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Relevant bibliographies by topics / American Art Museum

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Academic literature on the topic 'American Art Museum'

Author: Grafiati

Published: 4 June 2021

Last updated: 13 February 2022

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Journal articles on the topic "American Art Museum"

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Hughston, Milan R. "NATIONAL MUSEUM OF AMERICAN ART, SMITHSONIAN INSTITUTION. National Museum of American Art." Art Documentation: Journal of the Art Libraries Society of North America 16, no. 2 (1997): 53–54. http://dx.doi.org/10.1086/adx.16.2.27948904.

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Smith, Donna B. "National Museum of American Art9839National Museum of American Art." Electronic Resources Review 2, no. 4 (1998): 43–44. http://dx.doi.org/10.1108/err.1998.2.4.43.39.

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Jacknis, Ira. "Anthropology, Art, and Folklore." Museum Worlds 7, no. 1 (2019): 109–33. http://dx.doi.org/10.3167/armw.2019.070108.

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In the great age of museum institutionalization between 1875 and 1925, museums competed to form collections in newly defined object categories. Yet museums were uncertain about what to collect, as the boundaries between art and anthropology and between art and craft were fluid and contested. As a case study, this article traces the tortured fate of a large collection of folk pottery assembled by New York art patron Emily de Forest (1851–1942). After assembling her private collection, Mrs. de Forest encountered difficulties in donating it to the American Museum of Natural History and the Metropolitan Museum of Art. After becoming part of the Philadelphia Museum of Art, it finally found a home at the Pennsylvania State Museum of Anthropology. Emily de Forest represents an initial movement in the estheticization of ethnic and folk crafts, an appropriation that has since led to the establishment of specifically defined museums of folk art and craft.

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Caragol, Taína. "Documenting Latin American art at the Museum of Modern Art Library." Art Libraries Journal 30, no. 3 (2005): 33–36. http://dx.doi.org/10.1017/s0307472200014085.

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This article traces the history of the Latin American holdings of the Museum of Modern Art Library, one of the first institutions outside Latin America to start documenting the art of this geopolitical region, and one of the best research centers on modern Latin American art in the world. This success story dates back to the thirties, when the Museum Library began building a Latin American and Caribbean collection that currently comprises over 15,000 volumes of catalogues and art books. The launch of various research tools and facilities for scholars and the general public in recent years also shows the Museum’s strong commitment not only towards Latin American art history but also to the present and the future of the Latino art community.

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Mihalache, Irina. "Art Museum Dining: The History of Eating Out at the Art Gallery of Ontario." Museum and Society 15, no. 3 (2018): 287–300. http://dx.doi.org/10.29311/mas.v15i3.2543.

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Using archival materials from the Art Gallery of Ontario (AGO), this article recreates the culinary history of the art museum and advocates for the inclusion of food in the literature on art museum history and practice. The AGO, like many other North American art museums, has a rich culinary history, which started with dining events organized by volunteer women’s committees since the 1940s. These culinary programs generated a culinary culture grounded in gourmet ideologies, which became the grounds for the first official eating spaces in the museum in the mid-1970s. Awareness of the museum’s culinary history offers an opportunity to liberate the museum from prescriptive theoretical models which are not anchored in institutional realities; these hide aspects of gender and class which become visible through food narratives.KeywordsArt museum restaurants, culinary programming, women’s committees, multisensorial museums, Art Gallery of Ontario

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Scott, David A. "Modern Antiquities: The Looted and the Faked." International Journal of Cultural Property 20, no. 1 (2013): 49–75. http://dx.doi.org/10.1017/s0940739112000471.

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AbstractThis article discusses some of the issues regarding the acquisition of art and the different philosophical views of some of the main protagonists regarding the reclaiming of art by nation-states, following American museums' acceptance of the 1970 UNESCO Convention, using examples from the Getty Museum and the Metropolitan Museum of Art. The mediation of Native American Graves Protection and Repatriation Act (NAGPRA) claims by conservators is often an important component of the dialogue between museums and native communities. The philosophical and art-historical opinions regarding the value of copies and reproductions of works of art have oscillated from promulgation in the 1860s to outright rejection by the 1920s. In a modernist sense, points of view are once again open to reevaluation as host nations demand back more originals than ever before. Arguments against the claims of nationalist-retentionist countries and those advanced in favor of the claims of nation-states regarding the repatriation of their art are discussed. The problems created by looted art in association with the ever-increasing number of fakes is highlighted, with examples of the issues surrounding pre-Columbian art and some classical antiquities. The utility of copies in relation to the protective value of the authentic piece is discussed in the context of museum examples in which the concept of the utilization of copies for museum display has been accepted in certain cases as desirable.

