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Journal articles on the topic 'Americn Art'

Author: Grafiati

Published: 29 July 2024

Last updated: 19 July 2025

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1

Piñero, Gabriela A. "Re-estructurar el proyecto de un arte latinoamericano: el modelo constelar." Intervención Revista Internacional de Conservación Restauración y Museología 1, no. 1 (2010): 11–20. http://dx.doi.org/10.30763/intervencion.2013.7.83.

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2

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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3

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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4

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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5

Pohl, Frances K. "Framing America: A Social History of American Art." American Art 16, no. 2 (2002): 10–12. http://dx.doi.org/10.1086/444663.

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6

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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7

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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8

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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9

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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10

Lee, Chaeeun. "Between Abstraction and Materiality: Carlos Villa and the Politics of Asian American Art." Asian Diasporic Visual Cultures and the Americas 8, no. 1-2 (2023): 15–42. http://dx.doi.org/10.1163/23523085-08010002.

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Abstract In the 1970s and early 1980s, Filipino American artist Carlos Villa developed a set of experimental methods and idioms—namely, abstraction, abject sensibility, and intense materiality—that would accompany his renewed interest in self-identity and community expression. While these strategies coincided with the broader artistic tendency of the 1960s and ’70s toward unconventional materiality and a deliberately indecorous sensibility, Villa’s far-reaching concern for the racialized condition of Filipinx America compels a reconsideration of his work vis-à-vis the historical and discursive

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11

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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12

Dragon, Geneviève. "Un art de la mémoire traumatisée à la frontière." América, no. 53 (October 18, 2019): 122–28. http://dx.doi.org/10.4000/america.3240.

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13

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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14

Manthorne, Katherine E., and Robert Hughes. "American Visions: The Epic History of Art in America." Journal of American History 85, no. 1 (1998): 200. http://dx.doi.org/10.2307/2568452.

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15

Anderson, Jack, and George Amberg. "Ballet in America: The Emergence of an American Art." American Music 5, no. 2 (1987): 224. http://dx.doi.org/10.2307/3052172.

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16

Bellido Gant, María Luisa. "El Arte Latinoamericano en los Estados Unidos durante el siglo XX. Exposiciones, coleccionismo, museología." Illapa Mana Tukukuq, no. 14 (February 18, 2019): 118–29. http://dx.doi.org/10.31381/illapa.v0i14.1885.

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Este texto reflexiona sobre la presencia del arte latinoamericano en Estados Unidos desde la década de los veinte hasta los años noventa, con el llamado boom del mercado de arte latinoamericano. Nuestro objetivo es presentar de una manera sintética diferentes momentos que jalonaron los vínculos artísticos entre Latinoamérica y Estados Unidos, en especial la presencia, en este país, de artistas de aquella región. Analizaremos las exposiciones individuales y colectivas, el coleccionismo público y privado, la acción institucional, el papel de las galerías de arte y la incidencia de la crítica de

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17

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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18

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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19

Rincón García, Wifredo. "Images of the New World. Iberoamerican Art in the CSIC Photography Archive." Culture & History Digital Journal 6, no. 2 (2017): 020. http://dx.doi.org/10.3989/chdj.2017.020.

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The “Tomás Navarro Tomás” Library in the CSIC keeps an important photographic collection on Ibero-American art granted by the historians Diego Angulo, Enrique Marco Dorta and Santiago Sebastián particularly interesting for the research on Art and Photography History in Latin America.

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20

statton, liza. "Bittersweet Obsession: Ed Ruscha's Chocolate Room." Gastronomica 6, no. 1 (2006): 7–9. http://dx.doi.org/10.1525/gfc.2006.6.1.7.

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This article considers the singular installation work, Chocolate Room (1970), by the American conceptual artist Ed Ruscha (b. 1937), who is based in Los Angeles. Although Ruscha is best-known for his coolly composed paintings and photographs, Chocolate Room, explores the artist's use of unconventional materials to create works of art that confront viewers with the unexpected. The author discusses the creation of this site-specific work for the 35th Venice Biennale during tumultuous year of 1970 when many American artists boycotted the event due to the Vietnam War. Chocolate Room was installed

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21

Sosa, Rocío-Irene. "La Historia del Arte Argentino a la luz de los Estudios Decoloniales." Anduli, no. 20 (2021): 201–17. http://dx.doi.org/10.12795/anduli.2021.i20.11.

