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Journal articles on the topic 'American Art Museum'

Author: Grafiati

Published: 4 June 2021

Last updated: 13 February 2022

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1

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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2

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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3

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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4

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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6

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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8

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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9

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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10

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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11

Stahl, Joan. "The National Museum of American Art Online." Visual Resources 10, no. 4 (1995): 365–67. http://dx.doi.org/10.1080/01973762.1995.9658305.

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12

González Fraile, Eduardo Miguel. "WHITNEY MUSEUM OF AMERICAN ART (MET BREUER)." Proyecto, Progreso, Arquitectura 23 (November 19, 2020): 28–45. http://dx.doi.org/10.12795/ppa.2020.i23.02.

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El museo de arte Whitney de Breuer se ubica en la isla de Manhattan, en Nueva York, próximo a varios museos muy importantes: al Museo Americano de Historia Natural, al Museo Metropolitano de Arte y al Museo Guggenheim, la obra más conocida de Franz Lloyd Wright. En la génesis del proyecto influirán las características del lugar, la geometría de la parcelación, las metáforas concomitantes con la fachada del anterior Museo Whitney, la emulación de la aérea volatilidad del Museo Guggenheim y la bien engrasada disposición del programa funcional, condensadas en una sección principal que se hunde bajo la línea de tierra y busca allí las raíces del diseño. El plano del terreno original separa arquitecturas distintas respecto al programa, la estructura y la morfología: transparencia de la parte inferior de la fachada frente a la opacidad y masividad de los volúmenes que avanzan hacia el exterior. El patio mediterráneo subyace en el esquema de la disposición de la planta y el complejo patio inglés aporta la sección generadora y da forma literal a las fachadas, contenidas por una envolvente abstracta y poseedoras de un contenido encriptado.

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13

Harris, Neil. "Period Rooms and the American Art Museum." Winterthur Portfolio 46, no. 2/3 (2012): 117–38. http://dx.doi.org/10.1086/667401.

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14

Barohn, Richard J. "Rick's North American Art Museum Ranking List." RRNMF Neuromuscular Journal 1, no. 5 (2020): 7–12. http://dx.doi.org/10.17161/rrnmf.v1i5.14840.

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15

Sanfuentes, Olaya. "Latin American Popular Art in a Museum: How Things Become Art." Artium Quaestiones, no. 29 (May 7, 2019): 63–89. http://dx.doi.org/10.14746/aq.2018.29.3.

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In 1943 when Universidad de Chile celebrated its centennial all Latin American nations were invited to participate in the commemorative events. One of the most interesting was the Exhibition of American Popular Art at the Museo Nacional de Bellas Artes(National Museum of Fine Arts) which brought together the objects from participating countries. The Universidad de Chile´s invitation asked countries to send functional objects that were part of the people´s daily lives. The exhibition was very successful, critically acclaimed, and highly attended. But above all, it planted the seed for what was to become the Museo de Artes Populares Americanas(American Popular Art Museum) functioning to this day.In this essay I would like to highlight a series of contexts, actors and institutions behind the phenomena: specific incarnations of Pan Americanism during the Second World War; the Latin American perspective in general and in particular, the Chilean perspective of the university´s role in society; the new value of Latin American arts since the 20thcentury. These contexts and events are useful to shed light on the “social life” of the objects that were part of the exhibition and they also help us to understand a dynamic definition of art which emerged from the recognition of craft in use as worthy of exhibition in a National Fine Arts Museum and then to remain at the permanent collection of a popular art museum.The radical importance of this essay is that it constitutes an example of a thing which represents not just art but also other values. In a midst of the World War II, Latin American Popular Art represented peace. The objects of the exhibition were seen as incarnations of Latin American cultural identity and historiography has gone on to view Latin American culture as a specific contribution to peace effort.

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16

Tyquiengco, Marina, and Monika Siebert. "Are Indians in America's DNA?" Contemporaneity: Historical Presence in Visual Culture 8 (October 30, 2019): 80–97. http://dx.doi.org/10.5195/contemp.2019.288.

