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Journal articles on the topic 'Archives of American Art'
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1
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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Kirwin, Liza. "Visual Thinking: Sketchbooks from the Archives of American Art." Archives of American Art Journal 30, no. 1/4 (1990): 155–63. http://dx.doi.org/10.1086/aaa.30.1_4.1557653.
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Selgas, Gianfranco. "Archivos de la mina planetaria." Diálogos Latinoamericanos 31 (December 20, 2022): 110–25. http://dx.doi.org/10.7146/dl.v31i.132589.
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This essay departs from the artistic work on Chile’s and Venezuela’s mineral extractive zones by Ana Alenso to reflect on how art symbolically and materially deals with geological, political, and cultural entanglements. By combining geology of media studies and Latin American political ecology, it studies how Alenso’s artworks allow us to discuss and highlight the ways in which art empowers socio-ecological claims and actions that configure other forms of resilience in the face of extractive capitalism. It also discusses how culture is intrinsically related to the history of the Earth, geological and mineral formations, and energy. The essay concludes by conceptualizing these artworks as archives of the planetary mine. This notion understands artistic praxis as a cultural archive recording the socio-ecological imbrications activated by the multiple dimensions of mining in Latin America.
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Abbey, Heidi N. "Does a decade make a difference? Comparing the web presence of North American art museum libraries and archives in 1999 and 2011." Art Libraries Journal 37, no. 3 (2012): 34–40. http://dx.doi.org/10.1017/s0307472200017582.
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The number of North American art museums with a presence on the internet has more than doubled since 1999. This is not surprising given the power of new media to transform the experiences that museum visitors have with our cultural institutions. Every year museums attract thousands of visitors to view, both in person and online, their specialized collections and unique exhibitions. Developing in tandem with these resources and largely unfamiliar to the general, museum-going public, the libraries and archives of these institutions have contributed to the research mission, educational programming, documentary history, and curatorial functions of museums in countless ways. In addition, especially for art historians and other scholars, museum libraries and archives have been and continue to be increasingly valuable for primary and secondary sources, including artists’ correspondence, diaries, sketches, hard-to-find monographs, exhibition records and sales catalogues. What is unclear, however, is the extent to which resources in art museum libraries and archives are being documented, preserved and made accessible online. This research is perhaps the first of its kind to evaluate, on a small scale and during a span of twelve years, the web presence of 22 North American art museum libraries and archives.
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Kirwin, Liza. "Fabulous at 50: the Smithsonian’s Archives of American Art celebrates a Golden Anniversary." Art Libraries Journal 31, no. 1 (2006): 28–32. http://dx.doi.org/10.1017/s0307472200014358.
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Founded in 1954, the Smithsonian’s Archives of American Art collects, preserves and makes available primary sources documenting the history of the visual arts in the United States. More than 16 million items strong, its collections comprise the world’s largest single source for letters, diaries, financial records, unpublished writings, sketchbooks, scrapbooks and photographs created by artists, critics, collectors, art dealers and art societies – the raw material for scholarship in American art.
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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 background. They are developing languages of expression, practices, and aesthetics that no longer conform to the “Latin American art” category. It is thus essential to highlight the multiple artistic initiatives that are allowing them to gain visibility and recognition within both the local and global artistic milieus. We posit that today it is almost impossible to overlook both the historical and the ongoing presence of Latin American art and artists in Canada and the recent emergence of a vibrant, ever-expanding contemporary Latinx Canadian art scene. This section proposes six groundbreaking contributions that, from coast to coast, offer further data and analysis, case studies, and investigations into museum archives: from Vancouver to Montréal, from pre-Columbian art and material culture to contemporary art, from the Chilean diaspora of the 1970s to more recent migration waves, from curatorial strategies to the classroom.
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Schiller, Laura. "Making American Literatures in Middle School." English Journal 89, no. 2 (1999): 98–104. http://dx.doi.org/10.58680/ej1999525.
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Discusses the influence of a summer institute on the development of an American Literature curriculum for middle school. Notes resulting teaching strategies include: researching archives with students to supplement textbook material; providing field trips; creating personal archival collections with students; pairing texts; and mixing media from film, to art, to fiction.
