RAR was to be on the London committee, to create graphic material with other RAR members such as the RAR publication "Temporary Hoarding," posters' badges and his photography-RAR did not have an official photographer. Shelton's instinctive need to document RAR-its events, contributors, and supporters-has resulted in the largest collection of images on the movement. Alongside his documentation of RAR, Shelton took photographs of what he calls "the contextual images," the lives and landscapes that were defined by others as "different," and that often fueled racist acts of violence by simply being.What is presented here are Shelton's authoritative visual statements as participant-photographer on the social tempo in Britain at this time and the activist potency of RAR. As collective activism, RAR's success was dependent on individual contributions to fuel the movement's activities across the country. This unique national, and eventually international, charge incorporated the visual dynamic of how Black and white RAR contributors and participants styled their bodies as another antagonistic tool against racism. These were acts of style activism-the making of an activist identity through the considered composition of clothes, accessories, hairstyles, makeup, and body language. Shelton's images prompt us to remember that the individuals at RAR carnivals, gigs, and demonstrations were the event-they were RAR.There are many versions of what RAR was and its legacy.Syd Shelton: Rock Against Racismprovides an auto/biographical telling of that historical moment. It reflects on how Shelton's work as a photographer contributed towards social change at a critical moment of political and racial tension in Britain. First published: London: Autograph ABP, 2015. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.…

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Hardback. Condición: New. An outstanding photography book documenting a movement that rocked the world. Syd Shelton: Rock Against Racism is a body of photographs that Syd Shelton produced for and about the British Rock Against Racism movement (RAR) of 1976-1981. For Shelton, this work was a socialist act, what he calls a "graphic argument," on behalf of marginalized lives. His practice of photographic activism began in 1973 when he was driven to document the socio cultural and political dynamics expressed on the streets of Sydney by urban Australian Aboriginal communities, the working class, and the architectural landscapes of these groups. Shelton's first solo show in 1975, "Working Class Heroes" at the Sydney Film-makers Cooperative, established his distinct activist eye.Shelton joined RAR in early 1977 on his return to England from Australia. He did so because he found his birthplace a more racist country than it had been when he left. This was marked by the increased political presence of the National Front, notably its gain of some 119,000 votes in the Greater London Council Elections of May 1977. Shelton, like millions of others, feared for the future of multi-cultural Britain. His contribution to RAR was to be on the London committee, to create graphic material with other RAR members such as the RAR publication "Temporary Hoarding," posters' badges and his photography-RAR did not have an official photographer. Shelton's instinctive need to document RAR-its events, contributors, and supporters-has resulted in the largest collection of images on the movement. Alongside his documentation of RAR, Shelton took photographs of what he calls "the contextual images," the lives and landscapes that were defined by others as "different," and that often fueled racist acts of violence by simply being.What is presented here are Shelton's authoritative visual statements as participant-photographer on the social tempo in Britain at this time and the activist potency of RAR. As collective activism, RAR's success was dependent on individual contributions to fuel the movement's activities across the country. This unique national, and eventually international, charge incorporated the visual dynamic of how Black and white RAR contributors and participants styled their bodies as another antagonistic tool against racism. These were acts of style activism-the making of an activist identity through the considered composition of clothes, accessories, hairstyles, makeup, and body language. Shelton's images prompt us to remember that the individuals at RAR carnivals, gigs, and demonstrations were the event-they were RAR.There are many versions of what RAR was and its legacy. Syd Shelton: Rock Against Racism provides an auto/biographical telling of that historical moment. It reflects on how Shelton's work as a photographer contributed towards social change at a critical moment of political and racial tension in Britain.…

Condición: new.

Condición: New. In English.

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Condición: New. 2022. Hardcover. . . . . .

Hardback. Condición: New. An outstanding photography book documenting a movement that rocked the world. Syd Shelton: Rock Against Racism is a body of photographs that Syd Shelton produced for and about the British Rock Against Racism movement (RAR) of 1976-1981. For Shelton, this work was a socialist act, what he calls a "graphic argument," on behalf of marginalized lives. His practice of photographic activism began in 1973 when he was driven to document the socio cultural and political dynamics expressed on the streets of Sydney by urban Australian Aboriginal communities, the working class, and the architectural landscapes of these groups. Shelton's first solo show in 1975, "Working Class Heroes" at the Sydney Film-makers Cooperative, established his distinct activist eye.Shelton joined RAR in early 1977 on his return to England from Australia. He did so because he found his birthplace a more racist country than it had been when he left. This was marked by the increased political presence of the National Front, notably its gain of some 119,000 votes in the Greater London Council Elections of May 1977. Shelton, like millions of others, feared for the future of multi-cultural Britain. His contribution to RAR was to be on the London committee, to create graphic material with other RAR members such as the RAR publication "Temporary Hoarding," posters' badges and his photography-RAR did not have an official photographer. Shelton's instinctive need to document RAR-its events, contributors, and supporters-has resulted in the largest collection of images on the movement. Alongside his documentation of RAR, Shelton took photographs of what he calls "the contextual images," the lives and landscapes that were defined by others as "different," and that often fueled racist acts of violence by simply being.What is presented here are Shelton's authoritative visual statements as participant-photographer on the social tempo in Britain at this time and the activist potency of RAR. As collective activism, RAR's success was dependent on individual contributions to fuel the movement's activities across the country. This unique national, and eventually international, charge incorporated the visual dynamic of how Black and white RAR contributors and participants styled their bodies as another antagonistic tool against racism. These were acts of style activism-the making of an activist identity through the considered composition of clothes, accessories, hairstyles, makeup, and body language. Shelton's images prompt us to remember that the individuals at RAR carnivals, gigs, and demonstrations were the event-they were RAR.There are many versions of what RAR was and its legacy. Syd Shelton: Rock Against Racism provides an auto/biographical telling of that historical moment. It reflects on how Shelton's work as a photographer contributed towards social change at a critical moment of political and racial tension in Britain.…