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A conversation between Dr. Monika Siebert and Marina Tyquiengco on:  Americans National Museum of the American Indian January 18, 2018–2022 Washington, D.C.  Monika Siebert, Indians Playing Indian: Multiculturalism and Contemporary Indigenous Art in North America. Tuscaloosa: University of Alabama Press, 2015.

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17

Szekely, Pedro, Craig A. Knoblock, Fengyu Yang, et al. "Publishing the Data of the Smithsonian American Art Museum to the Linked Data Cloud." International Journal of Humanities and Arts Computing 8, supplement (2014): 152–66. http://dx.doi.org/10.3366/ijhac.2014.0104.

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Museums around the world have built databases with metadata about millions of objects, their history, the people who created them, and the entities they represent. This data is stored in proprietary databases and is not readily available for use. Recently, museums embraced the Semantic Web as a means to make this data available to the world, but the experience so far shows that publishing museum data to the linked data cloud is difficult: the databases are large and complex, the information is richly structured and varies from museum to museum, and it is difficult to link the data to other datasets. This paper describes the process of publishing the data of the Smithsonian American Art Museum (SAAM). We describe the database-to-RDF mapping process, discuss our experience linking the SAAM dataset to hub datasets such as DBpedia and the Getty Vocabularies, and present our experience in allowing SAAM personnel to review the information to verify that it meets the high standards of the Smithsonian. Using our tools, we helped SAAM publish high-quality linked data of their complete holdings: 41,000 objects and 8,000 artists.

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18

Russell, Marilyn, and Thomas E. Young. "Selected resources on Native American art." Art Libraries Journal 33, no. 2 (2008): 34–38. http://dx.doi.org/10.1017/s0307472200015339.

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This review of selected paper and electronic resources on Native American art describes what is available at the Haskell Indian Nations University Library and Archives in Lawrence, Kansas; the Institute of American Indian Arts Library and Archives in Santa Fe, New Mexico; the H.A. & Mary K. Chapman Library and Archives at the Philbrook Museum of Art in Tulsa, Oklahoma; and the Billie Jane Baguley Library and Archives at the Heard Museum Library in Phoenix, Arizona. These four institutions develop and maintain resources and collections on Native American art and make the information they contain about indigenous groups available not only to their users and other scholars but also to the wider world.

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19

TALLACK, DOUGLAS. "Seeing out the Century." Journal of American Studies 35, no. 1 (2001): 127–31. http://dx.doi.org/10.1017/s0021875801006491.

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Barbara Haskell, The American Century: Art and Culture 1900–1950 (New York: Whitney Museum of American Art, in association with W. W. Norton, 1999, $60 cloth). Pp. 408. ISBN 0 393 04723 7, 0 87427 122 3.Lisa Phillips, The American Century: Art and Culture 1900–1950 (New York: Whitney Museum of American Art, in association with W. W. Norton, 1999, $60 cloth). Pp. 398. ISBN 0 393 04815 2, 0 87427 123 1.

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20

Linden, Diana L. "Modern? American? Jew? Museums and Exhibitions of Ben Shahn's Late Paintings." Prospects 30 (October 2005): 665–84. http://dx.doi.org/10.1017/s0361233300002222.

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The year 1998 marked the centennial of the birth of artist Ben Shahn (1898–1969). Coupled with the approach of the millennium, which many museums celebrated by surveying the cultural production of the 20th century, the centennial offered the perfect opportunity to mount a major exhibition of Shahn's work (the last comprehensive exhibition had taken place at the Jewish Museum in New York City in 1976). The moment was also propitious because a renewed interest in narrative, figurative art, and political art encouraged scholarly and popular appreciation of Ben Shahn, whose reputation within the history of American art had been eclipsed for many decades by the attention given to the abstract expressionists. The Jewish Museum responded in 1998 with Common Man, Mythic Vision: The Paintings of Ben Shahn, organized by the Museum's curator Susan Chevlowe, with abstract expressionism scholar Stephen Polcari (Figure 1). The exhibition traveled to the Allentown Art Museum in Pennsylvania and closed at the Detroit Institute of Arts in 1999.Smaller Shahn exhibitions then in the planning stages (although not scheduled to open during the centennial year) were to focus on selected aspects of Shahn's oeuvre: the Fogg Museum was to present his little-known New York City photographs of the 1930s in relationship to his paintings, and the Jersey City Museum intended to exhibit his career-launching series, The Passion of Sacco and Vanzetti (1931–32). Knowing this, Chevlowe smartly chose to focus on the later years of Shahn's career and on his lesser-known easel paintings of the post-World War II era. In so doing, Chevlowe challenged viewers to expand their understanding both of the artist and his place in 20th-century American art.

