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English
Bloomsbury Visual Arts
03 June 2021
Why did collectors seek out posters and collect ephemera during the late-nineteenth and the twentieth centuries? How have such materials been integrated into institutional collections today? What inspired collectors to build significant holdings of works from cultures other than their own? And what are the issues facing curators and collectors of digital ephemera today?

These are among the questions tackled in this volume—the first to examine the practices of collecting prints, posters, and ephemera during the modern and contemporary periods. A wide range of case studies feature collections of printed materials from the United States, Latin America, France, Germany, Great Britain, China, Japan, Russia, Iran, and Cuba. Fourteen essays and one roundtable discussion, all specially commissioned from art historians, curators, and collectors for this volume, explore key issues such as the roles of class, politics, and gender, and address historical contexts, social roles, value, and national and transnational aspects of collecting practices. The global scope highlights cross-cultural connections and contributes to a new understanding of the place of prints, posters and ephemera within an increasingly international art world.

Edited by:   , , ,
Imprint:   Bloomsbury Visual Arts
Country of Publication:   United Kingdom
Dimensions:   Height: 229mm,  Width: 152mm, 
Weight:   658g
ISBN:   9781501377891
ISBN 10:   1501377892
Series:   Contextualizing Art Markets
Pages:   304
Publication Date:  
Audience:   College/higher education ,  Primary
Format:   Paperback
Publisher's Status:   Active

Ruth E. Iskin is Professor, Department of the Arts, Ben-Gurion University of the Negev, Israel. Britany Salsbury is Associate Curator of Prints and Drawings, Milwaukee Art Museum, USA.

Reviews for Collecting Prints, Posters, and Ephemera: Perspectives in a Global World

Remarkable for its global scope and historical range, Collecting Prints, Posters, and Ephemera is a vital contribution to our understanding of printed images in all their variety and an indispensable guide to how collecting practices have shaped their meaning. * Richard Taws, University College London, UK *


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