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Journal articles on the topic 'American Art'

Author: Grafiati
Published: 4 June 2021
Last updated: 25 July 2025

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1

Matallana, Andrea. "BUILDING ART DIPLOMACY: THE CASE OF CONTEMPORARY AMERICAN ART EXHIBITION IN LATIN AMERICA, 1941." ShodhKosh: Journal of Visual and Performing Arts 3, no. 2 (2022): 272–86. http://dx.doi.org/10.29121/shodhkosh.v3.i2.2022.172.

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This article analyzes the construction of the visual narrative expressed in the exhibition Contemporary North American Painting in 1941. During the II World War, the U.S. government recovered the initiative to build a strong tight with Latin American countries by relaunching the Good Neighbor Policy. Cultural diplomacy was an important branch of this policy. With the purpose of winning friends in the continent, the government created the Office of Inter-American Affairs, led by Nelson Rockefeller, and he sent artists, intellectuals, and exhibitions to make North America known in the other Amer
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2

Cutler, Jody B., Richard J. Powell, Jock Reynolds, Juanita M. Holland, and Adrienne L. Childs. "African Americans and American Art History." Art Journal 59, no. 1 (2000): 101. http://dx.doi.org/10.2307/778087.

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3

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
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4

Lewis, Adrian. "FRAMING AMERICAN ART: A SOCIAL HISTORY OF AMERICAN ART." Art Book 12, no. 3 (2005): 35–36. http://dx.doi.org/10.1111/j.1467-8357.2005.00569.x.

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5

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,
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6

Manthorne, Katherine. "Remapping American Art." American Art 22, no. 3 (2008): 112–17. http://dx.doi.org/10.1086/595811.

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7

Weber, John Pitman, and Shifra M. Goldman. "Latin American Art." Art Journal 54, no. 3 (1995): 111. http://dx.doi.org/10.2307/777613.

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8

Barberena, Elsa. "Latinoarte: information on Latin American art." Art Libraries Journal 20, no. 3 (1995): 8–10. http://dx.doi.org/10.1017/s0307472200009433.

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Latin American culture is very rich, yet there is insufficient documentation on Latin American art, and much of the documentation which does exist is not adequately covered by the major art indexes. A number of magazines have set out, especially since the 1940s, to disseminate information about Latin American art, but most have been short-lived. The LATINOARTE project, based in the Facultad de Filosofía y Letras at the Universidad Nacional Autónoma de México (UNAM), aims to develop and to network a database including citations to documentation available in 62 libraries and information centres
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9

Eldridge, Laurie A. "Ruthe Blalock Jones: Native American Artist and Educator." Visual Arts Research 35, no. 2 (2009): 72–85. http://dx.doi.org/10.2307/20715504.

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Abstract Native American cultures have persisted despite systematic suppression through government policies, education policies, and the impact of stereotypes and stigmatization. Stereotypes interfere with art educators’ instruction of Native American learners and effective teaching about Native American art. This study focused on the life stories of Ruthe Blalock Jones, a Native American woman who is an artist and educator, to inquire into how she understood these experiences, the value she placed on them, and how she negotiated two or more cultures. A dual methodological framework for the st
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10

Davis, Mary B. "Through native eyes: American Indians write about their art." Art Libraries Journal 17, no. 4 (1992): 5–12. http://dx.doi.org/10.1017/s030747220000804x.

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During the 20th century, and particularly since its adoption of easel painting, the continuing development of American Indian art has resisted attempts to contain and circumscribe it within definitions and categories imposed by outsiders — art critics, art historians, and the authors of many of the most readily available books on the subject. Native Americans are determined not only to remain in control of their art but also to have a say in how it is interpreted. A bibliography of sources follows an introductory survey of Native American statements about Native American art.
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11

Mazadiego, Elize. "Latin American art in diaspora." MODOS: Revista de História da Arte 8, no. 3 (2024): 392–413. https://doi.org/10.20396/modos.v8i3.8678259.

