This historic book may have numerous typos and missing text. Purchasers can usually download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1920 edition. Excerpt: ...to the donor of the building, and designed to contain his own paintings and a selection from his gifts, so that his memory may be worthily and sympathetically perpetuated. On the lower floor are three more galleries, a large one and two smaller, similar in shape to those on the main floor, but lighted from windows instead of from above; and in addition a large storeroom. There are, of course, aside from the galleries, the necessary coat rooms and lavatories. In order to ensure complete protection from fine, as well as from coal-smoke and dust, the heat is piped from the existing building, the Hillyer Gallery. This is done by means of an underground passage. As packing and unpacking is to be done in the old building, it will be possible to exclude any kind of inflammable material from the new. All of the halls and galleries are carefully designed to give that intimacy of touch that their sizes indicate. Never is intrusive architectural detail allowed to distract one's attention from the works of art themselves, though never is there an effect of boldness or starkness. It is all quiet, restrained, delicate, simple, in color as in design. The floor and door frames of the hall are of Botticino marble of a warm greyish tint; and the same warm grey though stronger and darker will be used on its walls, which will serve as an excellent background for tapestries and sculpture. The gallery floors are cork tile, quiet and restful in color and texture; above them the walls sweep in unbroken surfaces, covered with textiles of neutral tone, to the coved cornice at the top, which will be of a warm ivory tint. The Tryon Room itself will be similar in general color scheme, but richer and yet more intimate in its te tural treatment. In the galleries of the...

In this new collection of her provocative essays on Third World art and culture, Trinh Minh-ha offers new challenges to Western regimes of knowledge. Bringing to her subjects an acute sense of the many meanings of the marginal, she examines topics such as Asian and African texts, the theories of Barthes, questions of spectatorship, the enigmas of art, and the perils of anthropology. When the Moon Waxes Red is an extended argument against reductive analyses, even those that appear politically adroit. The multiply-hyphenated peoples of color are not simply placed in a duality between two cultural heritages; throughout, Trinh describes the predicament of having to live "a difference that has no name and too many names already." She argues for multicultural revision of knowledge so that a new politics can transform reality rather than merely ideologize it. By rewriting the always emerging, already distorted place of struggle, such work seeks to "beat the master at his own game."