Modernisms: Iranian, Turkish, and Indian Highlights from Nyu`s Abby Weed Grey Collection 9783777433172

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Автор: Gumpert Lynn
Название: Modernisms: Iranian, Turkish, and Indian Highlights from Nyu`s Abby Weed Grey Collection
ISBN: 9783777433172
Издательство: Thames & Hudson
Классификация:

История художественных и оформительских стилей: с 1900 г.

История художественных и оформительских стилей, с 1960 г.

Выставочные каталоги и тематические коллекции

ISBN-10: 3777433179
Обложка/Формат: Hardcover
Страницы: 240
Вес: 0.96 кг.
Дата издания: 15.09.2019
Язык: English
Иллюстрации: Illustrations, unspecified
Размер: 222 x 287 x 29
Читательская аудитория: General (us: trade)
Подзаголовок: Iranian, turkish, and indian highlights from nyu`s abby weed grey collection
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Поставляется из: Европейский союз
Описание: Modernisms is the first book to offer a crosscultural exploration of modern art from Iran, Turkey, and India. Focusing on select works from the Abby Weed Grey Collection of Modern Asian and Middle Eastern Art at New York University, the contributions here discuss significant pieces from the 1960s and early 1970s. Along the way, Modernisms outlines a welcome alternative to the long-dominant focus on North American and western European art.

With nearly seven hundred artworks, the Abby Weed Grey Collection represents the largest institutional assemblage of modern Iranian and Turkish art outside of Iran and Turkey as well as the most important trove of modern Indian art in an American university museum. Modernisms, which accompanies an exhibition at NYUs Grey Art Gallery, introduces paintings, sculptures, drawings, and prints from the three countries along with biographical narratives on the artists. More than one hundred color illustrations make the book an authoritative visual resource.

Featuring fresh scholarship from a range of voices, among them Fereshteh Daftari, Shiva Balaghi, Susan Hapgood, and Ranjit Hoskote, Modernisms powerfully argues for the importance of nonwestern art as a component of modernity--and defies the long-held belief that other forms of modernism can only be second-rate.