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21

Yahr, Jayme. "Disappearing act." Journal of the History of Collections 32, no. 1 (2018): 157–76. http://dx.doi.org/10.1093/jhc/fhy042.

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Abstract The American self-made businessman Daniel J. Terra (1911–1996) collected art as a testament to his patriotism and in an attempt to establish his cultural prowess. Between 1971 and his death in 1996, Terra amassed a collection of 605 paintings, works on paper, and sculpture, made possible by a small network of art dealers who aided Terra in his rapid transformation of the American art market. After a failed attempt to donate his collection to the Art Institute of Chicago, Terra created not one, but two museums in Illinois and one in France over the course of twelve years. Each Terra-backed museum struggled to find visitors, structures of support, and strategic vision while under his control. With the disappearance of each museum, the story of Terra’s art collection became inexorably intertwined with concepts of value, identity, and the physical shift from private hobby to public endeavour.

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22

Kirking, Clayton C. "Both sides of the fence, librarian and curator: forming a Latin American library collection." Art Libraries Journal 20, no. 3 (1995): 11–14. http://dx.doi.org/10.1017/s0307472200009445.

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The Department of Latin American Art at the Phoenix Art Museum was established on 1st January 1992, and the Librarian of the Museum accepted the additional role of Curator of the Department. Although the Museum has always collected Mexican art, the new Department is concerned with all of Latin America and especially with the 20th century. Similarly, the Library, which has long-established interests in Mexican art, is now expanding its coverage to reflect the scope of the new Department. Grant support has been forthcoming, and Library purchasing has been enhanced by the generosity of a private donor and by a strategy of using a proportion of each exhibition budget for Library acquisitions. Specialist suppliers have been identified, but it has also been necessary to travel. Better networking is needed between professionals in Latin America and the USA; exchange programs have the potential to be mutually beneficial. (The text of a paper presented to the IFLA Section of Art Libraries at the IFLA General Conference at Havana, August 1994).

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23

Cuddon, Benedict. "A Field Pioneered by Amateurs: The Collecting and Display of Islamic Art in Early Twentieth-Century Boston." Muqarnas Online 30, no. 1 (2014): 13–33. http://dx.doi.org/10.1163/22118993-0301p0003.

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This article examines the formation and display of collections of Islamic art in Boston-area museums over the first half of the twentieth century. It focuses on the holdings of three main institutions: the Museum of Fine Arts, the Fogg Art Museum, and the Isabella Stewart Gardner Museum. It explores some of the key personalities involved in the formation of collections, such as Denman Waldo Ross, Hervey Wetzel, Joseph McMullan, and Stuart Cary Welch. It also looks at early curators of the collections, in this era a largely amateur pursuit. Through these considerations it traces changing approaches to the study of Islamic art and discusses the various local and international forces (including the Aesthetic Movement, emerging nationalist discourses and ethno-racialist interpretations of art, and the growing American hegemony in the Middle East) that shaped the social and political context in which Islamic art was received and interpreted in this period.

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24

Clarkin, Maura A., and Cynthia Rawson. "Instructional Resources: The Terra Museum of American Art." Art Education 45, no. 5 (1992): 25. http://dx.doi.org/10.2307/3193362.

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25

Duncan, Sam. "FINE ARTS MUSEUMS OF SAN FRANCISCO.NATIONAL GALLERY OF ART, WASHINGTON, DC.THE WHITNEY MUSEUM OF AMERICAN ART." Art Documentation: Journal of the Art Libraries Society of North America 17, no. 1 (1998): 51–52. http://dx.doi.org/10.1086/adx.17.1.27948941.