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The article examines a network of artists from Latin America in Europe connected by their experience of exile and the set of transnational relations they created through their practices. It focuses on the Netherlands, and Amsterdam in particular, as a critical node and geo-artistic site in a broader diaspora of Latin American artists in Europe as of the 1960s. The essay centers on the work of Raul Marroquin (Colombia), Ulises Carrión (Mexico), Claudio Goulart and Flavio Pons (Brazil) and their production of publications and mail art that formed a significant artistic network in the postwar per
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12

Ipsen, Max. "Danish Sixties Avant-Garde and American Minimal Art." Nordlit 11, no. 1 (2007): 169. http://dx.doi.org/10.7557/13.1758.

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Denmark is peripheral in the history of minimalism in the arts. In an international perspective Danish artists made almost no contributions to minimalism, according to art historians. But the fact is that Danish artists made minimalist works of art, and they did it very early.Art historians tend to describe minimal art as an entirely American phenomenon. America is the centre, Europe the periphery that lagged behind the centre, imitating American art. I will try to query this view with examples from Danish minimalism. I will discuss minimalist tendencies in Danish art and literature in the 196
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13

Berehovska, Khrystyna, Yuliya Babunych, Ivanna Pavelchuk, Tetiana Pavlova, and Andrii Korniev. "Evolution of S. Hordynsky's views on art practice and theory in the late XX century." Salud, Ciencia y Tecnología - Serie de Conferencias 3 (June 28, 2024): 1010. http://dx.doi.org/10.56294/sctconf20241010.

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The purpose of this study is to analyze and elucidate the development, contradictions, and influences of Ukrainian artists in America, focusing on the theoretical and practical contributions of Sviatoslav Hordynsky to both American and Ukrainian art traditions. The methodology employed includes a comprehensive historical analysis of archival materials, a comparative analysis of Ukrainian and American artworks, a thematic analysis of recurring motifs in Hordynsky's writings and works, and an interpretative analysis of critical reviews and scholarly articles on Ukrainian artists in America. The
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14

GEORGI, KAREN L. "James Jackson Jarves's Art Criticism: Aesthetic Classifications and Historiographic Consequences." Journal of American Studies 42, no. 2 (2008): 215–35. http://dx.doi.org/10.1017/s0021875808004660.

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Looking at the methodological principles and rhetorical forms that structure James Jackson Jarves's often-cited 1864 book The Art-Idea, this essay reconsiders Jarves's role in the historiography of American art. Jarves has long been associated with post-Civil War shifts toward international aesthetic trends, which eroded the native bias in favor of verisimilitude and anecdote. He is thought to mark a turning point. His texts, however, only partially corroborate the reputation. Here, firstly, I reread Jarves's art theory to suggest what were the aesthetic preferences he hoped to foster among Am
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15

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 the
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16

Jones, Kelly Hacker. "Ancient Art Meets Modern Science: American Medicine Investigates Acupuncture, 1970–1980." Asian Review of World Histories 6, no. 1 (2018): 68–97. http://dx.doi.org/10.1163/22879811-12340026.

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Abstract In the early 1970s, the so-called “acupuncture craze” swept America, introducing many Americans for the first time to this supposedly ancient therapy. Acupuncture was advertised as a cure-all, effective for everything from arthritis to smoking cessation, much to the dismay of the American Medical Association and other professional organizations. By April 1973, Nevada had passed a bill that legalized the use of acupuncture and established a State Board for Chinese Medicine, independent of its State Board for Medicine. In response, American physicians pursued two courses of action: they
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17

Coronado, Vibrina. "Ndn Art: Contemporary Native American Art (review)." American Indian Quarterly 32, no. 2 (2008): 229–33. http://dx.doi.org/10.1353/aiq.2008.0020.

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18

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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19

Peters, Mario. "Automobilität in Lateinamerika – eine historiographische Analyse." Anuario de Historia de América Latina 56 (December 20, 2019): 369–95. http://dx.doi.org/10.15460/jbla.56.152.

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Although car-ownership matters to many Latin Americans and cars are nearly omnipresent in daily life in Latin American societies, very little is known about important aspects of the social and cultural histories of automobility in Latin America. However, in the last ten years, several historians have begun to approach the meanings of automobility in Latin American countries. This trend is closely connected to recent developments and new approaches in the international research on mobility, the latter of which I discuss in the first part of this essay. To proceed, I analyze the state of the art
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20

Hobbs, Robert, Judith E. Bernstock, and Rosalind A. Krauss. "Internationalism and American Art." Woman's Art Journal 12, no. 2 (1991): 38. http://dx.doi.org/10.2307/1358284.

