Relevant bibliographies by topics / Archives of American Art

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Archives of American Art'

Author: Grafiati
Published: 4 June 2021
Last updated: 30 July 2024

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Journal articles on the topic "Archives of American Art"

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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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Kendall, Sue Ann. "ARCHIVES OF AMERICAN ART/SMITHSONIAN INSTITUTION." Art Documentation: Journal of the Art Libraries Society of North America 5, no. 3 (1986): 106–8. http://dx.doi.org/10.1086/adx.5.3.27947611.

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VUONG, LÉA. "Art and Archive: Louise Bourgeois through a Feverish Gaze." Australian Journal of French Studies 59, no. 1 (2022): 46–59. http://dx.doi.org/10.3828/ajfs.2022.05.

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This article examines uses of archival documents in the work of French-American artist Louise Bourgeois (1911-2010). Jacques Derrida’s seminal essay on “Archive Fever” (1995) provides a framework for the close study of Bourgeois’s multi-modal archives. The article discusses how the artist’s archives, while embedded in the site that manages them, pursue their existence outside their institutional home: displayed in exhibition spaces, reproduced in print publications and recorded on film, they are constantly moving, all the while pointing to a continuous shift in the place, value and nature of the artist’s archives and a reconsideration of their relationship with Bourgeois’s oeuvre and its evolving critical reception.
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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 main sources for this conclusion were borrowed from American and Russian archives (such as Library of Congress, Washington D. C., USA, Russian Archive for Literature and Art, Moscow), including correspondence, reports, travel notes by Russian immigrant theatre workers and numerous press publications of the time.
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Richardson, Edgar P. "Archives of American Art: Purposes and Objectives." Archives of American Art Journal 30, no. 1/4 (1990): 1—x. http://dx.doi.org/10.1086/aaa.30.1_4.1557632.

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Barata, Ana. "Resources for Latin American art in the Gulbenkian Art Library." Art Libraries Journal 37, no. 4 (2012): 21–23. http://dx.doi.org/10.1017/s0307472200017697.

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From its creation in 1968 the Gulbenkian Art Library has possessed a number of special collections, and these have been enriched through major bequests or through acquisition. Currently there are about 180 collections with relevance for the study of Portuguese art and culture: they include private libraries, the private archives of Portuguese artists and architects, and photographic archives. Material in the special collections is available through the library’s catalogue and some have already been digitised and are available on the internet, depending on their copyright terms and conditions. Among these special collections two have special relevance to the study of the history of Brazilian art and architecture: the collection of Portuguese tiles and the Robert Smith Collection.
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Matallana, Andrea. "Inventing Latin America Under the Good Neighborhood Policy: The Case of the MoMA Collection, 1943." International Journal of Cultural and Art Studies 6, no. 1 (2022): 29–46. http://dx.doi.org/10.32734/ijcas.v6i1.8385.

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This article describes the strategies of the North American government to help establish a Latin American Collection in the Museum of Modern Art (MoMA) and the role that Lincoln Kirstein had as a collector of the works that made up the collection. The dialogue that Kirstein had with various personalities of the culture in the tasks of exhibition and collection is analyzed. We emphasize how the fine arts were spaces of political weighting, and areas usable by Good Neighbor politics. Finally, it is explained what kind of Latin American art was collected to make up the collection in 1943, and what idea of Latin America was represented through that selection. The research uses primary sources collected from MoMA Archives, Rockefeller Personal Archives, New York Public Library and Lincoln Kirstein Archives. The comparative method in history was used to review the different cases analyzed.
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Chiango, Rose. "Podcasts: The Archives of American Art Oral History Collection. Archives of American Art, Smithsonian Institution. https://www.aaa.si.edu/resources/podcasts." Oral History Review 46, no. 2 (2019): 421–22. http://dx.doi.org/10.1093/ohr/ohz023.

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Kirwin, Liza. "Landscape Studies at the Archives of American Art." Archives of American Art Journal 47, no. 1/2 (2008): 30–43. http://dx.doi.org/10.1086/aaa.47.1_2.25435146.

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Kirwin, Liza. "Visual Thinking: Sketchbooks from the Archives of American Art." Archives of American Art Journal 27, no. 1 (1987): 21–29. http://dx.doi.org/10.1086/aaa.27.1.1557478.