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26

Atkinson, Jeanette, Tracy Buck, Simon Jean, et al. "Exhibition Reviews." Museum Worlds 1, no. 1 (2013): 206–40. http://dx.doi.org/10.3167/armw.2013.010114.

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Steampunk (Bradford Industrial Museum, UK)Framing India: Paris-Delhi-Bombay . . . (Centre Pompidou, Paris)E Tū Ake: Māori Standing Strong/Māori: leurs trésors ont une âme (Te Papa, Wellington, and Musée du quai Branly, Paris)The New American Art Galleries, Virginia Museum of Fine Arts, RichmondScott's Last Expedition (Natural History Museum, London)Left-Wing Art, Right-Wing Art, Pure Art: New National Art (Museum of Modern Art, Warsaw)Focus on Strangers: Photo Albums of World War II (Stadtmuseum, Jena)A Museum That Is Not: A Fanatical Narrative of What a Museum Can Be (Guandong Times Museum, Guandong)21st Century: Art in the First Decade (QAGOMA, Brisbane)James Cook and the Exploration of the Pacific (Art and Exhibition Hall of the Federal Republic of Germany, Bonn)Land, Sea and Sky: Contemporary Art of the Torres Strait Islands (QAGOMA, Brisbane) and Awakening: Stories from the Torres Strait (Queensland Museum, Brisbane)

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27

Holt, Sharon Ann, Sophie Kazan, Gloriana Amador, et al. "Exhibitions." Museum Worlds 6, no. 1 (2018): 125–57. http://dx.doi.org/10.3167/armw.2018.060110.

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Exhibition Review EssaysThe National Museum of African American History and Culture, Washington, D.C.After Darkness: Social Impact and Art InstitutionsExhibition ReviewsBehind the Red Door: A Vision of the Erotic in Costa Rican Art, The Museum of Costa Rican Art, San José“A Positive Future in Classical Antiquities”: Teece Museum, University of Canterbury, ChristchurchHeavenly Bodies: Fashion and the Catholic Imagination: The Metropolitan Museum of Art, New YorkAnche le Statue Muoiono: Conflitto e Patrimonio tra Antico e Contemporaneo, Museo Egizio, Fondazione Sandretto Re Rebaudengo, Musei Reali, TurinRethinking Human Remains in Museum Collections: Curating Heads at UCLRitratti di Famiglia, the Archaeological Museum, Bologna100% Fight – The History of Sweden, the Swedish History Museum, Stockholm

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Gaber, Tammy. "Islamic Art and the Museum." American Journal of Islam and Society 31, no. 2 (2014): 132–36. http://dx.doi.org/10.35632/ajis.v31i2.1048.

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This volume contains an impressive number of essays by authors from diversebackgrounds. What the title does not indicate is the reason for this publication– the conference “Layers of Islamic Art and the Museum Context” (held inBerlin during January 13-16, 2010) in cooperation with the Aga Khan Trustfor Culture, the Museum of Islamic Art in Berlin, and the “Europe in the MiddleEast – The Middle East in Europe” (EUME). The EUME is a Berlin-basedresearch program initiated by the Brandenburg Academy of Science, the FritzThyssen Foundation, Wissenschaftskolleg zu Berlin, and the Forum TransregionaleStudien. This publication drew upon the expertise of the Aga KhanNetwork and experts in Germany because it was originally to be a workshopfocused on the reorganization of Berlin’s Museum of Islamic Art (MIA) aswell as a study for Toronto’s Museum of Islamic Art, which will open thisyear and house the Aga Khan’s personal collection.The forum offers a certain diversity of voices regarding issues in general(the display of Islamic art around the world) and specific to the MIA at thePergamon Museum. Its twenty-nine essays are divided into five sections: “In-132 The American Journal of Islamic Social Sciences 31:2troduction,” ...

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Shandler, Jeffrey. "¿Dónde están los Judíos en la “Vida Americana?”: Art, Politics, and Identity on Exhibit." IMAGES 13, no. 1 (2020): 144–56. http://dx.doi.org/10.1163/18718000-12340138.