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21

Dubin, Steven C., and Cecile Whiting. "Antifascism in American Art." Contemporary Sociology 19, no. 5 (1990): 733. http://dx.doi.org/10.2307/2072367.

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22

Duncan, Elmer H., and Cecile Whiting. "Antifascism in American Art." Leonardo 24, no. 3 (1991): 363. http://dx.doi.org/10.2307/1575587.

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23

Armitage, Shelley, and Cecile Whiting. "Antifascism in American Art." Journal of American History 77, no. 1 (1990): 345. http://dx.doi.org/10.2307/2078753.

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24

Corbett, David Peters. "Documents of American Art." Art History 37, no. 1 (2014): 180–83. http://dx.doi.org/10.1111/1467-8365.12067.

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25

Davis, John. "Teaching with American Art." American Art 31, no. 2 (2017): 7–8. http://dx.doi.org/10.1086/694043.

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26

Navone, John. "American Art Cultural Crisis." New Blackfriars 77, no. 903 (1996): 170–81. http://dx.doi.org/10.1111/j.1741-2005.1996.tb01543.x.

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27

Bedell, Rebecca Bailey. "The New American Art." Reviews in American History 31, no. 2 (2003): 322–29. http://dx.doi.org/10.1353/rah.2003.0023.

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28

Duncan, Kate C., Peter Furst, and Jill L. Furst. "North American Indian Art." American Indian Quarterly 9, no. 1 (1985): 117. http://dx.doi.org/10.2307/1184678.

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29

Camnitzer, Luis. "Recent Latin American Art." Art Journal 51, no. 4 (1992): 6–15. http://dx.doi.org/10.1080/00043249.1992.10791592.

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30

Stankiewicz, Mary Ann, and Peter Smith. "The History of American Art Education: Learning about Art in American Schools." History of Education Quarterly 37, no. 3 (1997): 327. http://dx.doi.org/10.2307/369459.

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31

Pierre, Sharon D. La, and P. Smith. "The History of American Art Education: Learning about Art in American Schools." Studies in Art Education 39, no. 3 (1998): 285. http://dx.doi.org/10.2307/1320372.

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32

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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33

Efland, Arthur, and Peter Smith. "The History of American Art Education: Learning about Art in American Schools." Journal of Aesthetic Education 32, no. 3 (1998): 117. http://dx.doi.org/10.2307/3333315.

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34

LESENCIUC, Adrian. "AMERICAN ART EDUCATION IN THE LIGHT OF GLOCALIST APPROACH." Review of the Air Force Academy 16, no. 3 (2018): 99–103. http://dx.doi.org/10.19062/1842-9238.2018.16.3.12.

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35

Sepúlveda, Gabriela Aceves. "Encounters with “Latin American Art” in Canada." Latin American and Latinx Visual Culture 4, no. 1 (2022): 122–36. http://dx.doi.org/10.1525/lavc.2022.4.1.122.

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This Dialogues section seeks to contribute to the scholarship on Latin American art in Canada and “Latinx Canadian art.” We aim to broaden the historical and current narratives of art and artists from Latin America north of the United States, taking into account Canada’s history of migration and its official bilingual status (French-English), multilingual and multicultural reality, and relationship with Indigenous peoples. Adding to the urgency of studying the presence of Latin American art in Canada, there is also a need to focus on the work of artists and curators with a Latin American backg
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36

FARLEY, JEFF. "Jazz as a Black American Art Form: Definitions of the Jazz Preservation Act." Journal of American Studies 45, no. 1 (2010): 113–29. http://dx.doi.org/10.1017/s0021875810001271.

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Jazz music and culture have experienced a surge in popularity after the passage of the Jazz Preservation Act (JPA) in 1987. This resolution defined jazz as a black American art form, thus using race, national identity, and cultural value as key aspects in making jazz one of the nation's most subsidized arts. Led by new cultural institutions and educational programs, millions of Americans have engaged with the history and canon of jazz that represent the values endorsed by the JPA. Record companies, book publishers, archivists, academia, and private foundations have also contributed to the effo
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37

Da Costa Nunes, Jadviga M. "The Naughty Child in Nineteenth-Century American Art." Journal of American Studies 21, no. 2 (1987): 225–47. http://dx.doi.org/10.1017/s0021875800029182.