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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 background. They are developing languages of expression, practices, and aesthetics that no longer conform to the “Latin American art” category. It is thus essential to highlight the multiple artistic initiatives that are allowing them to gain visibility and recognition within both the local and global artistic milieus. We posit that today it is almost impossible to overlook both the historical and the ongoing presence of Latin American art and artists in Canada and the recent emergence of a vibrant, ever-expanding contemporary Latinx Canadian art scene. This section proposes six groundbreaking contributions that, from coast to coast, offer further data and analysis, case studies, and investigations into museum archives: from Vancouver to Montréal, from pre-Columbian art and material culture to contemporary art, from the Chilean diaspora of the 1970s to more recent migration waves, from curatorial strategies to the classroom.
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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 background. They are developing languages of expression, practices, and aesthetics that no longer conform to the “Latin American art” category. It is thus essential to highlight the multiple artistic initiatives that are allowing them to gain visibility and recognition within both the local and global artistic milieus. We posit that today it is almost impossible to overlook both the historical and the ongoing presence of Latin American art and artists in Canada and the recent emergence of a vibrant, ever-expanding contemporary Latinx Canadian art scene. This section proposes six groundbreaking contributions that, from coast to coast, offer further data and analysis, case studies, and investigations into museum archives: from Vancouver to Montréal, from pre-Columbian art and material culture to contemporary art, from the Chilean diaspora of the 1970s to more recent migration waves, from curatorial strategies to the classroom.
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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 background. They are developing languages of expression, practices, and aesthetics that no longer conform to the “Latin American art” category. It is thus essential to highlight the multiple artistic initiatives that are allowing them to gain visibility and recognition within both the local and global artistic milieus. We posit that today it is almost impossible to overlook both the historical and the ongoing presence of Latin American art and artists in Canada and the recent emergence of a vibrant, ever-expanding contemporary Latinx Canadian art scene. This section proposes six groundbreaking contributions that, from coast to coast, offer further data and analysis, case studies, and investigations into museum archives: from Vancouver to Montréal, from pre-Columbian art and material culture to contemporary art, from the Chilean diaspora of the 1970s to more recent migration waves, from curatorial strategies to the classroom.
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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 background. They are developing languages of expression, practices, and aesthetics that no longer conform to the “Latin American art” category. It is thus essential to highlight the multiple artistic initiatives that are allowing them to gain visibility and recognition within both the local and global artistic milieus. We posit that today it is almost impossible to overlook both the historical and the ongoing presence of Latin American art and artists in Canada and the recent emergence of a vibrant, ever-expanding contemporary Latinx Canadian art scene. This section proposes six groundbreaking contributions that, from coast to coast, offer further data and analysis, case studies, and investigations into museum archives: from Vancouver to Montréal, from pre-Columbian art and material culture to contemporary art, from the Chilean diaspora of the 1970s to more recent migration waves, from curatorial strategies to the classroom.
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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 background. They are developing languages of expression, practices, and aesthetics that no longer conform to the “Latin American art” category. It is thus essential to highlight the multiple artistic initiatives that are allowing them to gain visibility and recognition within both the local and global artistic milieus. We posit that today it is almost impossible to overlook both the historical and the ongoing presence of Latin American art and artists in Canada and the recent emergence of a vibrant, ever-expanding contemporary Latinx Canadian art scene. This section proposes six groundbreaking contributions that, from coast to coast, offer further data and analysis, case studies, and investigations into museum archives: from Vancouver to Montréal, from pre-Columbian art and material culture to contemporary art, from the Chilean diaspora of the 1970s to more recent migration waves, from curatorial strategies to the classroom.
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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 background. They are developing languages of expression, practices, and aesthetics that no longer conform to the “Latin American art” category. It is thus essential to highlight the multiple artistic initiatives that are allowing them to gain visibility and recognition within both the local and global artistic milieus. We posit that today it is almost impossible to overlook both the historical and the ongoing presence of Latin American art and artists in Canada and the recent emergence of a vibrant, ever-expanding contemporary Latinx Canadian art scene. This section proposes six groundbreaking contributions that, from coast to coast, offer further data and analysis, case studies, and investigations into museum archives: from Vancouver to Montréal, from pre-Columbian art and material culture to contemporary art, from the Chilean diaspora of the 1970s to more recent migration waves, from curatorial strategies to the classroom.