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Abbey, Heidi N. "Does a decade make a difference? Comparing the web presence of North American art museum libraries and archives in 1999 and 2011." Art Libraries Journal 37, no. 3 (2012): 34–40. http://dx.doi.org/10.1017/s0307472200017582.

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The number of North American art museums with a presence on the internet has more than doubled since 1999. This is not surprising given the power of new media to transform the experiences that museum visitors have with our cultural institutions. Every year museums attract thousands of visitors to view, both in person and online, their specialized collections and unique exhibitions. Developing in tandem with these resources and largely unfamiliar to the general, museum-going public, the libraries and archives of these institutions have contributed to the research mission, educational programming, documentary history, and curatorial functions of museums in countless ways. In addition, especially for art historians and other scholars, museum libraries and archives have been and continue to be increasingly valuable for primary and secondary sources, including artists’ correspondence, diaries, sketches, hard-to-find monographs, exhibition records and sales catalogues. What is unclear, however, is the extent to which resources in art museum libraries and archives are being documented, preserved and made accessible online. This research is perhaps the first of its kind to evaluate, on a small scale and during a span of twelve years, the web presence of 22 North American art museum libraries and archives.

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Kempe, Deborah, Deirdre E. Lawrence, and Milan R. Hughston. "Latin American art resources north of the border: an overview of the collections of the New York Art Resources Consortium (NYARC)." Art Libraries Journal 37, no. 4 (2012): 5–14. http://dx.doi.org/10.1017/s0307472200017673.

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The New York Art Resources Consortium (NYARC), consisting of The Frick Art Reference Library and the libraries of the Brooklyn Museum and the Museum of Modern Art (MoMA), houses significant collections of material on Latin American art that document the cultural history of Mexico, Central America, the Caribbean and South America, as well as the foundation of New York City as an epicenter of US Latino and Latin American cultural production since the 19th century. Ranging from historic archeological photographs to contemporary artists’ books, the holdings of the NYARC libraries are varied in their scope and record the contributions of Latin American and Latino artists to the international art scene. With the creation of Arcade, the shared online catalog of the Frick, MoMA and Brooklyn Museum, the ‘collective collection’ of material about and from Latin America has been strengthened in ways both expected and unanticipated. Techniques for integrating Latin American bibliographic information into discovery platforms, strategies for increasing the visibility of these collections, and ideas for providing improved access to the Latin American subset of the NYARC collections are being explored, and many further opportunities exist to engage in co-operative collection development in this area, across the NYARC consortium and with other peer institutions.

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Hilden, Patricia Penn. "Race for Sale: Narratives of Possession in Two “Ethnic” Museums." TDR/The Drama Review 44, no. 3 (2000): 11–36. http://dx.doi.org/10.1162/10542040051058591.

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Have the Museum for African Art and the National Museum of the American Indian, both in New York City, been able to “move the center” from Euro-America to Africa, the African diaspora, or Native America?

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Lindsay, G. "American Art Museum Architecture: Documents and Design." Journal of Design History 26, no. 1 (2012): 125–28. http://dx.doi.org/10.1093/jdh/eps037.

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Dissertations / Theses on the topic "American Art Museum"

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McFelter, Gypsy. "Is the price right? : Admission fees and free admission in American art museums /." [Pleasant Hill, Calif. : John F. Kennedy University Library], 2006. http://library2.jfku.edu/Museum_Studies/Is_the_Price_Right.pdf.

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Einreinhofer, Nancy. "The paradox of the American art museum." Thesis, University of Leicester, 1994. http://hdl.handle.net/2381/35302.

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Balcerek, Katherine Emma. "The Whitney Museum of American Art gender, museum display, and modernism /." NCSU, 2010. http://www.lib.ncsu.edu/theses/available/etd-04012010-131832/.