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During the first half of the nineteenth century many Americans began to promote the visual arts as a means of defining and fostering national identity. One highly significant consequence of this new aesthetic was the rise of a native genre art which depicted uniquely “American” customs and characters. Focussing upon and interpreting the daily world of average citizens in an emphatically optimistic and ideal manner, these works of art celebrated the virtue, vigor, simplicity, resourcefulness and republicanism of American society. They tended chiefly to represent rural American activities – mapl
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38

Gherasim, Gabriel C. "American Art Criticism between the Cultural and the Ideological (II)." American, British and Canadian Studies Journal 25, no. 1 (2015): 20–36. http://dx.doi.org/10.1515/abcsj-2015-0006.

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Abstract For the past 150 years, American art and art criticism have undergone important cultural and ideological transformations that are explanatory both of their historical evolution and of the possibility of being divided into several stages. In my interpretation, art criticism cuts across the historical evolution of art in the United States, according to the following cultural and ideological paradigms: two predominant cultural ideologies of art between 1865-1900 and 1960-1980, respectively; two other aesthetic and formalist ideological shifts in the periods between 1900- 1940 and 1940-19
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39

Romaine, James, and Rachel Hostetter Smith. "Editors’ Introduction." Religion and the Arts 22, no. 1-2 (2018): 1–7. http://dx.doi.org/10.1163/15685292-02201013.

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Abstract Framing the eleven essays in this special double issue, this introduction opens a discussion, continued throughout the issue, on the pervasive impulse toward and elastic meaning of the ideal of paradise which was of particular interest to nineteenth-century British and American artists. It describes the arc of the issue, which is organized into three parts: on British art, American art, and architectural projects. It is bracketed by an essay that looks back to the influence of Renaissance Florence on nineteenth-century British and Americans and a postscript on paradisiacal themes in t
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40

Weintraub, Laural. "Vaudeville in American Art: Two Case Studies." Prospects 24 (October 1999): 339–75. http://dx.doi.org/10.1017/s0361233300000417.

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In 1891, the influential literary realist William Dean Howells stated that “the arts must become democratic” in order to have “the expression of America in art.” This vision of a democratic culture, though modified, continued to inspire American writers and artists well after the turn of the century. The idea of democracy in American culture remained an important touchstone for conservative as well as progressive-minded writers on art and literature even as modernism took hold in the second decade of the century. For James Oppenheim, for example, editor of the eclectic little magazine The Seve
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41

Weisman, Celia Y., Craig Houser, Leslie C. Jones, Simon Taylor, and Jack Ben-Levi. "Abject Art: Repulsion and Desire in American Art." Woman's Art Journal 17, no. 2 (1996): 59. http://dx.doi.org/10.2307/1358482.

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42

Phillips, Ruth B. "Native American Art and the New Art History." Museum Anthropology 13, no. 4 (1989): 5–13. http://dx.doi.org/10.1525/mua.1989.13.4.5.

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43

Bae-Dimitriadis, Michelle S., and Injeong Yoon-Ramirez. "Intersectional Antiracist Art Inquiry Through Asian American Art." Art Education 76, no. 1 (2023): 23–27. http://dx.doi.org/10.1080/00043125.2022.2131199.

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44

Hubert, Erell. "Arts from Latin America at the Montreal Museum of Fine Arts." Latin American and Latinx Visual Culture 4, no. 1 (2022): 93–100. http://dx.doi.org/10.1525/lavc.2022.4.1.93.

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This Dialogues section seeks to contribute to the scholarship on Latin American art in Canada and “Latinx Canadian art.” We aim to broaden the historical and current narratives of art and artists from Latin America north of the United States, taking into account Canada’s history of migration and its official bilingual status (French-English), multilingual and multicultural reality, and relationship with Indigenous peoples. Adding to the urgency of studying the presence of Latin American art in Canada, there is also a need to focus on the work of artists and curators with a Latin American backg
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45

Robin, Alena. "Colonial Art from Spanish America in Québec." Latin American and Latinx Visual Culture 4, no. 1 (2022): 80–92. http://dx.doi.org/10.1525/lavc.2022.4.1.80.