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Abstract Vida Americana: Mexican Muralists Remake American Art, 1925–1945, an exhibition that opened at the Whitney Museum of American Art in February, 2020, proposed to remake art history by demonstrating the profound impact Mexican painters had on their counterparts in the United States, inspiring American artists “to use their art to protest economic, social, and racial injustices.” An unexamined part of this chapter of art history concerns the role of radical Jews, who constitute almost one half of the American artists whose work appears in the exhibition. Rooted in a distinct experience, as either immigrants or their American-born children, these Jewish artists had been making politically charged artworks well before the Mexican muralists’ arrival in the United States. Considering the role of left-wing Jews in this period of art-making would complicate the curatorial thesis of Vida Americana. Moreover, the exhibition’s lack of attention to Jews in creating and promoting this body of work raises questions about how the present cultural politics of race may have informed the analysis of this chapter of art history.

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30

Horswell, Michael J. "“The museum, cross-dressed as a museum”." Journal of Language and Sexuality 5, no. 2 (2016): 222–49. http://dx.doi.org/10.1075/jls.5.2.05hor.

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This article explicates the discursive strategies deployed by the curator of the Museo travesti de Perú (2008), philosopher, activist, and artist Giuseppe Campuzano (1969–2013), to explore theoretical intersections of national identity and globalization(s) and to appreciate a testimonial, Neo-Baroque, peripheral aesthetic that challenges and “decolonizes” the cultural history of peripheral genders and sexualities in Latin American countries like Peru. Through an analysis of the museum’s visual codes in its works of art and a discursive interpretation of the narratives framing those pieces, this essay demonstrates how the Museo travesti is an exaltation of difference and a critical agent for a citizenship of inclusion — a testimonial agent that activates and circulates works of art in order to not only promote knowledge of reality, but to transform that reality through effects of decolonization from the national periphery.

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31

Hutton, Kathleen, and Wanda Urbanska. "Instructional Resources: Examining Prejudice through Art: Reynolda House Museum of American Art." Art Education 50, no. 5 (1997): 25. http://dx.doi.org/10.2307/3193660.

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32

Rangel-de Lázaro, Gizéh, Adrián Martínez-Fernández, Armando Rangel-Rivero, and Alfonso Benito-Calvo. "Shedding light on pre-Columbian crania collections through state-of-the-art 3D scanning techniques." Virtual Archaeology Review 12, no. 24 (2021): 1. http://dx.doi.org/10.4995/var.2021.13742.

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<p class="VARAbstract">During the 19<sup>th</sup> and 20<sup>th</sup> centuries, numerous museums, scientific societies, and royal academies were founded in Europe and America. In this scenario, the Anthropological Museum Montané was founded in Havana, Cuba. Its collection has grown over the years, thanks to researchers, antiquarians, and amateurs. Since its foundation, the Museum Montané has become an essential institution for anthropological and archaeological research in the region. Nowadays, the Museum Montané, like other museums in developing countries, faces a challenge in the introduction of state-of-the-art technologies to digitizing exhibits and the creation of innovative projects to attract visitors. The current possibilities of virtualization of cultural heritage using digital technologies have a favorable impact on the preservation, access, and management of museum collections. The use of three-dimensional (3D) models fosters engagement with visitors, stimulates new forms of learning, and revalorizes the exhibits. In the current study, we use a hand-held structured light scanner to create 3D reality-based models of pre-Columbian crania from the Caribbean and South American collection of the Anthropological Museum Montané. The resulting 3D models were used for producing 3D printing replicas and animated videos. The 3D resources derived will encourage new knowledge through research, and provide broader access to these pre-Columbian crania collection through learning and outreach activities. The significance of digitizing these specimens goes beyond the creation of 3D models. It means protecting these fragile and valuable collections for future generations. The methodology and results reported here can be used in other museums with similar collections to digitally document, study, protect, and disseminate the archaeological heritage. Going forward, we seek to continue exploring the application of novel methods and digital techniques to the study of the pre-Columbian crania collections in Latin American and the Caribbean area.</p><p class="VARAbstractHeader">Highlights:</p><ul><li><p>A hand-held structured light scanner was used to acquire 3D reality-based models of pre-Columbian crania. The 3D models resulting were used for 3D printing replicas and 3D animations.</p></li><li><p>This study provides unprecedented 3D reconstructions of pre-Columbian crania in the Caribbean area, and new 3D reconstructions of artificially deformed crania from South America.</p></li><li><p>The 3D resources created will encourage new knowledge through research, and provide broader access to these pre-Columbian crania collection through learning and outreach activities.</p></li></ul>

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Orlova, E. V. "Из истории Людвиг Музеум – от коллекции к музею". Iskusstvo Evrazii [The Art of Eurasia], № 1(20) (31 березня 2021): 164–75. http://dx.doi.org/10.46748/arteuras.2021.01.012.