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Dissertations / Theses on the topic "Archives of American Art"

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Buchanan, Mariah Spann. "Educating black youth moral principles through black art." Click here to access dissertation, 2008. http://www.georgiasouthern.edu/etd/archive/spring2008/mariah_s_buchanan/buchanan_mariah_s_200801_edd.pdf.

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Thesis (Ed.D.)--Georgia Southern University, 2008.<br>"A dissertation submitted to the Graduate Faculty of Georgia Southern University in partial fulfillment of the requirements for the degree Doctor of Education." Under the direction of Ming Fang He. ETD. Electronic version approved: May 2008. Includes bibliographical references (p. 203-215) and appendices.
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Hensley, Charlsa Anne. "IN BLACK AND WHITE: RICHMOND’S MONUMENT AVENUE RECONTEXTUALIZED THROUGH THE PHOTOGRAPHIC ARCHIVE." UKnowledge, 2019. https://uknowledge.uky.edu/art_etds/18.

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The release of the Monument Avenue Commission Report in July, 2018 was the culmination of over one year of research and collaboration with community members of Richmond, Virginia on how the city should approach the contentious history of Monument Avenue’s five Confederate centerpieces. What the monuments have symbolized within the predominately rich, white neighborhood and outside of its confines has been a matter of debate ever since they were unveiled, but the recent publicity accorded to Confederate monuments has led to considerations by historians, city leaders, and the public regarding recontextualization of Confederate monuments. Recontextualization of the monuments should not only consider the city’s current constituency, but also the lives, testimonies, and representations of Richmond’s African- American residents as the monuments were built. A comparative case study of photographs from various institutional archives in Richmond, Virginia, depicting late- nineteenth and early twentieth-century scenes from the city’s history reveals that while Monument Avenue and its Confederate celebrations benefitted the city’s upper-class white constituency, its messages extended far beyond Richmond and its Confederate veterans. By bringing to light images and testimonies from the archive that highlight African-American presence, a counter-narrative emerges detailing the construction of power in post-Reconstruction Richmond through Monument Avenue.
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Tingler, Stephanie Kay. "Oley Speaks and the Oley Speaks music library archive : a legacy of the twentieth century American art song /." The Ohio State University, 1993. http://rave.ohiolink.edu/etdc/view?acc_num=osu1299527642.

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Görgen, Carolin. "Out here it is different - The California Camera Club and community imagination through collective photographic practices : toward a critical historiography, 1890-1915." Thesis, Sorbonne Paris Cité, 2018. http://www.theses.fr/2018USPCC010/document.

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Le California Camera Club, un collectif de photographes amateurs et professionnels actif à San Francisco notamment entre 1890 et 1915, est une organisation constamment marginalisée dans l’histoire de la photographie et de l’Ouest américain. En adoptant une double approche d’histoire culturelle et matérielle, cette thèse éclaire une gamme d’activités et de productions de ce club largement inconnu, qui ont contribué à forger l’identité d’une communauté éloignée de l’Ouest. Par son approche inclusive, réunissant plus de 400 membres en 1900, le club doit être considéré comme une organisation localement ancrée, qui se sert de la photographie pour produire un récit esthétiquement attirant et historiquement cohérent de la ville et de l’État. Malgré son chevauchement chronologique avec le pictorialisme et son ambition de faire reconnaître le médium parmi les beaux-arts, le corpus du club ne peut être inséré dans un canon d’histoire de l’art de la photographie. En se basant sur diverses stratégies de diffusion et d’exposition, les membres adoptent plutôt une approche collective qui transforme l’aspiration à la reconnaissance en un désir de légitimation régionale. À travers une analyse de pratiques photographiques, d’usages et d’itinéraires des objets, cette thèse retrace la construction d’une représentation idiosyncratique de la culture et de l’histoire californiennes par un club qui participe à la conquête d’une place légitime pour l’État sur la scène nationale. En mettant l’accent sur la dimension collective de la photographie, cette analyse montre comment sa pratique dans un territoire isolé mène à la construction imaginaire d’une communauté dotée d’une compréhension commune de ses valeurs esthétiques et de son histoire. L’enjeu de cette thèse est ainsi de réviser un schéma linéaire et étroit de l’histoire de la photographie en élargissant les perspectives géographiques, socioculturelles et archivistiques<br>The California Camera Club, a collective of amateur and professional photographers, most active in San Francisco between 1890 and 1915, represents a constantly marginalized organization in the history of photography and of the American West. By adopting a two-fold cultural-historical and material approach, this thesis sheds light on a largely unknown variety of Club activities and productions that served as meaningful elements to forge the identity of a remote Western community. Through its inclusive outlook, unifying more than 400 members in 1900, the Club must be considered a locally embedded organization that mobilized photography to produce an aesthetically pleasing and historically coherent narrative of the city and the state. Despite its chronological position in the period of Pictorialism and the striving for institutional recognition, the Club corpus cannot be inserted into an art-historical canon of photography. Rather, by drawing on diverse strategies of dissemination and exhibition, the members adopted a collective approach to the medium that turned the striving for institutional recognition into a desire for regional legitimation. Through an examination of photographic practices, uses, and object trajectories, this thesis traces the construction of an idiosyncratic representation of Californian culture and history by the Club, which actively assisted the state’s search for a legitimate national place. By focusing on the collective dimension of photography, the analysis demonstrates how the practice in an isolated territory led to the imagination of a community with shared aesthetic and historical understandings. The object of this thesis is to revise both linear and narrow tropes in the history of photography by broadening its geographic, sociocultural, archival perspectives
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Stack, Margaret. "An Archaeological and Archival Appraisal of "Spanish Indians" on the West Coast of Florida in the Eighteenth and Nineteenth Centuries." Scholar Commons, 2011. http://scholarcommons.usf.edu/etd/3363.