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At the end of the last century, colonial, postcolonial and decolonial studies set in motion a “detachment” from the dominant modes of knowledge acquisition in the social sciences and humanities. In the 1990s, Latin American intellectuals debated the colonial side of modernity and the cultural, theoretical and practical hegemony that the central countries maintained. In the field of art, this resulted in the problematization of the Eurocentric canons present in the artistic system and the lack of independent theoretical and visual thinking. In light of these problems, this article investigates

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22

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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23

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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24

Rosenthal, Nicolas G. "Painting Native America in Public: American Indian Artists and the New Deal." American Indian Culture and Research Journal 42, no. 3 (2018): 47–70. http://dx.doi.org/10.17953/aicrj.42.3.rosenthal.

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The New Deal represents a critical period in the development of American Indian art. Shifts in policy created opportunities for American Indians to study art, and New Deal commissions for murals in post offices and other public spaces enabled artists to develop skills, establish their reputations, and make a living. American Indian artists also faced challenges in the form of dominant expectations for Native art and paternalism from officials and administrators. The benefits of New Deal commissions and the struggles with their limitations nonetheless formed a foundation for subsequent generati

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25

Tsereteli, Asmat. "Media as Art and Art as Media (Magazines: “Theatre”, “Aril”, “Art in America”, “ARTFORUM”)." Works of Georgian Technical University, no. 1(531) (March 22, 2024): 29–38. http://dx.doi.org/10.36073/1512-0996-2024-1-29-38.

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Media and culture, two influential and important spheres of public life, have a long history of coexistence. There is no media art and no art without media. It is especially important to research the forms of impact on the formation of public consciousness in these areas, as well as the results. British media theorist Dennis McQuail in his work Journalism and Society notes that all theories that study the relationship between media, culture, and society, despite conceptual differences, agree that the media can serve to liberate and unify society, as well as to fragment and divide it – both dev

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26

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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27

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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28

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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29

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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30

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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31

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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32

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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33

Wale, Instr Kamal. "Expressionism in Susan Glaspell's Trifle." ALUSTATH JOURNAL FOR HUMAN AND SOCIAL SCIENCES 219, no. 1 (2018): 25–38. http://dx.doi.org/10.36473/ujhss.v219i1.498.

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The main purpose of this research paper is to show how Expressionism is influential to postwar American literature, especially to the one-act play entitled Trifles (1916) written by Susan Glaspell (1876-1948). America witnessed a new period of special culture and art during the second half of the twentieth century, especially after the second world war. The traditional forms of art have failed to satisfy the wishes and aspirations of the new artists who deliberately look for new forms to express their attitudes towards the new state of life to be lived after grave wars that have caused humanit

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34

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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35

Price, Sally. "Patchwork history : tracing artworlds in the African diaspora." New West Indian Guide / Nieuwe West-Indische Gids 75, no. 1-2 (2001): 5–34. http://dx.doi.org/10.1163/13822373-90002556.

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Essay on interpretations of visual art in societies of the African diaspora. Author relates this to recent shifts in anthropology and art history/criticism toward an increasing combining of art and anthropology and integration of art with social and cultural developments, and the impact of these shifts on Afro-American studies. To exemplify this, she focuses on clothing (among Maroons in the Guianas), quilts, and gallery art. She emphasizes the role of developments in America in these fabrics, apart from just the African origins.

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36

Martin, Grace Kathryn. "Soviet Leap." Undergraduate Research Journal for the Humanities 1, no. 1 (2016): 2–16. http://dx.doi.org/10.17161/1808.21355.

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Throughout the Cold War, Soviet ballet dancers defected to America in hopes of finding artistic freedom. After their defections they played a critical role in shaping what can be considered today’s American ballet. By exploring how foreign dancers were able to contribute so much to an American cultural establishment, one can start to understand the distinct differences between the cultures behind capitalist America and the communist Soviet Union during the 1900s. Three specific dancers, George Balanchine, Natalia Makarova, and Mikael Baryshnikov made significant contributions to American balle

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37

Motta, Aline. "Water Is a Time Machine." Latin American and Latinx Visual Culture 5, no. 2 (2023): 140–44. http://dx.doi.org/10.1525/lavc.2023.5.2.140.

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This Dialogues takes the 2017–18 exhibition Radical Women: Latin American Art, 1960–1985 as a starting point to discuss Latin American art today, addressing its history, legacy, and contribution to positive social change through the prism of feminism. Seeking to challenge hegemonic readings of the categories of “Latin America” and “feminism” while reinstating the contribution of Latin American women, Latina/Latinx, and Chicana/Chicanx artists to art and critical thought today, the exhibition Radical Women proposed novel ways of displaying art from the region by embracing multiplicity, attendin

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38

Fajardo-Hill, Cecilia. "Radical Women." Latin American and Latinx Visual Culture 5, no. 2 (2023): 81–91. http://dx.doi.org/10.1525/lavc.2023.5.2.81.