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The Whitney Museum of American Art founded in 1931 by Gertrude Vanderbilt Whitney offers insight into the role of women patrons in the American art world. Furthermore, the Museumâs contemporary identification with the Museum of Modern Art obscures its unique history and different founding principles. This paper explores the foundation of the Whitney Museum in roughly the first two decades of its existence from 1931 to 1953 to examine how Whitney and the Museumâs first director, Juliana Force, negotiated gender and class ideology and the Modernist discourse to found the first museum solely devoted to American art. Gertrude Vanderbilt Whitney and Juliana Force operated the Whitney Museum based on three main principles: the primacy of the individual artist, the promotion of American art, and the importance of an informal museum space. The Whitney Museum of American Art, staked Whitney and Forceâs claim in a male dominated art world. The Museum was a complex space, representing a modern feminine viewpoint that embraced inclusivity and elitism, masculine and feminine, Modernism and conservatism. Whitney and Force wanted the Whitney Museum to be less formal and more inclusive, so they designed it like a middle class home with intimate galleries, furniture, carpets, and curtains. However, the decor hindered the Whitney Museumâs influence on the modern art canon because critics perceived the Museum as feminine and personal, Modernismâs rejection of the feminine and realism that ultimately led to the exclusion of the Whitney Museumâs collection of realist art from the modern art historical canon.

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Howe, Laura Paulsen. "Navajo Baskets and the American Indian Voice: Searching for the Contemporary Native American in the Trading Post, the Natural History Museum, and the Fine Art Museum." Diss., CLICK HERE for online access, 2007. http://contentdm.lib.byu.edu/ETD/image/etd2015.pdf.

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Macaluso, Rose E. "The Smithsonian Institute Smithsonian American Art Museum registration internship." ScholarWorks@UNO, 2003. http://scholarworks.uno.edu/aa_rpts/88.

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This detailed report of a registration internship at the Smithsonian American Art Museum includes an organizational profile of the Smithsonian Institute, the Smithsonian Institute Affiliate Program, and the Smithsonian American Art Museum, a description of the activities performed during the internship, an analysis of a volunteer management challenge, a proposed resolution to the volunteer management challenge, and a discussion of the short and long term effects of the internship. The duties and expectations of volunteers, the staff preparation for volunteers, and the empowerment of volunteers are important aspects of the analysis and resolution of the volunteer management challenge.

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Galliher, Allison. "Early American Silver at the Currier Museum of Art." Thesis, Harvard University, 2015. http://nrs.harvard.edu/urn-3:HUL.InstRepos:24078350.

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This project-based thesis has added five stops and an introduction to American Silver to the Currier Museum of Art’s mobile tour. The Museum has an extensive silver collection but has very little information readily available for its visitors in the galleries. This thesis provides those visitors with information about the Currier’s American silver collection. It uses the Currier’s current mobile application as a template while incorporating museum education teaching methods to create an engaging tour. The thesis begins with a history of silver in America from Colonial times to the start of the nineteenth century. This time period is best represented in the Currier’s American silver collection. The thesis discusses the role and development of the silversmith as a craftsman as well as the social history of silver in America during this period. It also discusses the use and advantages of using mobile technology in the museum setting. Many visitors already own mobile devices. Museums can take advantage of visitors’ familiarity with these tools by creating programs specifically for this technology. The tour itself is based on teaching methods outlined by the museum educator George E. Hein in his book: Learning in the Museum (1998). These methods are used to build upon the standards set by the Currier Museum of Art’s “Audience Engagement and Interpretation Philosophy” in order to make the tour more engaging for visitors. Articles by museum technology professionals Robert Stein and Nancy Proctor were also consulted when researching the best practices for mobile tours. Their work lays out many key elements for successful mobile applications including the use of media assets, stops where these assets are experienced and the connections used to move between the stops. The accessibility benefits of mobile technology for visitors, especially the use of audio recordings for visitors with disabilities, are also discussed and were taken into account when creating the tour.

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Decker, Jillian. "The Restitution of World War II-Era Looted Art: Case Studies in Transitional Justice for American Museum Professionals." Walsh University Honors Theses / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=walshhonors155561854704584.

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Betancourt, Verónica E. "Brillan por su ausencia: Latinos as the missing outsiders of mainstream art museums." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1339516509.