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Spanish Indian is a generic term that has been used repeatedly in written documents over the past three centuries to describe a range of different social, ethnic, and economic groups in the southeastern United States. In this thesis, a comparative analysis of the material culture from Cuban fishing ranchos of the eighteenth and nineteenth centuries on the west coast of Florida addresses the ways in which specific Spanish Indian artifact assemblages fit into the archaeological record. Three archaeological assemblages from known Rancho sites are detailed and analyzed. In addition, this thesis details a public archaeology project undertaken in conjunction with the Florida Public Archaeology Network, which led to the development of a traveling exhibit and public presentation on the origins of local place names. The thesis also provides suggestions for how historical archaeologists might contend with difficulties in determining and documenting identity at early historical sites in coastal Florida. The research undertaken for this thesis demonstrates a pressing need for additional data collection and research in the field. As it currently stands, however, the preliminary analysis conducted in this thesis indicates an economic basis for cultural interaction and intermarriage rather than an actual cultural synthesis, creolization, or ethnogenesis, which would imply shared cultural systems of belief and meaning. This thesis is also a proposal for a typology of ranchos. Through a cross-comparison of the similarities and differences in subsistence strategies and labor practices, a research design for rancho archaeology is outlined.
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Carroll, Michael Jeffrey. "Preserving Queer Legacies in Archives and Art." Master's thesis, Temple University Libraries, 2019. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/582084.

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Art History<br>M.A.<br>Queer artists have engaged archives throughout modern and contemporary American art, but art historical discourse of their work has centered the writing of Jacques Derrida and Michel Foucault to theorize these spaces without considering archival scholarship. This text takes up Gabriel Martinez’s Archive series as a case study to critique archival selection theory and better understand how prejudice has affected the preservation of queer folx’s collections. Martinez’s series is situated amongst other Western artworks that center archival records and queer themes throughout the last century. This section places his artwork in dialogue with other artists for whom the archive is the subject of their artwork. The artworks detailed exemplify the multiplicity of ways that queer folx critique and interpret the histories preserved in these institutions. Following this survey of art is an analysis of how archival records are selected for preservation and the inherent subjectivity of this task. Pedagogical writing on archival selection by Frank Boles, Richard Cox, and James O’Toole are consulted to better understand how archivists working in the field are taught to handle this type of work. Most of their writing is focused on traditional archives and fails to articulate the challenges facing counterarchives, spaces formed to compensate for the erasure of queer persons in traditional institutions. This review of archival scholarship ends with a critique of how queer counterarchives have fallen short of their inclusive aims. The final section of this text is dedicated to a close study of Martinez’s Archive series. His photographs document the Harry R. Eberlin photograph collection and the John J. Wilcox, Jr. Archives in Philadelphia. The historical context of the Eberlin collection and the founding of its host repository are presented in conjunction with Archive series because Martinez’s compositions are inseparable from these histories. Philadelphia queer culture in the 1970s and 1980s is revealed through the retelling of these histories and by examining who was visualized in the images themselves. These images of bars and events simultaneously reveal the gender and racial disparity of patronage within these spaces and exemplify long-standing tensions in the city’s queer spaces. Lastly, this text posits a practice called “pseudo-processing” where artists document and preserve facsimiles of archival records to question the divisions of archival labor from that of an artist performing comparable tasks.<br>Temple University--Theses
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Murphy, Brian Michael. "The Future of American Memory: Media Preservation, Photography, and Digital Archives." The Ohio State University, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=osu1398876304.