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The article is devoted to the founding of the Museum Ludwig in Cologne and presents an analysis of the process of building this museum of contemporary art in dynamics — from the beginning of the collection within the walls of the Wallraf-Richartz Museum to gaining the status of an independent exhibition giant. The study provides an overview of the collection and its sources, identifies individual significant works of art, accompanied by art history descriptions, and sets out the reasons and the chronicle of the separation of the Museum Ludwig from the Wallraf-Richartz Museum. The museum, established in 1976, presents German art from the first half of the 20th century, American and British pop art of the 1960s, Russian avant-garde, photorealism and contemporary art from the last third of the 20th century. It has departments of painting, sculpture, graphics and art photography. The role of the famous German patrons and collectors of Peter and Irene Ludwig in the formation and replenishment of the museum's funds is noted. Статья посвящена основанию Музея Людвига в Кёльне и представляет анализ процесса построения этого музея современного искусства в динамике — от начала формирования коллекции в стенах Музея Вальрафа-Рихарца до обретения статуса самостоятельного экспозиционного гиганта. В исследовании даны обзор коллекции и источники ее формирования, указаны отдельные крупные произведения искусства, сопровожденные искусствоведческим описанием, а также изложены причины и хроника выделения Музея Людвига из состава Музея Вальрафа-Рихарца. Вновь образованный в 1976 году музей представляет искусство Германии с первой половины XX века, американский и британский поп-арт 1960-х годов, русский авангард, фотореализм и актуальное искусство последней трети ХХ века. В нем созданы отделы живописи, скульптуры, графики и художественной фотографии. Отмечена роль известных немецких меценатов и собирателей Петера и Ирены Людвиг в формировании и пополнении фондов музея.

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Carrier, David. "The Aesthete in Pittsburgh: Public Sculpture in an Ordinary American City." Leonardo 36, no. 1 (2003): 35–39. http://dx.doi.org/10.1162/002409403321152284.

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There is a great deal of public art in Pittsburgh. Surveying some examples of this public sculpture suggests some general lessons about the role of such art. Art in public spaces needs to be accessible to the public. One way to make it so is to present local history, commemorating local sports heroes, politicians or artists. Public art also needs to be placed in a way that is sensitive to local history. Most public art in Pittsburgh is not successful because it does not deal with the interesting history of that city. Much sculpture that is successful in a museum is not good public art, and some successful public art in Pittsburgh does not belong in a museum.

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35

Myers, Arnold, and Laurence Libin. "American Musical Instruments in the Metropolitan Museum of Art." Galpin Society Journal 45 (March 1992): 151. http://dx.doi.org/10.2307/842280.

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Anderson, E. N. "Grass Roots: African Origins of an American Art." Ethnobiology Letters 1 (August 3, 2010): 7–8. http://dx.doi.org/10.14237/ebl.1.2010.78.

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Review of Grass Roots: African Origins of an American Art. Dale Rosengarten, Theodore Rosengarten, and Enid Schildkrout, eds. 2008. Museum for African Art, New York. Distributed by University of Washington Press, Seattle. Pp. 269, copiously illustrated in black-and-white and color. ISBN (cloth) 978-0-945802-50-1, (paper) 978-0-945802-51-8.

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Banks, Patricia A. "Ethnicity, Class and Trusteeship at African-American and Mainstream Museums." Cultural Sociology 11, no. 1 (2016): 97–112. http://dx.doi.org/10.1177/1749975516651288.