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Danowitz, Erica Swenson. "Art Magazine Collection Archive." Charleston Advisor 23, no. 3 (2022): 5–9. http://dx.doi.org/10.5260/chara.23.3.5.
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This resource provides full-text access to the digital archives of three significant art publications, ARTnews, Art in America, and The Magazine ANTIQUES. The 3,950 issues found in this database appear in digital format in their entirety as originally published. This database also includes the original advertisements found in these periodicals. These advertisements have been indexed and are searchable. This archive provides an extensive chronicle of art collecting, fine arts, art history, interior design, decorative arts, folk art, antiquing, and architecture in the twentieth and early twenty-first century. It also supports the study and research of the contemporary art movements of the twentieth century, the history of collecting, and the history of the art market.
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WHITE, HARRY. "American Musicology and “The Archives of Eden”." Journal of American Studies 32, no. 1 (1998): 1–18. http://dx.doi.org/10.1017/s0021875898005775.
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In his T. S. Eliot Memorial Lectures delivered at the University of Kent in March, 1971, and subsequently published as In Bluebeard's Castle or Some Notes Towards A Re-definition of Culture, George Steiner apostrophized the condition of American culture in the following way:America is the representative and premonitory example [of the democratization of high culture]. Nowhere has the debilitation of genuine literacy gone further (consider the recent surveys of reading-comprehension and recognition in American high schools). But nowhere, also, have the conservation and learned scrutiny of the art or literature of the past been pursued with more generous authority. American libraries, universities, archives, museums, centres for advanced study, are now the indispensable record and treasure-house of civilization. It is here that the European artist and scholar must come to see the cherished after-glow of his culture. Though often obsessed with the future, the United States is now, certainly in regard to the humanities, the active watchman of the classic past.So far, so good. But Steiner's encomium (notwithstanding that second sentence) carried with it a conditional scrutiny which was less attractive in its implications.
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McCoy, Garnett, and Richard J. Wattenmaker. "Reading Records: A Researcher's Guide to the Archives of American Art." Archives of American Art Journal 35, no. 1/4 (1995): 3–117. http://dx.doi.org/10.1086/aaa.35.1_4.1557656.
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Savig, Mary. "Transcribing Handwritten Letters and Diaries from the Archives of American Art." Collections 12, no. 2 (2016): 137–46. http://dx.doi.org/10.1177/155019061601200207.
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Katic, Stefan. "Jacob Lawrence: The Library (1960)." Revy 44, no. 3 (2021): 24. http://dx.doi.org/10.22439/revy.v44i3.6379.
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Billedet "The Library" (1960) af den afroamerikanske maler Jacob Lawrence hænger på Smithsonian American Art Museum (SAAM) i USA. Billedet er bragt i REVY med tilladelse fra SAAM og Scala Archives, Firenze.
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Johnson, Adriana Michéle Campos. "Art and Our Surrounds: Emergent and Residual Languages." ARTMargins 9, no. 1 (2020): 58–79. http://dx.doi.org/10.1162/artm_r_00258.
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This essay undertakes a review of recent books by T.J. Demos ( Decolonizing Nature: Contemporary Art and the Politics of Ecology (2016) and Against the Anthropocene: Visual Culture and Environment Today (2017)) and Jens Andermann ( Tierras en trance: Arte y naturaleza después del paisaje (Lands Entranced: Art and Nature after Landscape, 2018)). Demos and Andermann participate in the paradigm shift taking place under the name of eco-criticism, forging connections between the debates around environmental crisis and the fields in which they have written and published previously - art criticism and visual culture and Latin American literary and cultural studies, respectively. Both authors take on the challenge of thinking through the perceptual and conceptual habits that have dominated a relationship to our environment under capitalist modernity (such as the concept of landscape) and how artistic practices might be said to rework those habits. While Demos maps recent efforts to engage ecological concerns and “decolonize nature” across the globe, Andermann looks back to the twentieth century Latin American archive, constructing a local genealogy that harbors an ecological and political thinking that anticipates what is now lived as global crisis; their projects intersect in contemporary Latin American activist art that has gained enough attention to figure as part of a global circuit. The review considers the overlapping points as well as the striking disjuncture in both projects in relation to the different knowledge formations, archives and languages from which each author speaks.