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Bentley, James E. III. "Looking Back: An Examination of Family Archives." Digital Archive @ GSU, 2011. http://digitalarchive.gsu.edu/art_design_theses/79.

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With digital technology now dominating the film and photography industry, analog resources are becoming scarce. Simultaneously, memories preserved through personal family archives also are in danger of deterioration. Time, heat and humidity can cause film to decay just as the passage of time and the erosion of memory allows their contents to fade. In Looking Back, my family film and photography archives are exhumed and collectively examined by myself and my family. Reflecting upon this massive accumulation of imagery and their attached memories seems an endless task. However, as expressed in Looking Back, the greater the effort to bring conclusive memories to the surface, the more impossible the task proves to be, and larger questions about the significance of family history result.
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Gehr, Susan. "Breath of life| Revitalizing California's Native languages through archives." Thesis, San Jose State University, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=1552255.

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<p>This thesis presents an oral history of the Advocates for Indigenous California Language Survival (AICLS) and its Breath of Life Workshop. Held every other year since 1996, the workshop is designed to meet the language revitalization needs of California Indian people whose languages have no living fluent speakers. Breath of Life Workshop organizers arrange visits to four archives on the University of California, Berkeley, campus and connect participants with linguistic mentors to read and interpret archival documents in their language for the purpose of bringing their language back into use. </p><p> Through interviews with AICLS founders, Breath of Life Workshop participants, and University of California, Berkeley, linguists and archivists, this study uncovers the role archivists play in the Breath of Life Workshops and in the care of Native language collections more generally. Topics addressed include the selection and use of archival documents in the program and the changes to archival practice and policies that have resulted from archivists&rsquo; work with Breath of Life participants. The thesis also examines issues involved in the collection, arrangement, description, preservation, and access to the documentation of California Indian languages. The study concludes with recommendations for future language revitalization programs. </p>
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Duclos, Jessica. "Les archives du corps." Thesis, Université Laval, 2013. http://www.theses.ulaval.ca/2013/30240/30240.pdf.

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Le présent mémoire fait état de ma recherche-création qui se veut une prospection sur la connaissance de soi, comprendre comment les expériences transforment différents aspects de la réalité humaine tels notre corps, notre intimité, notre personnalité et nos émotions. Mon travail s’esquisse autour de la présence de l’autre, de ses affects, et joue sur les possibilités visuelles pour mettre en relief les ambiguïtés interrelationnelles. Mettre en exergue la notion de subjectivation par l’intermédiaire de dispositifs immersifs interactifs est le fil conducteur de ma démarche, cette notion qui fait de nous des êtres créés par les éléments extérieurs qu’il côtoie, qui fait de vous et moi, le même.
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Books on the topic "Archives of American Art"

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Art, Archives of American. Smithsonian Archives of American Art: Celebrating 50 years, the Archives of American Art, 1954-2004. Archives of American Art, Smithsonian Institution, 1999.

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Art, Archives of American, and E. C. Brown Foundation, eds. The papers of African American artists. Archives of American Art, Smithsonian Institution, 1992.

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Art, Archives of American, ed. The papers of Latino & Latin American artists. 2nd ed. Smithsonian Archives of American Art, 2000.

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Art, Archives of American, ed. The papers of Latino & Latin American artists. Archives of American Art, Smithsonian Institution, 1996.

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Robinson, William H. Artists Archives of the Western Reserve. Artists Archives of the Western Reserve, 1997.