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Bryan, Amanda. "New Museum Theory in Practice: A Case Study of the American Visionary Art Museum and the Representation of Disability." VCU Scholars Compass, 2008. http://scholarscompass.vcu.edu/etd/1627.

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Since the inception of new museum theory, and the emphasis it places on the social purpose of museums within society, museum professionals and museum studies theorists have struggled to define what role museums must take in combating prejudices and fostering better understating of difference. Richard Sandell is one such theorist who writes about the importance of, and need for, greater inclusion of disabled artists and works of art containing themes of disability into exhibitions and display. This thesis examines Sandell’s scholarship, noting its foundation in new museum theory and disability studies, and then, employing a case study of the American Visionary Art Museum, illustrates the issues illuminated in Sandell’s writing. Finally, utilizing the case study, this thesis will offer aims for further research within museum studies not yet considered by Sandell, especially within educational goals and activities of the museum.

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Terjesen, Lori Ann Martin. "Collecting the Brücke: Their Prints in Three American Museums, A Case Study." Case Western Reserve University School of Graduate Studies / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=case1291164225.

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Books on the topic "American Art Museum"

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J, Slowik Theresa, ed. America's art, Smithsonian American Art Museum. Abrams, 2006.

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Museum, Smithsonian American Art. America's art, Smithsonian American Art Museum. Smithsonian American Art Museum, 2005.

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Schuster, J. Mark Davidson. The audience for American art museums. Seven Locks Press, 1991.

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The audience for American art museums. Seven Locks Press, 1992.

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National Museum of American Art. The Museum, 1995.

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National Museum of American Art (U.S.). National Museum of American Art. The Museum, 1995.

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Stoller, Ezra. Whitney Museum of American Art. Princeton Architectural Press, 2000.

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Cleveland Museum of Art. African American art: The Cleveland Museum of Art. Edited by Cole Mark (Mark Patrick), Sparks Amy editor, and Michaels Rebecca editor. Cleveland Museum of Art, 2013.

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Museum, Princeton University Art. American art in the Princeton University Art Museum. Princeton University Art Museum, 2004.

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University, Princeton. American art in the Princeton University Art Museum. Princeton University Art Museum ; Yale University Press, 2004.

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Book chapters on the topic "American Art Museum"

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Ezeluomba, Ndubuisi C. "The development of the exhibition of African art in American art museums." In Museum Innovation. Routledge, 2021. http://dx.doi.org/10.4324/9781003038184-4.

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Wallach, Alan. "The Birth of the American Art Museum." In The American Bourgeoisie. Palgrave Macmillan US, 2010. http://dx.doi.org/10.1057/9780230115569_15.

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Szekely, Pedro, Craig A. Knoblock, Fengyu Yang, et al. "Connecting the Smithsonian American Art Museum to the Linked Data Cloud." In The Semantic Web: Semantics and Big Data. Springer Berlin Heidelberg, 2013. http://dx.doi.org/10.1007/978-3-642-38288-8_40.

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Tarigo-Bonizzoni, Liliana. "Study of the Open-Air Museum of Ibero-American Art of San Gregorio de Polanco, Uruguay." In Cultural and Creative Mural Spaces. Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-53106-5_7.

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Chudzicka, Dorota. "The Dealer and the Museum: C. T. Loo (1880–1957), the Freer Gallery of Art, and the American Asian Art Market in the 1930s and 1940s." In Kunst sammeln, Kunst handeln. Böhlau Verlag, 2012. http://dx.doi.org/10.7767/boehlau.9783205791997.243.

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Pyun, Kyunghee. "Asian physiques of mannequins in American art museums." In Mannequins in Museums. Routledge, 2021. http://dx.doi.org/10.4324/9780429260575-6.

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Lacovara, Peter. "Exhibiting ancient Middle Eastern art in America 1." In Museums and the Ancient Middle East. Routledge, 2018. http://dx.doi.org/10.4324/9781351164160-16.

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Tsirogiannis, Christos. "Illicit Antiquities in American Museums: Diversity in Ethical Standards." In The Palgrave Handbook on Art Crime. Palgrave Macmillan UK, 2019. http://dx.doi.org/10.1057/978-1-137-54405-6_36.