Condición: New. 2022. Hardcover. . . . . . Books ship from the US and Ireland.

Hardcover. Condición: Brand New. 187 pages. 13.25x9.75x1.00 inches. In Stock.

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Condición: NEW.

Condición: New. &Uumlber den AutorSyd Shelton is a British photographer who documented the Rock Against Racism movement. His work is held in the collections of Tate and the Victoria and Albert Museum.KlappentextAn out.

Hardcover. Condición: new. Hardcover. An outstanding photography book documenting a movement that rocked the world.Syd Shelton: Rock Against Racism is a body of photographs that Syd Shelton produced for and about theBritish Rock Against Racism movement (RAR) of 19761981. For Shelton,this work was a socialist act, what he calls a "graphic argument," on behalf of marginalized lives. His practice of photographic activism began in 1973 when he was driven to document the socio cultural and political dynamics expressed on the streets of Sydney by urban Australian Aboriginal communities, the working class, and the architectural landscapes of these groups. Shelton's first solo show in 1975, "Working Class Heroes" at the Sydney Film-makers Cooperative, established his distinct activist eye.Shelton joined RAR in early 1977 on his return to England from Australia. He did so because he found his birthplace a more racist country than it had been when he left. This was marked by the increased political presence of the National Front, notably its gain of some 119,000 votes in the Greater London Council Elections of May 1977. Shelton, like millions of others, feared for the future of multi-cultural Britain. His contribution to RAR was to be on the London committee, to create graphic material with other RAR members such as the RAR publication "Temporary Hoarding," posters' badges and his photography-RAR did not have an official photographer. Shelton's instinctive need to document RAR-its events, contributors, and supporters-has resulted in the largest collection of images on the movement. Alongside his documentation of RAR, Shelton took photographs of what he calls "the contextual images," the lives and landscapes that were defined by others as "different," and that often fueled racist acts of violence by simply being.What is presented here are Shelton's authoritative visual statements as participant-photographer on the social tempo in Britain at this time and the activist potency of RAR. As collective activism, RAR's success was dependent on individual contributions to fuel the movement's activities across the country. This unique national, and eventually international, charge incorporated the visual dynamic of how Black and white RAR contributors and participants styled their bodies as another antagonistic tool against racism. These were acts of style activism-the making of an activist identity through the considered composition of clothes, accessories, hairstyles, makeup, and body language. Shelton's images prompt us to remember that the individuals at RAR carnivals, gigs, and demonstrations were the event-they were RAR.There are many versions of what RAR was and its legacy.Syd Shelton: Rock Against Racismprovides an auto/biographical telling of that historical moment. It reflects on how Shelton's work as a photographer contributed towards social change at a critical moment of political and racial tension in Britain. First published: London: Autograph ABP, 2015. Shipping may be from our Sydney, NSW warehouse or from our UK or US warehouse, depending on stock availability.…