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Art, Archives of American, ed. A Guide to archival sources for Italian-American art history in the Archives of American Art. Archives of American Art, Smithsonian Institution, 1994.

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Art, Archives of American, ed. A Guide to archival sources for French-American art history in the archives of American art. Archives of American Art, Smithsonian Institution, 1992.

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Art, Archives of American. Reliable sources: A selection of letters, sketches, and photographs from the Archives of American Art. Published for the Archives of American Art by the Smithsonian Institution Press, 1988.

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Cheryl, Leibold, and Siegrist Lisa, eds. In the service of art: A guide to the archives of the Pennsylvania Academy of the Fine Arts. Pennsylvania Academy of the Fine Arts, 2009.

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Liza, Kirwin, ed. Speaking of art: Selections from the Archives of American Art oral history collection, 1958-2008. Archives of American Art, Smithsonian Institution, 2008.

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Book chapters on the topic "Archives of American Art"

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Scerbo, Rosita. "Afro-Colombian Women as Alternative Historical Archives." In The Afro-Descendant Woman in Latin American Diasporic Visual Art. Routledge, 2024. http://dx.doi.org/10.4324/9781003378594-10.

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Page, Joanna. "5. Albums, Atlases, and their Afterlives." In Decolonial Ecologies. Open Book Publishers, 2023. http://dx.doi.org/10.11647/obp.0339.05.

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The first part of this chapter discusses art projects that intervene directly into the books and other materials created by travelling European naturalists of the later colonial period, whose conception of nature has so thoroughly shaped representations of Latin America’s landscapes. I explore projects by Rodrigo Arteaga (Chile), Antonio Bermúdez (Colombia), Claudia Coca (Peru), Tiago Sant’ana (Brazil), Oscar Santillán (Ecuador) and others that stage material interventions or performances in relation to the printed images, atlases, albums and catalogues that recorded the findings of scientific expeditions in the eighteenth and nineteenth centuries. As well as combating the particular images of Latin America forged in these works, these artists reflect more broadly on the affordances of different material technologies—such as printing, engravings and the book—used to create and disseminate knowledge. The second part of the chapter brings together projects that engage with the scientific, commercial and artistic afterlives of the iconic images that emerged from Humboldt’s journey across the Americas (1799–1804). Bermúdez demonstrates how Humboldt’s images of Latin American landscapes—such as the famous views of the Chimborazo—live on through different kinds of cultural mediation and commercial accumulation. The relationship between Humboldt’s science and extractivism in Latin America, suggested in a poetic mode by Santillán, is explicitly developed in the expansive Archivo Humboldt (2011–), a set of performances, documentation, and (mock) archives created by Fabiano Kueva (Ecuador). These remediations and re-enactments recuperate archives of all kinds for decolonial purposes, reworking them in ways that decentre the ocularcentric, logocentric bias of Western modernity while exploring the power of published words and images to represent the colonial other.
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Brody, Lisa, and Rubina Raja. "5. The Gerasa Archives at the Yale University Art Gallery: Exploring the Archives of the Anglo-American Excavations 1928–1930 and 1930–1934." In Archival Historiographies. Brepols Publishers, 2022. http://dx.doi.org/10.1484/m.arc-eb.5.130473.

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Lee, Jamie A. "Archives." In The Routledge History of American Sexuality. Routledge, 2020. http://dx.doi.org/10.4324/9781315637259-5.

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Bradley, Patricia. "Outsider Art." In Making American Culture. Palgrave Macmillan US, 2009. http://dx.doi.org/10.1057/9780230100473_3.

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Motta, Ana Paula, and Guadalupe Romero Villanueva. "South American Art." In Encyclopedia of Global Archaeology. Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-319-51726-1_2914-1.

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Nann, John B., and Morris L. Cohen. "Archives and Practice Materials." In The Yale Law School Guide to Research in American Legal History. Yale University Press, 2018. http://dx.doi.org/10.12987/yale/9780300118537.003.0009.