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This Dialogues takes the 2017–18 exhibition Radical Women: Latin American Art, 1960–1985 as a starting point to discuss Latin American art today, addressing its history, legacy, and contribution to positive social change through the prism of feminism. Seeking to challenge hegemonic readings of the categories of “Latin America” and “feminism” while reinstating the contribution of Latin American women, Latina/Latinx, and Chicana/Chicanx artists to art and critical thought today, the exhibition Radical Women proposed novel ways of displaying art from the region by embracing multiplicity, attendin

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39

Rjeille, Isabella. "Feminist Histories." Latin American and Latinx Visual Culture 5, no. 2 (2023): 92–107. http://dx.doi.org/10.1525/lavc.2023.5.2.92.

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This Dialogues takes the 2017–18 exhibition Radical Women: Latin American Art, 1960–1985 as a starting point to discuss Latin American art today, addressing its history, legacy, and contribution to positive social change through the prism of feminism. Seeking to challenge hegemonic readings of the categories of “Latin America” and “feminism” while reinstating the contribution of Latin American women, Latina/Latinx, and Chicana/Chicanx artists to art and critical thought today, the exhibition Radical Women proposed novel ways of displaying art from the region by embracing multiplicity, attendin

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40

Fernández, María. "Radical Women and Digital Bodies." Latin American and Latinx Visual Culture 5, no. 2 (2023): 108–16. http://dx.doi.org/10.1525/lavc.2023.5.2.108.

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This Dialogues takes the 2017–18 exhibition Radical Women: Latin American Art, 1960–1985 as a starting point to discuss Latin American art today, addressing its history, legacy, and contribution to positive social change through the prism of feminism. Seeking to challenge hegemonic readings of the categories of “Latin America” and “feminism” while reinstating the contribution of Latin American women, Latina/Latinx, and Chicana/Chicanx artists to art and critical thought today, the exhibition Radical Women proposed novel ways of displaying art from the region by embracing multiplicity, attendin

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41

Antivilo, Julia. "Laboratorio curatorial feminista." Latin American and Latinx Visual Culture 5, no. 2 (2023): 117–29. http://dx.doi.org/10.1525/lavc.2023.5.2.117.

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This Dialogues takes the 2017–18 exhibition Radical Women: Latin American Art, 1960–1985 as a starting point to discuss Latin American art today, addressing its history, legacy, and contribution to positive social change through the prism of feminism. Seeking to challenge hegemonic readings of the categories of “Latin America” and “feminism” while reinstating the contribution of Latin American women, Latina/Latinx, and Chicana/Chicanx artists to art and critical thought today, the exhibition Radical Women proposed novel ways of displaying art from the region by embracing multiplicity, attendin

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Kalyva, Eve, and Elize Mazadiego. "Introduction to the Dialogues on the Future of Radical Women." Latin American and Latinx Visual Culture 5, no. 2 (2023): 72–80. http://dx.doi.org/10.1525/lavc.2023.5.2.72.

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This Dialogues takes the 2017–18 exhibition Radical Women: Latin American Art, 1960–1985 as a starting point to discuss Latin American art today, addressing its history, legacy, and contribution to positive social change through the prism of feminism. Seeking to challenge hegemonic readings of the categories of “Latin America” and “feminism” while reinstating the contribution of Latin American women, Latina/Latinx, and Chicana/Chicanx artists to art and critical thought today, the exhibition Radical Women proposed novel ways of displaying art from the region by embracing multiplicity, attendin

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Lamoni, Giulia. "Learning from the (Imagined) Archive." Latin American and Latinx Visual Culture 5, no. 2 (2023): 130–39. http://dx.doi.org/10.1525/lavc.2023.5.2.130.

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This Dialogues takes the 2017–18 exhibition Radical Women: Latin American Art, 1960–1985 as a starting point to discuss Latin American art today, addressing its history, legacy, and contribution to positive social change through the prism of feminism. Seeking to challenge hegemonic readings of the categories of “Latin America” and “feminism” while reinstating the contribution of Latin American women, Latina/Latinx, and Chicana/Chicanx artists to art and critical thought today, the exhibition Radical Women proposed novel ways of displaying art from the region by embracing multiplicity, attendin

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Stulov, Yu V. "IDEOLOGY, RACE, AND ART: JAMES BALDWIN’S LEGACY." Bulletin of Udmurt University. Series History and Philology 29, no. 5 (2019): 853–58. http://dx.doi.org/10.35634/2412-9534-2019-29-5-853-858.