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Alexander, Victoria D. "The American System of Support for the Arts: Artists and Art Museums." In Art and the State. Palgrave Macmillan UK, 2005. http://dx.doi.org/10.1057/9780230507920_2.

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"The Modern Art Museum." In The Evolution of Taste in American Collecting. Penn State University Press, 2016. http://dx.doi.org/10.5325/j.ctv14gp1tr.22.

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Conference papers on the topic "American Art Museum"

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Merlin, Jose R., Mateus A. Simon, Matheus M. Bertonha, Daniela Freitas Guilhermino Trindade, and Wellington Della Mura. "Desenvolvimento de Museu Virtual Utilizando Ferramentas Livres." In Congresso Latino-Americano de Software Livre e Tecnologias Abertas. Sociedade Brasileira de Computação - SBC, 2019. http://dx.doi.org/10.5753/latinoware.2019.10328.

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Com o advento da word wide web a partir dos anos 1990, muito do que existia apenas no mundo "físico" começou a existir também no mundo "virtual". Um exemplo são os museus que, embora tradicionalmente sejam lembrados como instituições de preservação de objetos históricos ou obras de arte, também guardam outros tipos de coleções. Neste trabalho é abordado o museu entomológico, que consiste em uma coleção de insetos organizada principalmente para fins de estudo. O objetivo foi analisar a viabilidade da utilização exclusiva de software livre no desenvolvimento de um museu entomológico virtual. Desta forma, esta categoria de software foi utilizada, desde a aquisição e tratamento das imagens até a disponibilização do resultado final na web. O método mostrou-se viável e de baixo custo, evidenciando que as ferramentas utilizadas são totalmente eficazes no que se propõem.

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Pakseresht, Sahar, and Manel Guardia Bassols. "From the so-called Islamic City to the Contemporary Urban Morphology: the Historic Core of Kermanshah City in Iran as a Case Study." In 24th ISUF 2017 - City and Territory in the Globalization Age. Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/isuf2017.2017.5210.

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Sahar Pakseresht¹, Manel Guàrdia Bassols¹ ¹ Department of Theory and History of Architecture. Polytechnic University of Catalonia (UPC). Av. Diagonal, 64908028 Barcelona, Tel:93-4017874 E-mail: sahar.pakseresht@estudiant.upc.edu, manel.guardia@upc.edu Keywords: Iranian city, Kermanshah, urban morphology, Islamic city, urban transformation, Modernisation Conference topics and scale: City transformations, urban form and social use of space Pre-1920 cities in Iran are characterized by a number of features considered to be typical of the so-called “Islamic city”. A set of features are shared by traditional cities where dominated by Islam religion. The notion of “Islamic city”, often criticised for its Eurocentric nature, has guided most studies of these traditional cities. The modernisation process in so-called Islamic cities is crucial due to its serious impacts on the traditional morphology and transformation of their urban structure. We, thus, need more holistic and integrated understanding about changes of these cities derives from the modernisation process. In order to explore the broad and wide-spread changes due to modernisation process in the traditional cities in Muslim world, it is more enlightening if we study second order cities, rather than studying the transformations of major capitals such as Cairo, Istanbul or Teheran, where interventions are goal to approach a more exceptional and rhetorical characters. Therefore, the aim of this paper is to study the historic core of Kermanshah city, to understand the link between urban transformations and social due to modernisation process by tracing it historically. We will focus, particularly, on studying the stages of urban transformation and changes of urban morphology as well as conflict and differences between traditional urban features with the modern ones. For example, we are interested in understanding how traditional morphology and structure of residential and commercial zone are affected by the opening of new and wide boulevards in course of modernisation process, and how these changes influence everyday people life. References Kheirabadi, M. (2000). Iranian cities: formation and development. Syracuse University Press. Clarke, J. I., &amp; Clark, B. D. (1969). Kermanshah: an Iranian provincial city (No. 10). University of Durham, Department of Geography. Bonine, M. E. (1979). THE MORPHOGENESIS OF IRANIAN CITIES∗. Annals of the Association of American Geographers, 69(2), 208-224. Stefano Bianca. (2000). Urban form in the Arab world: Past and present (Vol. 46). vdf Hochschulverlag AG. Habibi, M. (1996). Az shar ta Shahr (de la Cite a la Ville). Analytical review of the city concept and its physical image in the course of time), Tehran: University of Tehran. (In Persian)

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Reports on the topic "American Art Museum"

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Miller, Naomi J., and Scott M. Rosenfeld. Demonstration of LED Retrofit Lamps at the Smithsonian American Art Museum, Washington, DC. Office of Scientific and Technical Information (OSTI), 2012. http://dx.doi.org/10.2172/1044507.

