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Journal articles on the topic 'American Visionary Art Museum'

Author: Grafiati

Published: 4 June 2021

Last updated: 9 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

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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4

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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5

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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6

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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7

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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8

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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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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10

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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11

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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12

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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13

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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14

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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15

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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16

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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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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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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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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20

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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21

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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22

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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23

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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24

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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25

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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26

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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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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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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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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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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31

Radecki, Gerard. "KAZIMIERZ MALINOWSKI – MUSEUM PROFESSIONAL." Muzealnictwo 58, no. 1 (2017): 60–73. http://dx.doi.org/10.5604/01.3001.0009.9607.

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Year 2017 marks the 110th birthday anniversary and 40th anniversary of the death of Kazimierz Malinowski. June 2016 marked half a century since he re-took the post of Director of the National Museum in Poznań. The circumstances in question require us to remember an individual who was of great merit to Polish museology and to the National Museum in Poznań. The title of this text paraphrases the title of an article by Kazimierz Malinowski Michał Walicki - museum professional, published in the “Muzealnictwo” magazine and devoted to a renowned art historian and researcher on Gothic art in Poland. Walicki is less known as a museum professional and even less as a mentor to Malinowski himself. However, if one attempted to determine the whole range of the activity of the latter using one word only, the term “museum professional”, rather disregarded today, seems to be the most capacious and adequate. It reminds about Malinowski in some of the most significant aspects of his activity, including the one as: 1/ a museum professional in the strict sense, but also a practician working in a museum and taking part in the life of this environment in the broadest meaning, 2/ a propagator of the social role of museums as institutions open to the general public, 3/ the long-term Director of the National Museum in Poznań, a visionary and a curator of the institution’s new programme. Malinowski was one of a few of the most important figures of the post-war museology in Poland. Today, he is almost entirely forgotten. Almost total absence of this name in today’s museum circles also results from an unsatisfactory state of research into his professional biography. Nevertheless, Malinowski’s activity, even only in the field of museology, as his second major field of activity was conservation, is still to be meticulously analysed. Therefore, many opinions presented below should be treated as suggestions and hypotheses, still to be further verified, given the current state of research. However, his main fields of activity have been roughly, as it may seem, sketched out in this article. They present him as a propagator of the social role of museums – institutions open to the general public, which, in turn, will prove the topicality of Malinowski’s suggestions in comparison with current discussions on museums’ functions.

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32

Renouf, Nicholas. "American Musical Instruments in the Metropolitan Museum of Art. Laurence Libin." Winterthur Portfolio 21, no. 4 (1986): 311–12. http://dx.doi.org/10.1086/496296.

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Molinaro, Mary. "AMERICAN CERAMICS: THE COLLECTION OF EVERSON MUSEUM OF ART. Barbara Perry." Art Documentation: Journal of the Art Libraries Society of North America 8, no. 4 (1989): 214. http://dx.doi.org/10.1086/adx.8.4.27948156.

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34

Brody, David Eric. "The Building of a Label: The New American Folk Art Museum." American Quarterly 55, no. 2 (2003): 257–76. http://dx.doi.org/10.1353/aq.2003.0011.

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35

Anderson, Maxwell L. "Notes on the Mission of the Whitney Museum of American Art." American Art 13, no. 2 (1999): 84–86. http://dx.doi.org/10.1086/424343.

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36

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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Duncan, Sally Anne. "The Via Media of American Museum Practice: Henry Watson Kent and the Metropolitan Museum of Art." Curator: The Museum Journal 48, no. 3 (2005): 301–16. http://dx.doi.org/10.1111/j.2151-6952.2005.tb00174.x.

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38

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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BUNCH, CRAIG. "BLANTON MUSEUM OF ART: AMERICAN ART SINCE 1900 BY ANNETTE DIMEO CARLOZZI, KELLY BAUM (EDS), BLANTON MUSEUM OF ART: LATIN AMERICAN COLLECTION BY GABRIEL PÉREZ-BARREIRO (ED) AND BLANTON MUSEUM OF ART: GUIDE TO THE COLLECTION BY LARRY R FAULKNER AND JESSIE O." Art Book 14, no. 1 (2007): 23–24. http://dx.doi.org/10.1111/j.1467-8357.2007.00757_5.x.