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Skov, Marie Arleth. "The 1979 American Punk Art dispute: Visions of punk art between sensationalism, street art and social practice." Punk & Post-Punk 9, no. 3 (2020): 443–66. http://dx.doi.org/10.1386/punk_00061_1.
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In May 1979, a conflict arose in Amsterdam: the makers of the exhibition American Punk Art clashed with local artists, who disagreed with how the curators portrayed the punk movement in their promotion of the show. The conflict lays open many of the inherent (self-) contradictory aspects of punk art. It was not merely the ubiquitous ‘hard school vs. art school’ punk dispute, but that the Amsterdam punk group responsible for the letter and the Americans preparing the exhibition had different visions of what punk art was or should be in respect to content and agency. Drawing on interviews with the protagonists themselves and research in their private archives, this article compares those visions, considering topics like institutionalism vs. street art, avantgarde history vs. tabloid contemporality and political vs. apolitical stances. The article shows how the involved protagonists from New York and Amsterdam drew on different art historical backgrounds, each rooted in the 1960s: Pop Art, especially Andy Warhol, played a significant role in New York, whereas the signature poetic-social art of CoBrA and the anarchistic activity of the Provos were influential in Amsterdam. The analysis reflects how punk manifested differently in different cultural spheres, but it also points to a common ground, which might be easier to see from today’s distance of more than forty years.
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Ovchinnikova, Natalia A. "The Fate of the Epistolary Heritage of the Veliky Ustyug Merchant Family Buldakovs of the Late 18th – the First Quarter of the 19th Century." Herald of an archivist, no. 2 (2021): 331–42. http://dx.doi.org/10.28995/2073-0101-2021-2-331-342.
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The article presents the history of the epistolary heritage of the Buldakov merchant family. The object of the research is letters of M. M. Buldakov, a representative of the Veliky Ustyug merchants, the leading director of the Russian-American company. These documents contain valuable information on the history of Russian merchants in the last quarter of the 18th – first third of the 19th century and the activities of the Russian-American company. Similar to all sources of epistolary genre, their distinctive feature is that they were created without additional edits and censorship and thereby recorded historical reality at first hand, while retaining the style and language characteristic of the period. The main problem faced by historians is patchy location of M. M. Buldakov’s letters. Currently, only a part of them, stored in the Vologda State Historical-Architectural and Art Museum-Reserve, has been published and introduced into scientific use. The documents scattered across other archives are yet to be identified and examined. The purpose of this study is to determine the true volume of the Buldakovs' epistolary heritage, to understand the reasons for its fragmentation, and to trace the movement of documents from one owner to another. This is the first attempt to restore the path of epistolaries from the pre-revolutionary family archive to modern archives, which determines the scientific novelty of the work. The methodological basis of the research is principles of historicism, consistency, and objectivity. This makes it possible to consolidate the scattered information and facts testifying to the movement of M. M. Buldakov’s papers. The analytical and synthetic method of comparing data provides an opportunity to see the general picture of letters location, while concrete-historical method allows us to describe the facts in historical sequence. We managed to identify three large collections of letters: in the Russian State Archive of Ancient Acts, in the Archive of the Foreign Policy of the Russian Empire of the Historical and Documentary Department of the Ministry of Foreign Affairs, and in the Vologda State Historical, Architectural and Art Museum-Reserve. The results of this study provide a unified picture of the epistolaries location in different archives, which, in turn, provides an opportunity for historians and archivists to continue their work on identifying and introducing into scientific use of documents necessary for further study of the history of Russian merchants and the Russian-American company activities.