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While Pierre Bourdieu argues that cultural capital is grounded in distinct aesthetic knowledge and tastes among elites, Francie Ostrower emphasizes that cultural capital grows out of the social organization of elite participation in the arts. This article builds on Ostrower’s perspective on cultural capital, as well as Milton Gordon’s concept of the ethclass group and Prudence Carter’s concept of black cultural capital, to elaborate how culture’s importance for class and ethnic cohesion is rooted in the separate spheres of arts philanthropy among black and white elites. The argument is empirically illustrated using the case of arguably the most prominent mainstream and African-American museums in New York City – the Metropolitan Museum of Art (the Met) and the Studio Museum in Harlem (SMH). Findings show that relative to the Met board the SMH board is an important site of unification for elite blacks, and in comparison to the SMH board, the Met board is a notable site of cohesion for elite whites. This article advances theory and research on cultural capital by elaborating how it varies among elite ethclass groups. Moreover, it highlights how the growth of African-American museums not only adds color to the museum field, but also fosters bonds among the black middle and upper class.

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Doss, Erika. "Displaying Cultural Difference: The North American Art Collections at the Denver Art Museum." Museum Anthropology 20, no. 1 (1996): 21–36. http://dx.doi.org/10.1525/mua.1996.20.1.21.

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Maroja, Camila. "Entrevista com Lynn Zelevansky." ARS (São Paulo) 15, no. 30 (2017): 277. http://dx.doi.org/10.11606/issn.2178-0447.ars.2017.134681.

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Em outubro de 2016, o Carnegie Museum of Art, em Pittsburgh, inaugurou “Hélio Oiticica: to organize delirium”. Em fevereiro de 2017, foi a vez do Art Institute of Chicago, e, finalmente em julho, a exposição foi montada no Whitney Museum of American Art em Nova Iorque. Nesta entrevista, Lynn Zelevansky relata o processo de organizar a mostra no Carnegie Museum, seus primeiros contatos com o Brasil na condição de curadora-assistente do MoMA e a importância de ter em mente a audiência e o timing da exposição.

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Johnston, Tiffany L. "American Dionysus: Carl W. Hamilton (1886–1967), collector of Italian Renaissance art." Journal of the History of Collections 31, no. 2 (2018): 411–30. http://dx.doi.org/10.1093/jhc/fhy026.

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Abstract For nearly a decade Carl W. Hamilton was in possession of one of the most important private collections of Italian Renaissance painting in America. A self-made millionaire from humble beginnings, the young Hamilton captivated the art dealer Joseph Duveen and Duveen’s foremost experts in Italian Renaissance painting, Bernard and Mary Berenson. By inspiring and instructing Hamilton, Duveen and the Berensons hoped to focus his wealth and ambition to create a great collection and thereby profit by both him and the glory of his achievement. Though Hamilton’s personal collection proved ephemeral, many of his most important works of art nevertheless found their way into American public collections. Furthermore, Hamilton’s formative collecting experience – which developed his prejudices and preferences, sharpened his keen negotiating skills and solidified his zeal for collecting – helped to shape two significant collections of Old Masters in the Carolinas: the Museum & Gallery at Bob Jones University and the North Carolina Museum of Art.

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Bishop, Claire. "The Perils and Possibilities of Dance in the Museum: Tate, MoMA, and Whitney." Dance Research Journal 46, no. 3 (2014): 63–76. http://dx.doi.org/10.1017/s0149767714000497.

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This article argues that the art world's current fascination for dance follows on from a previous high point of interaction in the late 1960s and 1970s, and before that, a moment in the late 1930s and early 1940s. It traces these first, second, and third waves of dance in the museum at three institutions: the Tate in London, and the Museum of Modern Art and the Whitney Museum of American Art in New York. Three institutional histories are sketched, drawing out the differences between their approaches. The conclusion presents the four most pressing possibilities/problems of presenting dance in the museum: historical framing, spectatorship, altering the work's meaning, and financial support.

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Rojas, Marcela. "Our America: The Latino Presence in American Art. Smithsonian American Art Museum ed. by E. Carmen Ramos." Hispania 98, no. 4 (2015): 835–36. http://dx.doi.org/10.1353/hpn.2015.0133.