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This Dialogues section seeks to contribute to the scholarship on Latin American art in Canada and “Latinx Canadian art.” We aim to broaden the historical and current narratives of art and artists from Latin America north of the United States, taking into account Canada’s history of migration and its official bilingual status (French-English), multilingual and multicultural reality, and relationship with Indigenous peoples. Adding to the urgency of studying the presence of Latin American art in Canada, there is also a need to focus on the work of artists and curators with a Latin American backg
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46

Sáenz, Daniel Santiago. "Artistic Responses to Coloniality in the Americas." Latin American and Latinx Visual Culture 4, no. 1 (2022): 137–43. http://dx.doi.org/10.1525/lavc.2022.4.1.137.

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This Dialogues section seeks to contribute to the scholarship on Latin American art in Canada and “Latinx Canadian art.” We aim to broaden the historical and current narratives of art and artists from Latin America north of the United States, taking into account Canada’s history of migration and its official bilingual status (French-English), multilingual and multicultural reality, and relationship with Indigenous peoples. Adding to the urgency of studying the presence of Latin American art in Canada, there is also a need to focus on the work of artists and curators with a Latin American backg
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47

Toledo, Tamara. "Sur Gallery." Latin American and Latinx Visual Culture 4, no. 1 (2022): 110–21. http://dx.doi.org/10.1525/lavc.2022.4.1.110.

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This Dialogues section seeks to contribute to the scholarship on Latin American art in Canada and “Latinx Canadian art.” We aim to broaden the historical and current narratives of art and artists from Latin America north of the United States, taking into account Canada’s history of migration and its official bilingual status (French-English), multilingual and multicultural reality, and relationship with Indigenous peoples. Adding to the urgency of studying the presence of Latin American art in Canada, there is also a need to focus on the work of artists and curators with a Latin American backg
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48

Alvarez Hernandez, Analays, and Alena Robin. "Introduction to the Dialogues on Latin American Art(ists) from/in Canada." Latin American and Latinx Visual Culture 4, no. 1 (2022): 75–79. http://dx.doi.org/10.1525/lavc.2022.4.1.75.

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This Dialogues section seeks to contribute to the scholarship on Latin American art in Canada and “Latinx Canadian art.” We aim to broaden the historical and current narratives of art and artists from Latin America north of the United States, taking into account Canada’s history of migration and its official bilingual status (French-English), multilingual and multicultural reality, and relationship with Indigenous peoples. Adding to the urgency of studying the presence of Latin American art in Canada, there is also a need to focus on the work of artists and curators with a Latin American backg
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49

Hernandez, Analays Alvarez. "An Auto-Ethnographic Entrée en Matière and Mise en Contexte." Latin American and Latinx Visual Culture 4, no. 1 (2022): 101–9. http://dx.doi.org/10.1525/lavc.2022.4.1.101.

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This Dialogues section seeks to contribute to the scholarship on Latin American art in Canada and “Latinx Canadian art.” We aim to broaden the historical and current narratives of art and artists from Latin America north of the United States, taking into account Canada’s history of migration and its official bilingual status (French-English), multilingual and multicultural reality, and relationship with Indigenous peoples. Adding to the urgency of studying the presence of Latin American art in Canada, there is also a need to focus on the work of artists and curators with a Latin American backg
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50

Esparza, Araceli. "Latino? Chicano? Guatemalan American? Queer Visual Artist?" Aztlán: A Journal of Chicano Studies 47, no. 2 (2022): 21–50. http://dx.doi.org/10.1525/azt.2022.47.2.21.

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In this essay, I examine how scholars and art critics have categorized Guatemalan American visual artist Alex Donis and how he has self-identifi ed. I argue that the roles in which Donis has been cast underscore the ways US Central Americans are made invisible within discussions of Latina/o/x and LGBTQ+ art. I critically analyze two of his works, the silkscreen Rio, por no llorar (1988) and the painting Guatemala vs USA (Carlos (El Pescadito) Ruiz & Carlos Bocanegra) (2014), tracing a Guatemalan and Central American presence in Donis’s visual art that is often overlooked in favor of a Chic
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