Jane Eckett (10 results)

hard cover with dust jacket. Dust Jacket Condition: Very Good. Macmillan mini-art series no. 20. Illustrated with photographs in colour and black and white. 16 cm. 137 pages Near fine book in near fine dust jacket, as new condition.

Hardcover. Condition: As New. No Jacket. 1st Edition. 1st edition/1st impression. Without dust jacket as issued. Please contact me for further details of this book or other titles not presently listed. My main speciality is IRISH BOOKS. To see other books on this subject click on: "MORE BOOKS FROM THIS SELLER" and then type in IRISH under KEYWORDS, which can be filtered further by history [which includes politics], literary , topography & "Art". I have built up my collection over 30 year and I am constantly acquiring new stock. Do contact me for more information of further titles not presently listed.…

Condition: Very Good. 2006. hardback. Good clean copy with minor shelfwear. Illustrated covers, no DJ as issued, remains very good. . . . .

Condition: Very Good. 2006. hardback. Good clean copy with minor shelfwear. Illustrated covers, no DJ as issued, remains very good. . . . . Books ship from the US and Ireland.

Hardcover. Condition: Very Good. Very good tight copy.

Small 4to, 136pp. Colour and black & white illustrations. A very good paperback copy. Exhibition Catalogue.

Melbourne : Macmillan Art Publishing, 2011. Series: Macmillan mini-art series number 20. Small square octavo, pictorial boards in dust jacket, 144 pp extensively illustrated. An as new copy.

Hardcover. Condition: New.

Hardcover. Condition: new. Hardcover. William Ohlys Abbey Art Centre has long been sidelined in Australian art history and all but invisible in British accounts due to the dominance of national art histories. Yet over twenty Australian artists lived and worked there during the centres first decade of operations, including Robert Klippel, James Gleeson and the art historian Bernard Smith, alongside such avant-garde British figures as Alan Davie and Peter King and Europeans such as filmmakers Lotte Reiniger and Carl Koch, painter-soon-to-turn-animator Peter Foldes and sculptor Inge King.A hotbed of experimental painting, sculpture, filmmaking, ceramics and jewellery-making, the Abbey offered artists a utopian blend of affordable accommodation, collegial exchange, and inspiration in the form of Ohlys collection of non-western art from Africa, Asia, the Pacific and meso-America, which he also dealt in at the Berkeley Galleries. Attentive to the circumstances in which art is made, this book frames the Abbey through lenses that reconceive both Australian and British postwar art history.Extensive new archival material enables this microhistory that comes with big ideas: unsettling the prevailing story of Australian and British postwar art and radically revising art historiography to account for the role of migrant diasporas from former British colonies, displaced peoples and other marginalised groups. With the decline of those powerful narratives of modernism and nationalism, this book will interest art historians, curators and students interested in transnational sites that invest in the new art histories. The book accompanies an online database that expands on the biographic and archival documentation: The Abbey Art Centre Digital Repository, William Ohlys Abbey Art Centre has long been sidelined in Australian art history and all but invisible in British accounts due to the dominance of national art histories. Attentive to the circumstances in which art is made, this book frames the Abbey through lenses that reconceive both Australian and British postwar art history. This item is printed on demand. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.…

Hardcover. Condition: new. Hardcover. William Ohlys Abbey Art Centre has long been sidelined in Australian art history and all but invisible in British accounts due to the dominance of national art histories. Yet over twenty Australian artists lived and worked there during the centres first decade of operations, including Robert Klippel, James Gleeson and the art historian Bernard Smith, alongside such avant-garde British figures as Alan Davie and Peter King and Europeans such as filmmakers Lotte Reiniger and Carl Koch, painter-soon-to-turn-animator Peter Foldes and sculptor Inge King.A hotbed of experimental painting, sculpture, filmmaking, ceramics and jewellery-making, the Abbey offered artists a utopian blend of affordable accommodation, collegial exchange, and inspiration in the form of Ohlys collection of non-western art from Africa, Asia, the Pacific and meso-America, which he also dealt in at the Berkeley Galleries. Attentive to the circumstances in which art is made, this book frames the Abbey through lenses that reconceive both Australian and British postwar art history.Extensive new archival material enables this microhistory that comes with big ideas: unsettling the prevailing story of Australian and British postwar art and radically revising art historiography to account for the role of migrant diasporas from former British colonies, displaced peoples and other marginalised groups. With the decline of those powerful narratives of modernism and nationalism, this book will interest art historians, curators and students interested in transnational sites that invest in the new art histories. The book accompanies an online database that expands on the biographic and archival documentation: The Abbey Art Centre Digital Repository, William Ohlys Abbey Art Centre has long been sidelined in Australian art history and all but invisible in British accounts due to the dominance of national art histories. Attentive to the circumstances in which art is made, this book frames the Abbey through lenses that reconceive both Australian and British postwar art history. This item is printed on demand. Shipping may be from our UK warehouse or from our Australian or US warehouses, depending on stock availability.…