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In the 1950s-60s the outstanding African American writer James Baldwin took an active part in the events of the so-called Black Revolution in the USA, which had a tremendous effect on the country’s social and political life for the following years. African American people of art got strongly divided into two camps on the ideological issues. Baldwin belonged to the integrationists who did not separate their fate from the fate of America and insisted on the decisive measures to be taken by the US administration to change the attitude towards the black population. His position as well as his work

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Vallaeys, François, M. L. S. Oliveira, Tito Crissien, David Solano, and Andres Suarez. "State of the art of university social responsibility: a standardized model and compared self-diagnosis in Latin America." International Journal of Educational Management 36, no. 3 (2022): 325–40. http://dx.doi.org/10.1108/ijem-05-2020-0235.

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PurposeThis paper aims to provide information about the state of the art of University Social Responsibility (USR) from a regional perspective, based on a theoretical and practical development proposed by a wide net of Latin-American higher education institutions (HEIs): the USR Union of Latin America (URSULA).Design/methodology/approachThe state of the art was performed through a two-year measurement process (2018–2019) conducted in 80 HEI from 12 Latin-American countries. The state of the art was constructed through a self-reported diagnosis concerning four HEI scopes of action, twelve goals

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Litavrina, Marina. "America on Russian Actors’ Touring Map: Komissarzhevskaya and the Others." ISTORIYA 14, no. 4 (126) (2023): 0. http://dx.doi.org/10.18254/s207987840025994-2.

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The paper focuses upon the experience of Russian actors who toured in America in early 20th century. The author analyses their naïve beliefs, bold aspirations and great expectations, sizing up all these manifestations as Russian actors’ “American dream” or myth. The collision between Russian artistic messianism and American pragmatism, different views on theatre art, as well as cultural misunderstanding and language barrier — all in all performed great obstacles upon their way to American fame. In this sense, the case of Vera Komissarzhevskaya American tour (1908) is most representative. The m

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Bernier, Ronald R., and Rachel Hostetter Smith. "Editors’ Introduction: Christianity and Latin American Art." Religion and the Arts 18, no. 1-2 (2014): 1–4. http://dx.doi.org/10.1163/15685292-01801001.

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‭This brief introduction discusses the need for scholars to turn their attention to the intersections between art and Christianity in Latin America, and traces the origins of this special double-issue of Religion and the Arts to a one-day scholarly symposium entitled “Christianity and Latin American Art: Apprehension, Appropriation, Assimilation.” This symposium was sponsored by the Association of Scholars of Christianity in the History of Art (ASCHA), and held at the Cathedral of Our Lady of the Angels in Los Angeles, California, in February 2012.‬

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Arif, Esen BAYKURT. "EMERGENCE OF LYRIC ABSTRACT ART AND DEVELOPMENT OF TURKISH LYRIC ART AFTER 1950." ASOS JOURNAL 8, no. 103 (2020): 128–41. https://doi.org/10.29228/ASOS.42710.

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Lyrical Abstract Art appeared in post-World War II in Europe (France), while in Turkey it was seen after the 1950s, apart from figurative, landscape and geometric abstraction. The aim of the research is to uncover the differences and similarities between European and American Lyric abstract art and the Lyric art and artists that emerged in Turkey after 1950. The importance of the research is to determine the place of Lyric art in art by revealing its status in Europe and America and its place in Turkish Art. This research was done by qualitative research method and the literature was searched

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Cagulada, Elaine. "Persistence, Art and Survival." Canadian Journal of Disability Studies 9, no. 4 (2020): 50–70. http://dx.doi.org/10.15353/cjds.v9i4.668.

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   A world of possibility spills from the relation between disability studies and Black Studies. In particular, there are lessons to be gleaned from the Black Arts Movement and Black aesthetic about conjuring the desirable from the undesirable. Artists of the Black Arts Movement beautifully modeled how to disrupt essentialized notions of race, where they found “new inspiration in their African ancestral heritage and imbued their work with their experience as blacks in America” (Hassan, 2011, p. 4). Of these artists, African-American photographer Roy DeCarava was engaged in a

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Sabău, Nicolae. "American and Jewish Art Historians in Correspondence With Prof. C. Petranu (1893-1945)." Studia Universitatis Babeș-Bolyai Historia Artium 66, no. 1 (2021): 69–114. http://dx.doi.org/10.24193/subbhistart.2021.04.

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"American and Jewish Art Historians in Correspondence with Prof. C. Petranu (1893-1945). This article is part of the correspondence Prof. C. Petranu, founder of the education and scientific research in the field of art history in Transylvania and at King Ferdinand University of Cluj, conducted with prestigious American fellow specialists, professors, researchers, museographers, directors of publishing houses and magazines in this field. Among Prof. Petranu’s most frequent correspondents we can mention fellow specialists and researchers residing in the United States of America, as well as in ma

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