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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, attending to the particularity of different contexts, and bringing to the fore common threads of critical and creative practice. Building on that premise, these contributions expand on the original exhibition’s time frame and consider the persistence of feminism and its changing status in Latin American art after 1985. They explore recent artistic practices, curatorial projects, and art historical scholarship; reflect on strategies of display, audience engagement, societal concerns, and epistemological premises; and consider different ways of conceptualizing Latin American and feminist identities, legacies, and genealogies today. By doing so, this Dialogues seeks to enrich and diversify our understanding of past and current practices, as well as highlight the intricate connections and resonances that exist between the two. Contributions by curators (Fajardo-Hill, Rjeille), scholars (Fernández, Lamoni), and artists (Antivilo, Motta) span issues in political activism, ecology, technology, education, genealogy, colonization, heritage, and memory. What emerges is a sense of the field’s present concerns and the ways this is shaping the future direction of feminism in Latin American art and art history.
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Holton, Delaney Chieyen. "Private Practices, Promiscuous Archives." Frontiers: A Journal of Women Studies 45, no. 1 (2024): 53–69. http://dx.doi.org/10.1353/fro.2024.a922892.
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Abstract: This essay mobilizes critical archival studies and Tonia Sutherland’s notion of “the carceral archive” in dialogue with Asian American feminist praxis to propose the framework of promiscuous archives, which seeks to harness the power and resources of archives towards unconventional, liberatory aims directed by community need. I draw principally from the concrete archival practices employed by the “Private Practices: AAPI Artist and Sex Worker Collection” at the Los Angeles Contemporary Archive to ask: What can abolitionist knowledge practices look like? What can archives learn from sex workers? Weaving critique of carceral narratives around sex workers with interrogation of the logics of capture and surveillance that direct archival practice, the essay presents promiscuity as an exploratory strategy of collaboration, proliferation, and usurpation that radically expands the porosity of archives, challenging the temporality, affective charge, and social role of archival repositories.
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Duong, Lan. "Archives of Memory: Vietnamese American Films, Past and Present." Film Quarterly 73, no. 3 (2020): 54–58. http://dx.doi.org/10.1525/fq.2020.73.3.54.
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Vietnamese American filmmaking must be seen in the context of a community's diasporic formations. As such, it maps out a politics of representation that encapsulates the issues of community and history that invariably striate the ways in which Vietnamese American films and videos have been produced, distributed, received, and archived. This article focuses on the role of the Viet Film Fest, in Orange Country, California, as a major site for the archiving of South Vietnamese and Vietnamese American cinematic memory. In examining how this vital archive is shaped by both transnational politics and local practices of commemoration, Duong proposes its status as an archive of memory for a refugee community that wants to rectify how its members have been represented by U.S. and Vietnamese national cultures in film, both in the past and in the present moment.
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Matisse, Henri, Gail Levin, and JOHN CAUMAN. "Researching at the Archives of American Art: HENRI MATISSE'S LETTERS TO WALTER PACH." Archives of American Art Journal 49, no. 1/2 (2010): 28–41. http://dx.doi.org/10.1086/aaa.49.1_2.23025799.
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Ching, Erik, and Jussi Pakkasvirta. "Latin American Materials in the Comintern Archive." Latin American Research Review 35, no. 1 (2000): 138–49. http://dx.doi.org/10.1017/s0023879100018331.
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AbstractWith the collapse of the Soviet Union, restrictions on archives in Russia have diminished markedly. Some of the repositories have potential interest for Latin Americanists, including the Comintern Archive. This research note discusses the objectives of the archive and the types of material it contains. A list of the major collections relevant to Latin America is followed by comments on how to use the archive and websites that will facilitate research in Russia. Also provided are bibliographic references to academic studies on Latin America based on Comintern materials.
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Chambliss, Julian Carlos, Nicole Huff, Kate Topham, and Justin Wigard. "Days of Future Past: Why Race Matters in Metadata." Genealogy 6, no. 2 (2022): 47. http://dx.doi.org/10.3390/genealogy6020047.