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Martin, Kathi, Nick Jushchyshyn, and Daniel Caulfield-Sriklad. 3D Interactive Panorama Jessie Franklin Turner Evening Gown c. 1932. Drexel Digital Museum, 2015. http://dx.doi.org/10.17918/9zd6-2x15.

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The 3D Interactive Panorama provides multiple views and zoom in details of a bias cut evening gown by Jessie Franklin Turner, an American woman designer in the 1930s. The gown is constructed from pink 100% silk charmeuse with piping along the bodice edges and design lines. It has soft tucks at the neckline and small of back, a unique strap detail in the back and a self belt. The Interactive is part of the Drexel Digital Museum, an online archive of fashion images. The original gown is part of the Fox Historic Costume, Drexel University, a Gift of Mrs. Lewis H. Pearson 64-59-7.

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Martin, Kathi, Nick Jushchyshyn, and Claire King. James Galanos, Wool Evening Suit. Fall 1984. Drexel Digital Museum, 2018. http://dx.doi.org/10.17918/6gzv-pb45.

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The URL links to a website page in the Drexel Digital Museum (DDM) fashion image archive containing a 3D interactive panorama of an evening suit by American fashion designer James Galanos with related text. This evening suit is from Galanos Fall 1984 collection. The skirt and bodice of the jacket are black and white plaid wool. The jacket sleeves are black mink with leather inserts that contrast the sheen of the leather against the luster of the mink and reduce some of the bulk of the sleeve. The suit is part of The James G. Galanos Archive at Drexel University gifted to Drexel University in 2016. The panorama is an HTML5 formatted version of an ultra-high resolution ObjectVR created from stitched tiles captured with GigaPan technology. It is representative the ongoing research of the DDM, an international, interdisciplinary group of researchers focused on production, conservation and dissemination of new media for exhibition of historic fashion.

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Martin, Kathi, Nick Jushchyshyn, and Claire King. James Galanos Evening Gown c. 1957. Drexel Digital Museum, 2018. http://dx.doi.org/10.17918/jkyh-1b56.

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The URL links to a website page in the Drexel Digital Museum (DDM) fashion image archive containing a 3D interactive panorama of an evening suit by American fashion designer James Galanos with related text. This evening gown is from Galanos' Fall 1957 collection. It is embellished with polychrome glass beads in a red and green tartan plaid pattern on a base of silk . It was a gift of Mrs. John Thouron and is in The James G. Galanos Archive at Drexel University. The panorama is an HTML5 formatted version of an ultra-high resolution ObjectVR created from stitched tiles captured with GigaPan technology. It is representative the ongoing research of the DDM, an international, interdisciplinary group of researchers focused on production, conservation and dissemination of new media for exhibition of historic fashion.

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Martin, Kathi, Nick Jushchyshyn, and Claire King. James Galanos, Silk Chiffon Afternoon Dress c. Fall 1976. Drexel Digital Museum, 2018. http://dx.doi.org/10.17918/q3g5-n257.

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The URL links to a website page in the Drexel Digital Museum (DDM) fashion image archive containing a 3D interactive panorama of an evening suit by American fashion designer James Galanos with related text. This afternoon dress is from Galanos' Fall 1976 collection. It is made from pale pink silk chiffon and finished with hand stitching on the hems and edges of this dress, The dress was gifted to Drexel University as part of The James G. Galanos Archive at Drexel University in 2016. After it was imaged the gown was deemed too fragile to exhibit. By imaging it using high resolution GigaPan technology we are able to create an archival quality digital record of the dress and exhibit it virtually at life size in 3D panorama. The panorama is an HTML5 formatted version of an ultra-high resolution ObjectVR created from stitched tiles captured with GigaPan technology. It is representative the ongoing research of the DDM, an international, interdisciplinary group of researchers focused on production, conservation and dissemination of new media for exhibition of historic fashion.

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