Hardback. Condición: New. An outstanding photography book documenting a movement that rocked the world. Syd Shelton: Rock Against Racism is a body of photographs that Syd Shelton produced for and about the British Rock Against Racism movement (RAR) of 1976-1981. For Shelton, this work was a socialist act, what he calls a "graphic argument," on behalf of marginalized lives. His practice of photographic activism began in 1973 when he was driven to document the socio cultural and political dynamics expressed on the streets of Sydney by urban Australian Aboriginal communities, the working class, and the architectural landscapes of these groups. Shelton's first solo show in 1975, "Working Class Heroes" at the Sydney Film-makers Cooperative, established his distinct activist eye.Shelton joined RAR in early 1977 on his return to England from Australia. He did so because he found his birthplace a more racist country than it had been when he left. This was marked by the increased political presence of the National Front, notably its gain of some 119,000 votes in the Greater London Council Elections of May 1977. Shelton, like millions of others, feared for the future of multi-cultural Britain. His contribution to RAR was to be on the London committee, to create graphic material with other RAR members such as the RAR publication "Temporary Hoarding," posters' badges and his photography-RAR did not have an official photographer. Shelton's instinctive need to document RAR-its events, contributors, and supporters-has resulted in the largest collection of images on the movement. Alongside his documentation of RAR, Shelton took photographs of what he calls "the contextual images," the lives and landscapes that were defined by others as "different," and that often fueled racist acts of violence by simply being.What is presented here are Shelton's authoritative visual statements as participant-photographer on the social tempo in Britain at this time and the activist potency of RAR. As collective activism, RAR's success was dependent on individual contributions to fuel the movement's activities across the country. This unique national, and eventually international, charge incorporated the visual dynamic of how Black and white RAR contributors and participants styled their bodies as another antagonistic tool against racism. These were acts of style activism-the making of an activist identity through the considered composition of clothes, accessories, hairstyles, makeup, and body language. Shelton's images prompt us to remember that the individuals at RAR carnivals, gigs, and demonstrations were the event-they were RAR.There are many versions of what RAR was and its legacy. Syd Shelton: Rock Against Racism provides an auto/biographical telling of that historical moment. It reflects on how Shelton's work as a photographer contributed towards social change at a critical moment of political and racial tension in Britain.…

Tapa Dura. Condición: New. 1ª Edición. Un e libro de fotografía que documenta un movimiento que sacudió al mundo.Syd Shelton: Rock Against Racism es un conjunto de fotografías que Syd Shelton produjo para y sobre el movimiento británico Rock Against Racism (RAR) de 1976-1981. Para Shelton, este trabajo fue un acto socialista, lo que él llama un ?argumento gráfico?, en nombre de vidas marginadas. Su práctica de activismo fotográfico comenzó en 1973 cuando se vio impulsado a documentar las dinámicas socioculturales y políticas expresadas en las calles de Sydney por las comunidades urbanas aborígenes australianas, la clase trabajadora y los paisajes arquitectónicos de estos grupos. La primera exposición individual de Shelton en 1975, ?Working Class Heroes? en la Cooperativa de Cineastas de Sydney, estableció su distintivo ojo activista.Shelton se unió a RAR a principios de 1977 a su regreso a Inglaterra desde Australia. Lo hizo porque encontró que su lugar de nacimiento era un país más racista que cuando se fue. Esto estuvo marcado por la mayor presencia política del Frente Nacional, en particular su obtención de unos 11900 votos en las elecciones del Consejo del Gran Londres de mayo de 1977. Shelton, como millones de otros, temía por el futuro de la Gran Bretaña multicultural. Su contribución a RAR fue estar en el comité de Londres, crear material gráfico con otros miembros de RAR como la publicación de RAR ?Temporary Hoarding?, insignias de carteles y su fotografía?RAR no tenía un fotógrafo oficial. La necesidad instintiva de Shelton de documentar RAR (sus eventos, contribuyentes y partidarios) ha dado como resultado la mayor colección de imágenes sobre el movimiento. Además de su documentación de RAR, Shelton tomó fotografías de lo que él llama ?las imágenes contextuales?, las vidas y paisajes que otros definieron como ?diferentes? y que a menudo alimentaron actos racistas de violencia por el simple hecho de serlo.Lo que se presenta aquí son las declaraciones visuales autorizadas de Shelton como fotógrafo participante sobre el ritmo social en Gran Bretaña en este momento y la potencia activista de RAR. Como activismo colectivo, el éxito de RAR dependía de contribuciones individuales para impulsar las actividades del movimiento en todo el país. Esta carga nacional única, y eventualmente internacional, incorporó la dinámica visual de cómo los contribuyentes y participantes blancos y negros de RAR diseñaron sus cuerpos como otra herramienta antagónica contra el racismo. Estos fueron actos de activismo de estilo: la creación de una identidad activista a través de la composición considerada de ropa, accesorios, peinados, maquillaje y lenguaje corporal. Las imágenes de Shelton nos incitan a recordar que los individuos en los carnavales, conciertos y manifestaciones de RAR eran el evento: eran RAR.Existen muchas versiones de lo que fue RAR y su legado. Syd Shelton: Rock Against Racism ofrece un relato autobiográfico de ese momento histórico. Reflexiona sobre cómo el trabajo de Shelton como fotógrafo contribuyó al cambio social en un momento crítico de tensión política y racial en Gran Bretaña. Libro, Book, Buch. Livre.…

Buch. Condición: Neu. Rock Against Racism | Syd Shelton | Buch | Gebunden | Englisch | 2023 | Rare Bird Books | EAN 9781644282496 | Verantwortliche Person für die EU: Libri GmbH, Europaallee 1, 36244 Bad Hersfeld, gpsr[at]libri[dot]de | Anbieter: preigu.

Buch. Condición: Neu. Neuware - First published: London: Autograph ABP, 2015.