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While marginalized as a juvenile medium, comics serve as an archive of our collective experience. Emerging with the modern city and deeply affected by race, class, and gender norms, comics are a means to understand the changes linked to identity and power in the United States. For further investigation, we turn to one such collective archive: the MSU Library Comics Art Collection (CAC), which contains over 300,000 comics and comic artifacts dating as far back as 1840. As noted on the MSU Special Collections’ website, “the focus of the collection is on published work in an effort to present a complete picture of what the American comics readership has seen, especially since the middle of the 20th century”. As one of the world’s largest publicly accessible comics archives, a community of scholars and practitioners created the Comics as Data North America (CaDNA) dataset, which comprises library metadata from the CAC to explore the production, content, and creative communities linked to comics in North America. This essay will draw on the Comics as Data North America (CaDNA) dataset at Michigan State University to visualize patterns of racial depiction in North American comics from 1890–2018. Our visualizations highlight how comics serve as a visual record of representation and serve as a powerful marker of marginalization central to popular cultural narratives in the United States. By utilizing data visualization to explore the ways we codify and describe identity, we seek to call attention to the constructed nature of race in North America and the continuing work needed to imagine race beyond the confines of the established cultural legacy.
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Mačković, Srebrenka. "Vachel Lindsay’s Visionary Theoretical Reflections on Film." Društvene i humanističke studije (Online) 8, no. 3(24) (2023): 413–32. http://dx.doi.org/10.51558/2490-3647.2023.8.3.413.
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Although neglected for decades, American poet, journalist, and painter Nicholas Vachel Lindsay (1879-1931) made a significant contribution to the rising film theory with his book The Art of The Moving Picture, the first American study of a kind, published in 1915. Having noticed the widespread popularity of silent movies among the millions of film lovers in the USA, Lindsay proposed that this new visual art form, which, according to him, represented a combination of a traditional theatre play and diverse elements of painting, sculpture, architecture and other forms of visual expression that he called photoplay, could, in due time, become a truly American art brand. For that reason, he advocated the establishment of film schools, film libraries and archives, as well as the use of film for educational purposes in schools. This paper analyzes Lindsay’s key theoretical tenets of film as an important fine art as presented in his book The Art of The Moving Picture, as well as his visionary predictions regarding the later development of film (and later television) as not just lucrative, commercial products, but also an interesting field of academic study.
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Weiss, Karen B. "An Archival Approach to Digitization and Web Accessibility at the Archives of American Art." Collections 6, no. 3 (2010): 103–23. http://dx.doi.org/10.1177/155019061000600302.
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Campbell, Elizabeth. "Monuments Women and Men: Rethinking popular narratives via British Major Anne Olivier Popham." International Journal of Cultural Property 28, no. 3 (2021): 409–24. http://dx.doi.org/10.1017/s0940739121000308.
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AbstractIn recent years, the work of the American Monuments Men has been celebrated in popular histories and culture, such as bestselling books by Robert Edsel and a feature film directed by George Clooney (The Monuments Men, 2014). While public awareness of Nazi art looting and the courageous work of American cultural officers is long overdue, these popular narratives elide the role played by women and other Western Allies and fail to address the corps’ greatest failure: the incomplete restitution of Jewish assets. This article explores these factors through a case study of British Major Anne Olivier Popham (1916–2018), who served the Monuments, Fine Arts, and Archives (MFA&A) division in Bünde from November 1945 to October 1947. Drawing on Popham’s diaries held at the Imperial War Museum in London, the author’s interview with her, and British and American archives, the case study yields important insight into personnel recruited by the MFA&A, gender relations among the officers, methodological dilemmas presented by the use of first-hand accounts, and the ongoing need for transnational restitution efforts.
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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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Chunikhin, Kirill. "At Home among Strangers: U.S. Artists, the Soviet Union, and the Myth of Rockwell Kent during the Cold War." Journal of Cold War Studies 21, no. 4 (2019): 175–207. http://dx.doi.org/10.1162/jcws_a_00910.
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After World War II, Soviet institutions organized many exhibitions of the American artist Rockwell Kent that bypassed the U.S. government. Promotion of Kent's work in the USSR was an exclusively Soviet enterprise. This article sheds new light on the Soviet approach to the representation of U.S. visual art during the Cold War. Drawing on U.S. and Russian archives, the article provides a comprehensive analysis of the political and aesthetic factors that resulted in Kent's immense popularity in the Soviet Union. Contextualizing the Soviet representation of Kent within relevant Cold War contexts, the article shows that his art occupied a specific symbolic position in Soviet culture. Soviet propaganda reconceptualized his biography and established the “Myth of Rockwell Kent”—a myth that helped to legitimate Soviet ideology and anti-American propaganda.