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This chapter focuses on archives and special collections. Archival collections are diverse, ranging in size, scope, creator, and format. As such, there are two parts to an archival research project: (1) determine which archive holds the needed materials, and (2) determine, as much as possible, where in a collection relevant materials might be found. Several widely available resources can help a researcher determine which archives to consult. Many archival collections have finding aids, and a finding aid is the first thing that researchers should look for. A finding aid should provide an overview of the collection, including the provenance and information about access; perhaps a brief biography and/or description of the collection; and a list of the contents of the collection that describes the contents as specifically as the name of each box or folder. The chapter also looks at practice books or manuals, which are one of the most long-lived type of legal material.
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Mariátegui, José-Carlos. "Imagined Video Archives:." In Encounters in Video Art in Latin America. J. Paul Getty Trust, The, 2023. http://dx.doi.org/10.2307/jj.4908220.7.

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Bui, Long T. "Archival Others." In Returns of War. NYU Press, 2018. http://dx.doi.org/10.18574/nyu/9781479817061.003.0001.

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This chapter examines the Vietnam War Center and Archive located at Texas Tech University, the largest collection of personal artifacts and materials related to the Vietnam War in the United States. This major historical institution is keen on documenting all narratives and artifacts as a living memorial related to the war, including those of former South Vietnamese refugees who are often denied a voice a “archival others.” The chapter explains the origins of this archive, using historical documents and interviews with its staff. This is followed by an analysis of the archive’s newsletters to demonstrate the type of public image this archive promotes. Third, it interrogates the type of oral histories contained in the archive, recognizing the stories mostly of American GIs and their problematic view of Vietnamese people. The chapter also reviews the largest collection of Vietnamese materials in the center like the Orderly Departure Program, the visa application files from South Vietnamese refugees seeking asylum in the United States. It problematizes the archive’s growing relations with Vietnamese Americans and the Vietnamese socialist state and the ways the archive tries to maintain relations with the socialist government despite the animosity of Vietnamese Americans toward the regime. It ends with the anticipation of a newly conceived “Archive for War and Diplomacy in the Post-Vietnam War Era” to expose the limits and potentials of archives about the Vietnam War.
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Plasa, Carl. "African-American Ekphrasis and the ‘Peculiar Institution’." In Literature, Art and Slavery. Edinburgh University Press, 2023. http://dx.doi.org/10.3366/edinburgh/9780748683543.003.0006.

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In this chapter, the emphasis falls squarely upon the ways in which African American writers have turned the ekphrastic gaze towards images that either represent the peculiar institution of American slavery directly or are closely related to it and that were all created by white Americans between 1805 and c. 1900. Examples of such a turn are certainly infrequent, if all the more important for that reason and provided here in an ekphrastic gallery of six short texts by four authors: John Edgar Wideman, Yusef Komunyakaa, Natasha Trethewey and Terrance Hayes. Despite the different perspectives from which these writers approach the same visual archive, their engagements with slavery ultimately operate along comparable lines, often taking the images that inspire them in fresh directions, placing them in new contexts or using them to generate new narratives.
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Conference papers on the topic "Archives of American Art"

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Kiselev, I. "Foreign software on Russian archival soil: two projects." In Historical research in the context of data science: Information resources, analytical methods and digital technologies. LLC MAKS Press, 2020. http://dx.doi.org/10.29003/m1839.978-5-317-06529-4/395-400.

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The article is devoted to two international projects with the participation of Russian archives, in which foreign software was used. The first project is the Russian-American project for entering fond descriptions of four Russian archives (GARF, RtSHIDNI, GATO, TtSDNI) into the RLIN database. The second project is the Computerization of the Comintern Archive. The characteristics of software, goals and results of the projects are considered.
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Bordignon, Frederique. "What does it mean to correct the scientific record? A case study of the JACS (2000-2023)." In 27th International Conference on Science, Technology and Innovation Indicators (STI 2023). International Conference on Science, Technology and Innovation Indicators, 2023. http://dx.doi.org/10.55835/643e9f61c0a5d2717e40e59c.

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This paper examines how the Journal of the American Chemical Society (JACS) displays notices of correction and retraction, and how their status is reflected across various venues. With a corpus of 1083 editorial notices, we first show that even on the JACS website, the original source, there are mistakes and inaccuracies. Additionally, our study demonstrates some improvements in certain contexts in comparison to earlier studies, as well as significant variations between platforms (bibliographic databases and open access archives). But it also reveals that the same types of issues still remain, including the lack of accurate information close to the updated publications, and the lack of a two-way link between notices and original publications. This preliminary research seeks to provide an overview of what constitutes the scientific record and what it means to correct it, in order to avoid the spread of unsubstantiated claims by ill-informed readers.
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Bowen, Jonathan P., and Tula Giannini. "Galois Connections: Mathematics, Art, and Archives." In Electronic Visualisation and the Arts (EVA 2015). BCS Learning & Development, 2015. http://dx.doi.org/10.14236/ewic/eva2015.18.

