Anreus Alejandro (149 results)

Condition: Very Good. Pages intact with possible writing/highlighting. Binding strong with minor wear. Dust jackets/supplements may not be included. Stock photo provided. Product includes identifying sticker. Better World Books: Buy Books. Do Good.

Condition: Good. F First Edition. Former library copy. Pages intact with minimal writing/highlighting. The binding may be loose and creased. Dust jackets/supplements are not included. Includes library markings. Stock photo provided. Product includes identifying sticker. Better World Books: Buy Books. Do Good.

Condition: Very Good. F First Edition. 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. Condition: Very Good+. Dust Jacket Condition: Very Good+. First Edition. 180 pages.

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.

Hardcover. 180pp, 52 b/w figures.

Condition: Good. [ No Hassle 30 Day Returns ][ Ships Daily ] [ Underlining/Highlighting: NONE ] [ Writing: NONE ] [ Edition: First ] Publisher: Rutgers University Press Pub Date: 6/22/2021 Binding: paperback Pages: 149 First edition.

Condition: Very Good. Very Good condition. A copy that may have a few cosmetic defects. May also contain light spine creasing or a few markings such as an owner's name, short gifter's inscription or light stamp.

Condition: Good. y First edition. Pages intact with minimal writing/highlighting. The binding may be loose and creased. Dust jackets/supplements are not included. Stock photo provided. Product includes identifying sticker. Better World Books: Buy Books. Do Good.

Hardcover. Condition: Very Good. No Jacket. May have limited writing in cover pages. Pages are unmarked. ~ ThriftBooks: Read More, Spend Less.

Trade Paperback. Condition: VG. used trade paperback edition. lightly shelfworn, corners perhaps slightly bumped. pages and binding are clean, straight and tight. there are no marks to the text or other serious flaws.

paperback. Condition: Very Good. Connecting readers with great books since 1972! Used books may not include companion materials, and may have some shelf wear or limited writing. We ship orders daily and Customer Service is our top priority!

Paperback. Condition: Very Good. No Jacket. May have limited writing in cover pages. Pages are unmarked. ~ ThriftBooks: Read More, Spend Less.

Condition: Very Good. Pages intact with possible writing/highlighting. Binding strong with minor wear. Dust jackets/supplements may not be included. Stock photo provided. Product includes identifying sticker. Better World Books: Buy Books. Do Good.

Condition: Fine. Used book that is in almost brand-new condition. May contain a remainder mark. Better World Books: Buy Books. Do Good.

Condition: acceptable. Book is in acceptable condition and shows signs of wear. Book may also include underlining highlighting. The book can also include "From the library of" labels. May not contain miscellaneous items toys, dvds, etc. . We offer 100% money back guarantee and 24 7 customer service.

Paperback. Condition: Fine. 1st. xiii, 146 pages, chiefly colour illustrations; 24 cm. Firm binding, clean inside copy. *** "Cuban American artist Luis Cruz Azaceta addresses what author Alejandro Anreus calls the wounds and screams of the human condition. Although Cruz Azaceta's work is extensively exhibited and widely collected, this is the first book on the artist s life and creations. Anreus traces Cruz Azaceta's career and explores the themes that are the focus of his singular art. Anreus discusses how the Cuban diaspora, above all, has shaped the artist and how the experience of exile has found expression through starkly forceful self-portraiture in many of his works. Anreus also examines the artist's ongoing concern with current events. Cruz Azaceta has responded to national crises, such as the AIDS epidemic, the Oklahoma City bombing, and the devastation of New Orleans by Hurricane Katrina, with graphically powerful paintings, mixed-media pieces, and installations. Over the past four decades Cruz Azaceta has experimented with his visual vocabulary, moving from the flat, pop style of his early canvases, through neo-Expressionism, and into the abstraction of more-current work. His commentary on humanity, however, has not changed. His art continues to remind us that there are no easy solutions to the presence of violence and cruelty, exile and dislocation, and solitude and isolation." - Publisher. *** CONTENTS: Introduction: The Painter in the Bunker; Exile and Its Context; From Childhood to Exile: Becoming a Painter; The 1980s: The City Painter of Hearts and the Balsero; The 1990s: Broken Realities; The 2000s: Are We Waiting for the End of the World?; An Artist for Our Time. Size: 8vo. Collectible.

paperback. Condition: Very Good. First Edition. Text itself is new looking, very tight clean unmarked, absolutely NO age toning, no creases no slant, covers show edge wear, Very Good condition overall, catalog from an exhibit.

Hard Cover. Condition: Near Fine. Dust Jacket Condition: Near Fine. First Edition. First Edition Stated. Book and jacket solid near fine condition.