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Candelario, Rosemary. "Choreographing American Dance Archives: Artist-Driven Archival Projects by Eiko & Koma, Bebe Miller Company, and Jennifer Monson." Dance Research Journal 50, no. 1 (2018): 80–101. http://dx.doi.org/10.1017/s0149767718000050.
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Choreographers have begun experimenting with artist-driven archives using digital technologies, exhibitions and installations, and live performance as a way to generate new work from their own archival materials and increase access to their body of work for audiences. This article focuses on three recent artist-driven archive projects by notable American choreographers Eiko & Koma, Bebe Miller Company, and Jennifer Monson. Drawing on interviews with the choreographers as well as on analyses of the three projects, I suggest that these projects' most important contribution is the idea that archives are not separate from a choreographer's body of work, but are indeed a part of his or her creative process and artistic production.
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Paiva Ponzio, Angelica. "Gio Ponti’s Latin [American] Encounters: A Reading from the Archives." Journal of Design History 32, no. 4 (2019): 356–75. http://dx.doi.org/10.1093/jdh/epz011.
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Abstract The design languages and forms of knowledge used by architects and other designers indicate that they not only operate ‘within the same domains of knowledge and action’, but also share similar historical contexts. Latin American modern architecture and design histories constitute an account of cultural exchanges between architectural and design practitioners working on a trans-national and multidisciplinary basis. Reviewing these practices today may help break the tendency of historical accounts to focus on a ‘diffusionist model’ and reinforce the critical acknowledgement of the modern legacy in Latin America. The work of architect and designer Gio Ponti is an example of this. During the 1950s Ponti travelled to many countries and built one of his masterpieces, Villa Planchart, in Caracas. Although much has been published about Ponti’s Venezuelan project, his letters reveal other lesser known but significant encounters with Latin American culture. Using his Domus editorials and readings from his correspondence as guidelines, complemented by articles, seminal books, and projects, this article will explore, from a more plural point of view, how Ponti’s experiences and relationships developed in Latin America, especially those lesser known relationships in Brazil, helped shape some of his design processes and conceptualizations.
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Riznychok, Irina A. "“The Man Who Clashed with Khrushchev”: Ernst Neizvestny in the American Press in the 1960s–1980s." Izvestia of the Ural federal university. Series 2. Humanities and Arts 25, no. 1 (2023): 58–79. http://dx.doi.org/10.15826/izv2.2023.25.1.004.
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This article is devoted to the reception of Ernst Neizvestny’s art by the American daily and specialised press between the 1960s and 1980s. The research focuses on constructing the heroic image of Ernst Neizvestny based on several clichйs that are well-established in American culture: a fighter for freedom in art and an oppressed artist, “an artist in exile” after emigration. This article aims to fix the changes in the reception of Ernst Neizvestny’s oeuvre by American critics and journalists at different stages of the Cold War. The interdisciplinary approach contains the social, historical, and political factors that underlie artistic practice and necessitate the use of methods from different areas of the humanities including media and cultural studies. The main sources are reviews of solo exhibitions, interviews with the artist, notes, and articles in the American press. They are supplemented by video interviews with the sculptor from the archives of the National Centre for Contemporary Art (part of the Pushkin State Museum of Fine Arts) and the Garage Museum of Contemporary Art, Neizvestny’s published correspondence, as well as historical archival materials. If in the publications of the 1960s and 1970s, the authors were most interested in the relationship between Neizvestny and the Soviet authorities, at the end of the Détente, more analytical materials on art history appeared. The author concludes that the actualisation of a particular image depended on social and political factors, changes in the international cultural landscape, and the nature of the relationship between the two superpowers. The construction of the heroic image of Neizvestny in the US media became one of the tools of anti-Soviet propaganda in the cultural confrontation. An analysis of the reception of E. Neizvestny’s artworks helps reveal the ways in which ideas about Soviet art were produced and spread in American culture during the Cold War.
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Hills, Patricia, and GERALD M. MONROE. "Art and Politics in the Archives of American Art Journal: ARTISTS AS MILITANT TRADE UNION WORKERS DURING THE GREAT DEPRESSION." Archives of American Art Journal 49, no. 1/2 (2010): 42–53. http://dx.doi.org/10.1086/aaa.49.1_2.23025800.