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40

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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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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42

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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43

Pershey, Edward Jay. ""American Moviemakers: The Dawn of Sound" at the Museum of Modern Art." Technology and Culture 32, no. 1 (1991): 106. http://dx.doi.org/10.2307/3106014.

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Hoffman, Jill. "Issues of Education Surrounding Native American Art at the Iroquois Indian Museum." Marilyn Zurmuehlen Working Papers in Art Education 13, no. 1 (1995): 90–97. http://dx.doi.org/10.17077/2326-7070.1282.

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Lawrence, Deirdre E. "The formation of an Islamic art library collection in an American museum." Art Libraries Journal 21, no. 2 (1996): 24–26. http://dx.doi.org/10.1017/s0307472200009846.

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The Brooklyn Museum’s collection of Islamic art, gathered from early in the 20th century, represents the full range of Islamic artistic production, with objects dating from the earliest periods of Islam through the 20th century, from Spain and India, and executed in a variety of media. An extensive library collection of over 5,000 titles has been developed since the establishment of the Museum Libraries in 1923. The collection was enhanced by the acquisition of the personal library of Charles Edwin Wilbour, and by the bequeathing of the library of Charles K. Wilkinson, and it continues to benefit from the generosity of foundation and individual support. The Library is open to the public by appointment, and bibliographic records of its collection are entered on RLIN.

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Doherty, Tiarna, Helen Ingalls, Amber Kerr, Catherine Maynor, and Leslie Umberger. "Conserving the self-taught artists collection at the Smithsonian American Art Museum." Studies in Conservation 61, sup2 (2016): 38–43. http://dx.doi.org/10.1080/00393630.2016.1188616.

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Taylor, Colin, and Diana Fane. "Objects of Myth and Memory: American Indian Art at the Brooklyn Museum." Man 27, no. 4 (1992): 886. http://dx.doi.org/10.2307/2804186.

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Jasińska, Anna, and Artur Jasiński. "NEW BUILDING OF THE WHITNEY MUSEUM OF AMERICAN ART IN NEW YORK." Muzealnictwo 59 (March 30, 2018): 19–27. http://dx.doi.org/10.5604/01.3001.0011.7190.

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On the 1st of. May 2015, in Meatpacking District of West Manhattan, the new building of the Whitney Museum of American Art was opened. It is the fourth location of this well-known New York museum, which was established in 1930, by Gertrude Vanderbilt Whitney. The Whitney possesses the world’s largest collection of American art and focuses on exhibiting living artists. Spectacular, industrial in character architecture signed by Renzo Piano has met with mixed reactions. The building is functional and well connected with the post-industrial site, however, not appreciated by everyone. Similar situation happened forty years ago, when Centre of Georges Pompidou, designed by Renzo Piano and Richard Rogers, pioneers of high-tech architecture, was widely criticised. Only popularity, high attendance and commercial success of famous Paris facility changed that negative opinion. Is the New Whitney following the same path – time will tell.

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Horner, Alice E., Brooklyn Museum, Diana Fane, Ira Jacknis, Lise M. Breen, and Diana Fane. "Objects of Myth and Memory: American Indian Art from the Brooklyn Museum." Journal of American Folklore 105, no. 418 (1992): 471. http://dx.doi.org/10.2307/541623.

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Katrib, Ruba. "Representation and identity: Reflections on presenting contemporary art in an American museum." Journal of Contemporary Iraq & the Arab World 15, no. 1-2 (2021): 199–214. http://dx.doi.org/10.1386/jciaw_00048_1.

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This text is a curatorial reflection upon the process of organizing the exhibition Theater of Operations: The Gulf Wars 1991–2011, which took place at MoMA PS1 in 2019. The text questions the possibilities and limits of decolonial curating in an American museum and analyses the reception of Iraqi contemporary art in a Western context.

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