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Pradipta, Danuh, Kiki Putri, and Changkyu Lee. "When Archives are Presented in the Art Gallery." In International Conference on Aesthetics and the Sciences of Art. Bandung Institute of Technology, 2020. http://dx.doi.org/10.51555/338656.

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Li, Yali. "Discussion on Equipment Virtual Archives of Art Colleges." In 2014 International Conference on Education, Management and Computing Technology (ICEMCT-14). Atlantis Press, 2014. http://dx.doi.org/10.2991/icemct-14.2014.20.

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Newnham, Mick. "`This is what you want, this is what you get´." In SOIMA 2015: Unlocking Sound and Image Heritage. International Centre for the Study of the Preservation and Restoration of Cultural Property, 2017. http://dx.doi.org/10.18146/soima2015.4.16.

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There are limited training options for audiovisual archivists, with most formal courses centred in Europe or the United States of America, but high costs can prevent people working in audiovisual archives from accessing these opportunities. However, there are significant collections of audiovisual heritage spread across the globe, not the least in Southeast Asia and the Pacific region, that are at risk of loss due to a number of factors, including sta competencies. In 1996 audiovisual archivists formed the Southeast Asia–Pacific Audiovisual Archive Association (SEAPAVAA) to advocate on their behalf and to provide networking and other assistance to develop and sustain their respective collections. A key part of SEAPAVAA’s work has been to provide training. Over the past 20 years the association has developed and delivered educational programmes on all aspects of audiovisual archiving. Over this time its trainers have developed an analytical approach to prioritizing needs and optimizing delivery methods in a region that has many distinct languages and cultures and where one size does not fit all. This paper looks at how SEAPAVAA went about discovering those needs and developing training priorities around them.
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Prager, M., D. A. Osage, C. H. Panzarella, and R. G. Brown. "Development of a Material Databook for API Std 530." In ASME 2014 Pressure Vessels and Piping Conference. American Society of Mechanical Engineers, 2014. http://dx.doi.org/10.1115/pvp2014-28538.

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In 2005, the American Petroleum Institute (API) initiated an effort to update existing yield, tensile and stress-rupture properties found in API Standard 530 Calculation of Heater Tube Thickness in Petroleum Refineries and add properties for alloys not yet covered. The design curves in API 530 until that time were based on data gathered 40 to 50 years earlier by the Materials Properties Council (MPC) and its predecessor, the ASTM-ASME Joint Committee on the Effects of Temperature on Materials. Later, MPC developed proprietary statistically sound algorithms to apply lot-centered regression for parametric analysis of large, unbalanced data sets of diverse heats tested under a variety of conditions. Subsequently, MPC built and maintained archives on the creep and stress-rupture data of alloys of interest to API. For some alloys the data sets contained over a thousand test results on over 100 heats. To assure that future designs will reflect the properties of materials produced using modern practices, API requested MPC to deliver design properties applicable to current materials. This paper presents the back ground, principles and results of the recent analyses performed by MPC that are now available for use by the API membership. The properties furnished in equation format are yield and ultimate tensile strengths for time-independent stresses and results of lot centered Larson-Miller Parameter analyses to obtain time-dependent average and minimum strengths. The properties and application examples of the equations are published as WRC Bulletin 541 Evaluation of Material Strength Data for Use in API Std 530.
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Bhagat, Alexis. "Some Tapes in the Wordship: Indexing the Audio Art Archives of Richard Kostelanetz." In RE:SOUND 2019 – 8th International Conference on Media Art, Science, and Technology. BCS Learning & Development, 2019. http://dx.doi.org/10.14236/ewic/resound19.40.

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"[Spine art]." In 2013 Latin American Computing Conference (CLEI). IEEE, 2013. http://dx.doi.org/10.1109/clei.2013.6670675.

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"[Cover art]." In 2008 IEEE Latin American Robotic Symposium. IEEE, 2008. http://dx.doi.org/10.1109/lars.2008.41.