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Perkins, Daniel J. "The American archives of the factual film." Historical Journal of Film, Radio and Television 10, no. 1 (1990): 71–80. http://dx.doi.org/10.1080/01439689000260041.
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Spencer, Catherine. "Navigating Internationalism from Buenos Aires: The Centro de Arte y Comunicación." ARTMargins 10, no. 2 (2021): 50–72. http://dx.doi.org/10.1162/artm_a_00292.
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Abstract This article maps the complex socio-political terrain negotiated by the Centro de Arte y Comunicación (CAYC) during the early 1970s from Buenos Aires. It shows how the CAYC attempted to continue the internationalising aims which the Instituto Torcuato Di Tella had pursued in the 1960s, while also providing a space for the exhibition and development of Conceptualism that engaged with political conditions in Argentina and in other countries including Brazil, Uruguay, Chile and Columbia, developing the framework of “systems art” in order to do so. The compromises necessitated by CAYC's balancing act opened the organisation, and in particular its director Jorge Glusberg, to accusations of cultural imperialism and complicity: from almost the very beginning, the CAYC project was characterised by dissensus and disagreement. The controversy generated by CAYC – documented in archives, publications and exhibition catalogues – now offers a rich historiographical resource for Latin American art, revealing how competing models of internationalism and Conceptualism were closely intertwined rather than diametrically opposed.
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Schreibman, Fay C. "A Succinct History of American Television Archives." Film & History: An Interdisciplinary Journal of Film and Television Studies 21, no. 2-3 (1991): 88–95. http://dx.doi.org/10.1353/flm.1991.a395792.
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Furuhata, Yuriko. "Archipelagic Archives." Public Culture 33, no. 3 (2021): 417–40. http://dx.doi.org/10.1215/08992363-9262905.
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Abstract This article examines the intertwined cultural politics of geology, mining, and archival media in the context of Japan's development as an archipelagic empire. The first Japanese geological map (1876) was completed by American geologist Benjamin Smith Lyman, who surveyed mineral deposits in Hokkaidō, Japan's northern island, long inhabited by the Indigenous Ainu people. Following anticolonial and archipelagic scholarship, the author reads across earthly archives of geological strata and colonial archives of historical documents to elucidate the conceptual duality of the archipelago as both a geological formation and a geopolitical territory. In tracing this formative era of Japan's resource extraction and settler colonialism, which precedes and informs the current rush to extract rare earth minerals necessary to maintain global digital infrastructures, this article aims to both de-Westernize the methodological orientation known as media geology and offer a prehistory of contemporary rare earth mining in the Pacific Ocean.
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Bauer, Brad, Samar Mikati Kaissi, Ryder Kouba, and Stephen Urgola. "What's in a Name? Archives and Special Collections at American Research Institutions in the Middle East: Repositories at the American University of Beirut, the American University in Cairo, the American Center of Research in Jordan, and New York University Abu Dhabi." American Archivist 86, no. 2 (2023): 456–84. http://dx.doi.org/10.17723/2327-9702-86.2.456.
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ABSTRACT In today's Middle East, a number of institutions of research and higher education have American origins, and several maintain archives and special collections. This article offers case studies of repositories at four of these institutions: the American University of Beirut (AUB), the American University in Cairo (AUC), the American Center of Research (ACOR) in Jordan, and New York University Abu Dhabi (NYUAD). The article traces the origins of these archives and how those were shaped by the development of each one's parent organization as an American-inspired institution, as well as by the historical, social, and cultural framework of their host countries. The authors also consider the landscape of archives in the nations where these institutions are based: Lebanon, Egypt, Jordan, and the United Arab Emirates. The evolution of the collecting program of each repository is outlined, with strategies and key acquisitions and collections mentioned. Access and dissemination methods, including digitization initiatives, are also covered. In presenting such activities, the ways in which American traditions and standards of archival practice contrast with or complement those of local archival traditions are examined. A central theme is the way that the archives at AUB, AUC, ACOR, and NYUAD go about documenting not only institutional history but also the heritage of their host countries and the challenges and opportunities inherent in that work.