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Tsirogiannis, Christos, and David W. J. Gill. "“A Fracture in Time”: A Cup Attributed to the Euaion Painter from the Bothmer Collection." International Journal of Cultural Property 21, no. 4 (2014): 465–80. http://dx.doi.org/10.1017/s0940739114000289.

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Abstract:In February 2013 Christos Tsirogiannis linked a fragmentary Athenian red-figured cup from the collection formed by Dietrich von Bothmer, former chairman of Greek and Roman Art at New York’s Metropolitan Museum of Art, to a tondo in the Villa Giulia, Rome. The Rome fragment was attributed to the Euaion painter. Bothmer had acquired several fragments attributed to this same painter, and some had been donated to the Metropolitan Museum of Art as well as to the J. Paul Getty Museum. Other fragments from this hand were acquired by the San Antonio Museum of Art and the Princeton University Art Museum. In January 2012 it was announced that some fragments from the Bothmer collection would be returned to Italy, because they fitted vases that had already been repatriated from North American collections. The Euaion painter fragments are considered against the phenomenon of collecting and donating fractured pots.

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O'Connell, Mary Ellen, and Sara DePaul. "Report on the Conference: Imperialism, Art and Restitution." International Journal of Cultural Property 12, no. 4 (2005): 487–90. http://dx.doi.org/10.1017/s0940739105050253.

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March 26–27, 2004, in St. Louis, Missouri, the Washington University School of Law's Whitney R. Harris Institute for Global Legal Studies and the School of Art hosted the Imperialism, Art and Restitution Conference. The conference brought together many of the world's leading experts on art and antiquities law, museum policy, and the larger cultural context surrounding these fields. The conference organizers chose several particularly controversial case studies to generate debate and discussion around the issues of whether Western states and their museums should return major works of art and antiquities, acquired during the Age of Imperialism, to the countries of origin. The case studies included the Elgin/Parthenon Marbles, the Bust of Nefertiti, and objects protected by the Native American Graves Protection and Repatriation Act (NAGPRA). The format produced a lively, interdisciplinary, and sometimes passionate debate that helped crystallize issues and expose complexities but certainly produced no consensus around a simple solution of return or retain.

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Cummings, Paul. "20th Century Drawings from the Whitney Museum of American Art." Leonardo 22, no. 2 (1989): 274. http://dx.doi.org/10.2307/1575256.

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Krulick, Jan. "Instructional Resources: Images of the American West Phoenix Art Museum." Art Education 48, no. 2 (1995): 25. http://dx.doi.org/10.2307/3193511.

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Mayer, Melinda M. "Can Philosophical Change Take Hold in the American Art Museum?" Art Education 51, no. 2 (1998): 15. http://dx.doi.org/10.2307/3193737.

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Heckscher, Morrison H. "The American Wing Rooms in the Metropolitan Museum of Art." Winterthur Portfolio 46, no. 2/3 (2012): 161–78. http://dx.doi.org/10.1086/667985.

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Thije, Steven ten. "The Joy of Meta: On the Museum of American Art." Afterall: A Journal of Art, Context and Enquiry 37 (September 2014): 72–83. http://dx.doi.org/10.1086/679378.

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50

Marshall, Jennifer. "Common Goods: American Folk Crafts as Sculpture at the Museum of Modern Art, New York City, 1932—33." Prospects 27 (October 2002): 447–65. http://dx.doi.org/10.1017/s0361233300001289.

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During New York City's newly opened Museum of Modern Art's (MoMA's) fourth exhibition season of 1932–33, while director and intellectual leader Alfred H. Barr, Jr. was on sabbatical leave in Europe, interim director Holger Cahill mounted a show of 18th- and 19th-century American arts and crafts. Offered for sale in New England as antiques at the time of the show, the items on display in Cahill's American Folk Art: The Art of the Common Man in America 1750–1900 obscured the divisions between the avant-garde and the traditional, between high art and the everyday object. In an exhibit of items not easily categorized as modern nor properly considered art, MoMA admitted such local antiques and curiosities as weather vanes and amateur paintings into spaces otherwise reserved for the likes of Cézanne and Picasso.

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