Paperback. Condition: New. During the 1930s, American artists such as Ben Shahn developed a mode of representation generally known as Social Realism. This term is given broad new meaning in the anthology brought together by Alejandro Anreus, Diana L. Linden, and Jonathan Weinberg. They and their collaborators argue that artists of the Depression era believed that their art became "realistic" by engaging the great economic and political issues of society. Through fresh investigation of the visual culture of the 1930s-painting, sculpture, photography, and the graphic arts-the anthology illuminates the struggle for social justice that led artists to embrace leftist ideologies and fashion an art aimed at revealing the harsh realities of contemporary life. In sharp contrast to earlier studies, The Social and the Real contends that the radical, "realistic" art of the Americas during the 1930s was shaped as much by hemispheric exchange as by emulation of the European avant-garde. Alan Trachtenberg, Mary K. Coffey, and the book's other essayists consider Canadian art alongside art from the United States, the Caribbean, and as far south as Argentina. Some of the artists they discuss, like Philip Evergood or Dorthea Lange, are well known; others-the Argentinean Antonio Berni or the Canadian Parakeva Clark-deserve wider recognition. Situating such artists within the context of Pan-American exchange transforms the structure of the art-historical field. It also produces major new insights. The rise of Social Realism, for instance, is traced back not to the United States in the 1930s, but instead to the Mexico of the early 1920s. The Social and the Real makes an assessment of Social Realism that is comprehensive as well as groundbreaking. The opening essays deal with "reality and authenticity" in representation of "the nation." Subsequent essays consider portrayals of manhood, labor, lynching, and people pushed to the margins of society because of religious or ethnic identity. The volume concludes with a pair of essays-one on artists' links with Communism, the other on the portrayal of Franklin Delano Roosevelt's physical infirmity- that carry the discussion of Social Realism into the postwar period. The Social and the Real is the first anthology to deal with the painting, sculpture, graphic arts, and photography of the 1930s in a hemispheric context. We take as axiomatic Cuban poet, journalist, and political theorist Jose Marti's (1853-95) definition of "America" as a hemispheric, multiracial, and multiethnic entity in which the United States is one nation among many. Although many of the individual essays have a relatively narrow focus, as an aggregate they begin the process of forging a Pan-American perspective on the art of the period, encouraging the reader to compare and contrast the experiences of artists across national boundaries and reconsider familiar narratives. Thinking about art and politics in a hemispheric context expands the very chronology of social realism. Whereas scholars in the United States locate the origins of the movement with the economic crash of 1929 and conclude it with the advent of World War II, the story really begins in Mexico in the early 1920s and continues during the 1940s and 1950s throughout the hemisphere.

Hardcover. Condition: Fine. Hudson Hills Pr September 1989 Binding: Hardcover.

paperback. Condition: Very Good. Connecting readers with great books since 1972! Used books may not include companion materials, and may have some shelf wear or limited writing. We ship orders daily and Customer Service is our top priority!

Condition: New. Brand New.

Hardcover. Condition: Used-Very Good. F First Edition. Cloth, dj. Minor shelf wear. Else a bright, clean copy.

paperback. Condition: Very Good.

paperback. Condition: Fine.

Paperback. Condition: Fine. 1st. xxii, 362 pages, illustrations; 27 cm. Tight, clean copy. *** "During the 1930s, American artists, such as Ben Shahn, developed a mode of representation generally known as Social Realism. Presenting an assessment of Social Realism, this book contends that the radical, 'realistic' art of the Americas during the 1930s was shaped as much by hemispheric exchange as by emulation of the European avant-garde." - Publisher. *** CONTENTS: Signifying the real: documentary photography in the 1930s, by Alan Trachtenburg; Social and political commentary in Cuban modernist painting of the 1930s, by Juan A. Martinez; The "Mexican problem": nation and "native" in Mexican muralism and cultural discourse, by Mary K. Coffey; Canadian political art in the 1930s: "a form of distancing", by Marylin McKay; Adapting to Argentinean reality: the new realism of Antonio Berni, by Alejandro Anreus; I want muscle: male desire and the image of the worker in American art of the 1930s, by Jonathan Weinberg; Making history: Melvin Gray Johnson's and Earle W. Richardson's studies for Negro achievement, by Jacqueline Francis; Lynching and anti-lynching: art and politics in the 1930s, by Marlene Park; Art and politics in the popular front: the union work and social realism of Philip Evergood, by Patricia Hills; Workers and painters: social realism and race in Diego Rivera's Detroit murals, by Anthony W. Lee; "Come out from behind the Pre-Cambrian shield": the politics of memory and identity in the art of Paraskeva Clark, by Natalie Luckyj; Ben Shahn's New deal murals: Jewish identity in the American scene, by Diana L. Linden; Between Zhdanovism and 57th Street: artists and the CPUSA, 1945-1956, by Andrew Hemingway; The president's two bodies: stagings and restagings of the New deal body politic, by Sally Stein. Size: 4to. Collectible.

Cloth Over Board. Condition: Like New. Dust Jacket Condition: Like New. tight binding; clean pages Size: 4to - over 9¾" - 12" tall.

First edition, first printing Fine bright brick red boards in like illustrated dust jacket with crisp bright text throughout. Quite attractive all around with vintage photographs and well detailed examples of the artist's work. Gift quality.

Softcover. Condition: Très bon. Ammareal reverse jusqu'à 15% du prix net de cet article à des organisations caritatives. ENGLISH DESCRIPTION Book Condition: Used, Very good. Ammareal gives back up to 15% of this item's net price to charity organizations.