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Journal articles on the topic 'Art Art, American Art, American'

Author: Grafiati

Published: 4 June 2021

Last updated: 3 February 2022

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1

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

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2

Caragol, Taína. "Documenting Latin American art at the Museum of Modern Art Library." Art Libraries Journal 30, no. 3 (2005): 33–36. http://dx.doi.org/10.1017/s0307472200014085.

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This article traces the history of the Latin American holdings of the Museum of Modern Art Library, one of the first institutions outside Latin America to start documenting the art of this geopolitical region, and one of the best research centers on modern Latin American art in the world. This success story dates back to the thirties, when the Museum Library began building a Latin American and Caribbean collection that currently comprises over 15,000 volumes of catalogues and art books. The launch of various research tools and facilities for scholars and the general public in recent years also

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3

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

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4

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

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5

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

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6

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

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

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7

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

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8

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

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9

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

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

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10

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

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11

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

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12

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

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13

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

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14

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

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15

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

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16

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

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17

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

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18

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

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19

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

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20

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

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21

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

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22

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

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23

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

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24

Hughston, Milan R. "NATIONAL MUSEUM OF AMERICAN ART, SMITHSONIAN INSTITUTION. National Museum of American Art." Art Documentation: Journal of the Art Libraries Society of North America 16, no. 2 (1997): 53–54. http://dx.doi.org/10.1086/adx.16.2.27948904.

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25

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

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26

Li, Vivian. "The Art of Representation: Asian American Art in the Mainstream Art World." International Journal of Diversity in Organizations, Communities, and Nations: Annual Review 5, no. 7 (2006): 93–104. http://dx.doi.org/10.18848/1447-9532/cgp/v05i07/39192.

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27

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

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

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28

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

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

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29

Hill Stoner, Joyce. "Turning Points in Technical Art History in American Art." American Art 26, no. 1 (2012): 2–9. http://dx.doi.org/10.1086/665624.

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30

Potash, Jordan S. "Art Therapy Gold: American Art Therapy Association at 50." Art Therapy 36, no. 3 (2019): 113–14. http://dx.doi.org/10.1080/07421656.2019.1660134.

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31

Shandler, Jeffrey. "¿Dónde están los Judíos en la “Vida Americana?”: Art, Politics, and Identity on Exhibit." IMAGES 13, no. 1 (2020): 144–56. http://dx.doi.org/10.1163/18718000-12340138.

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Abstract Vida Americana: Mexican Muralists Remake American Art, 1925–1945, an exhibition that opened at the Whitney Museum of American Art in February, 2020, proposed to remake art history by demonstrating the profound impact Mexican painters had on their counterparts in the United States, inspiring American artists “to use their art to protest economic, social, and racial injustices.” An unexamined part of this chapter of art history concerns the role of radical Jews, who constitute almost one half of the American artists whose work appears in the exhibition. Rooted in a distinct experience,

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32

Sanfuentes, Olaya. "Latin American Popular Art in a Museum: How Things Become Art." Artium Quaestiones, no. 29 (May 7, 2019): 63–89. http://dx.doi.org/10.14746/aq.2018.29.3.

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In 1943 when Universidad de Chile celebrated its centennial all Latin American nations were invited to participate in the commemorative events. One of the most interesting was the Exhibition of American Popular Art at the Museo Nacional de Bellas Artes(National Museum of Fine Arts) which brought together the objects from participating countries. The Universidad de Chile´s invitation asked countries to send functional objects that were part of the people´s daily lives. The exhibition was very successful, critically acclaimed, and highly attended. But above all, it planted the seed for what was

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33

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

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

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34

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

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

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35

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

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

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36

Sandler, Irving. "American Art of the 1960s." Journal of Aesthetics and Art Criticism 48, no. 3 (1990): 269. http://dx.doi.org/10.2307/431788.

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37

Price, Steven, Susan Harris Smith, and Mark Fearnow. "American Drama: The Bastard Art." Modern Language Review 94, no. 3 (1999): 812. http://dx.doi.org/10.2307/3737031.

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38

"America's art, Smithsonian American Art Museum." Choice Reviews Online 44, no. 04 (2006): 44–1932. http://dx.doi.org/10.5860/choice.44-1932.

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39

"African-American art." Choice Reviews Online 36, no. 04 (1998): 36–1982. http://dx.doi.org/10.5860/choice.36-1982.

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40

"American wildlife art." Choice Reviews Online 46, no. 01 (2008): 46–0078. http://dx.doi.org/10.5860/choice.46-0078.

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41

"Wichita Art Museum: 75 years of American art." Choice Reviews Online 48, no. 02 (2010): 48–0661. http://dx.doi.org/10.5860/choice.48-0661.

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42

"American art song and American poetry." Choice Reviews Online 50, no. 06 (2013): 50–3170. http://dx.doi.org/10.5860/choice.50-3170.

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43

"American views: essays on American art." Choice Reviews Online 29, no. 06 (1992): 29–3123. http://dx.doi.org/10.5860/choice.29-3123.

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44

Arce Álvarez, María Laura. "The Art of Hunger: Autodestruction and resistance in Paul Auster’s Moon Palace." ODISEA. Revista de estudios ingleses, no. 15 (March 20, 2017). http://dx.doi.org/10.25115/odisea.v0i15.268.

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ABSTRACT: In his novel Moon Palace (1989) Paul Auster depicts the urban experience of a character who, under the pressure of his urban and social environment, starts a process of autodestruction of his body and identity as a metaphor of the relationship between the individual and the America of the 1960s. In this article, my intention is to show how Auster uses hunger and autodestruction to create a space of resistance against American society and the American dream and thus imagine a new identity of the American individual by creating a new existential space. Título en español: “El arte del h

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45

"Nineteenth-century American art." Choice Reviews Online 38, no. 10 (2001): 38–5398. http://dx.doi.org/10.5860/choice.38-5398.

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46

"Archives of American art." Choice Reviews Online 38, no. 12 (2001): 38Sup—074–38Sup—074. http://dx.doi.org/10.5860/choice.38sup-074.

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47

"Smithsonian American Art Museum." Choice Reviews Online 38, no. 12 (2001): 38Sup—091–38Sup—091. http://dx.doi.org/10.5860/choice.38sup-091.

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48

"Archives of American art." Choice Reviews Online 41, no. 12 (2004): 41Sup—0043–41Sup—0043. http://dx.doi.org/10.5860/choice.41sup-0043.

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49

"Archives of American art." Choice Reviews Online 36, no. 07 (1999): 36–3706. http://dx.doi.org/10.5860/choice.36-3706.

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50

"North American Indian art." Choice Reviews Online 42, no. 03 (2004): 42–1348. http://dx.doi.org/10.5860/choice.42-1348.

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