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Reports on the topic "Archives of American Art"

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Schacht, Kayley, Deidre Gonçalves, Aaron Schmidt, and Adam Smith. A History and Analysis of the WPA Exhibit of Black Art at the Fort Huachuca Mountain View Officers’ Club, 1943–1946. Engineer Research and Development Center (U.S.), 2023. http://dx.doi.org/10.21079/11681/47184.

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The 1943 art exhibition at the Mountain View Officers’ Club (MVOC), Fort Huachuca, Arizona should be considered one of the most significant events in the intersection of American art, military history, and segregation. Organizers of the event, entitled Exhibition of the Work of 37 Negro Artists, anticipated it would boost soldiers’ morale because Fort Huachuca was a predominately Black duty station during WWII. This report provides a brief history of Black art in the early 20th century, biographies of the artists showcased, and provides information (where known) about repositories that have originals or reproductions of the art today. The following is recommended: the General Services Administration (GSA) investigate the ownership of the pieces described in this report and if they are found to have been created under one of the New Deal art programs to add them to their inventory, further investigation be performed on the provenance and ownership of Lew Davis’s The Negro in America’s Wars mural, for the rehabilitation of the MVOC that the consulting parties agree upon the scope of the reproduction of the art, and request archival full reproductions of the pieces of art found in the collection of the Howard University Gallery of Art.
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Wansley, William J. American Art: Toward an American Theory of Peace. Defense Technical Information Center, 1992. http://dx.doi.org/10.21236/ada253169.

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

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The URL links to a website page in the Drexel Digital Museum (DDM) fashion image archive containing a 3D interactive panorama of an evening suit by American fashion designer James Galanos with related text. This afternoon dress is from Galanos' Fall 1976 collection. It is made from pale pink silk chiffon and finished with hand stitching on the hems and edges of this dress, The dress was gifted to Drexel University as part of The James G. Galanos Archive at Drexel University in 2016. After it was imaged the gown was deemed too fragile to exhibit. By imaging it using high resolution GigaPan technology we are able to create an archival quality digital record of the dress and exhibit it virtually at life size in 3D panorama. The panorama is an HTML5 formatted version of an ultra-high resolution ObjectVR created from stitched tiles captured with GigaPan technology. It is representative the ongoing research of the DDM, an international, interdisciplinary group of researchers focused on production, conservation and dissemination of new media for exhibition of historic fashion.
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Anastas, Kevin P. The American Way of Operational Art: Attrition or Maneuver. Defense Technical Information Center, 1992. http://dx.doi.org/10.21236/ada254194.

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Edwards, Sebastian. The Economics of Latin American Art: Creativity Patterns and Rates of Return. National Bureau of Economic Research, 2004. http://dx.doi.org/10.3386/w10302.

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Castedo, Leopoldo. Cultural Foundations of Latin American Integration. Inter-American Development Bank, 1999. http://dx.doi.org/10.18235/0007936.

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

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

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The URL links to a website page in the Drexel Digital Museum (DDM) fashion image archive containing a 3D interactive panorama of an evening suit by American fashion designer James Galanos with related text. This evening suit is from Galanos Fall 1984 collection. The skirt and bodice of the jacket are black and white plaid wool. The jacket sleeves are black mink with leather inserts that contrast the sheen of the leather against the luster of the mink and reduce some of the bulk of the sleeve. The suit is part of The James G. Galanos Archive at Drexel University gifted to Drexel University in 2016. The panorama is an HTML5 formatted version of an ultra-high resolution ObjectVR created from stitched tiles captured with GigaPan technology. It is representative the ongoing research of the DDM, an international, interdisciplinary group of researchers focused on production, conservation and dissemination of new media for exhibition of historic fashion.
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Galenson, David. The Reappearing Masterpiece: Ranking American Artists and Art Works of the Late Twentieth Century. National Bureau of Economic Research, 2003. http://dx.doi.org/10.3386/w9935.

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Figueredo, Luisa, William Shelton, and Joao Paulo Almeida. The State of Art of Awake Craniotomy in Latin American Countries: A Scoping Review. INPLASY - International Platform of Registered Systematic Review and Meta-analysis Protocols, 2023. http://dx.doi.org/10.37766/inplasy2023.6.0078.

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