Relevant bibliographies by topics / Art History. Art, American Home in art

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

Academic literature on the topic 'Art History. Art, American Home in art'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Art History. Art, American Home in art"

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Jacknis, Ira. "Anthropology, Art, and Folklore." Museum Worlds 7, no. 1 (2019): 109–33. http://dx.doi.org/10.3167/armw.2019.070108.

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In the great age of museum institutionalization between 1875 and 1925, museums competed to form collections in newly defined object categories. Yet museums were uncertain about what to collect, as the boundaries between art and anthropology and between art and craft were fluid and contested. As a case study, this article traces the tortured fate of a large collection of folk pottery assembled by New York art patron Emily de Forest (1851–1942). After assembling her private collection, Mrs. de Forest encountered difficulties in donating it to the American Museum of Natural History and the Metropolitan Museum of Art. After becoming part of the Philadelphia Museum of Art, it finally found a home at the Pennsylvania State Museum of Anthropology. Emily de Forest represents an initial movement in the estheticization of ethnic and folk crafts, an appropriation that has since led to the establishment of specifically defined museums of folk art and craft.
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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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Zimmerman, Jonathan. "Brown-ing the American Textbook: History, Psychology, and the Origins of Modern Multiculturalism." History of Education Quarterly 44, no. 1 (2004): 46–69. http://dx.doi.org/10.1111/j.1748-5959.2004.tb00145.x.

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In June 1944, a delegation of African-American leaders met with New York City school officials to discuss a central focus of black concern: history textbooks. That delegation reflected a broad spectrum of metropolitan Black opinion: Chaired by the radical city councilman Benjamin J. Davis, it included the publisher of theAmsterdam News—New York's major Black newspaper—as well as the bishop of the African Orthodox Church. In a joint statement, the delegates praised public schools' recent efforts to promote “intercultural education”—and to reduce “prejudice”—via drama, music, and art. Yet if history texts continued to spread lies about the past, Blacks insisted, all of these other programs would come to naught. One book described slaves as “happy”; another applauded the Ku Klux Klan for keeping “foolish Negroes” out of government. “Such passages… could well have come from the mouths of the fascist enemies of our nation,” the Black delegation warned. Even as America fought “Nazi doctrine” overseas, African Americans maintained, the country needed to purge this philosophy from history books at home.
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Busciglio-Ritter, Thomas. "‘Covetable pictures’." Journal of the History of Collections 32, no. 1 (2018): 73–90. http://dx.doi.org/10.1093/jhc/fhy059.

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Abstract Born in 1820, John Taylor Johnston is a pivotal figure in the history of American collecting. A pioneer in transatlantic art collecting, his numerous visits to Europe helped him develop his taste, enrich his possessions, and build a reliable network of artists and dealers. He then re-injected this experience into a rising New York art market, becoming the first collector to enjoy success through the weekly public opening of a domestic art gallery. Here he displayed his highly-praised collection of European and American paintings, comprising works by Vernet, Gérôme, Meissonier, Homer and Church. Along with his brother James, Johnston also founded the very first edifice in the United States devoted entirely to housing artists – the Tenth Street Studio Building, designed by architect Richard Morris Hunt. His reputation as a collector eventually led to his appointment as first president of the newly formed Metropolitan Museum in 1871.
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Lovatt, Anna. "An underground economy." Journal of the History of Collections 32, no. 3 (2020): 573–83. http://dx.doi.org/10.1093/jhc/fhz035.

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Abstract The art collection of the German–American sculptor Ruth Vollmer (1903–1982) consisted primarily of gifts or exchanges with other artists, which were meticulously arranged in her New York apartment. Provisional and eccentric, these objects were often anomalous in the practices of the artists who produced them, and were not necessarily intended for public display. Drawing on sociologist David Cheal’s description of the gift economy as ‘a system of action which is characterized by the principle of redundancy’, this article argues that the objects collected by Vollmer were doubly ‘redundant’, being playful or throwaway experiments that were recuperated as gifts. Despite their marginal status in art history, however, the objects Vollmer collected can be interpreted as manifestations of the interpersonal relationships that she cultivated in her own artistic practice, and in the diasporic ‘salons’ she hosted at her home in the aftermath of World War II.
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MIYAKAWA, FELICIA M. "“A Long Ways from Home?” Hampton Institute and the Early History of “Sometimes I Feel like a Motherless Child”." Journal of the Society for American Music 6, no. 1 (2012): 1–49. http://dx.doi.org/10.1017/s1752196311000393.

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AbstractThe history of the well-known spiritual “Sometimes I Feel like a Motherless Child,” is wrapped up in the legacy of the Hampton Students, an ensemble of African American students modeled after the Fisk Jubilee Singers. The song's inclusion in the 1901 edition ofCabin and Plantation Songs as Sung by the Hampton Studentssolidified its place in the growing canon of spirituals. Although the tune remained in Hampton Institute's repertoire through subsequent printings ofCabin and Plantation Songs, it also entered the art music world, quickly becoming a favorite of performers and arrangers. But even as the tune journeyed away from Hampton, it remained tightly bound to composers, performers, and choir directors affiliated with what is now Hampton University. The story of “Motherless Child's” entrance into Hampton's repertoire around the turn of the twentieth century, its move beyond Hampton, and its later return is the story of the complex racial, cultural, and geographical relationships that have characterized the Institute's history. The telling of this story reveals a networked cast of characters, all invested in the health and growth of African American music in the early twentieth century, crossing paths in Tennessee, Mississippi, Massachusetts, New York, Connecticut, London, and, of course, Virginia.
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Tallack, Douglas. "Siegfried Giedion, Modernism and American Material Culture." Journal of American Studies 28, no. 2 (1994): 149–67. http://dx.doi.org/10.1017/s0021875800025433.

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The Swiss architectural critic and historian of technology, Siegfried Giedion, was born in 1893 and died in 1968. Space, Time and Architecture: The Growth of a New Tradition (1941) and Mechanization Takes Command: A Contribution to Anonymous History (1948) are his two most well-known books and both came out of time spent in the United States between 1938 and 1945. World War Two kept Giedion in America though he, unlike many other German-speaking European intellectuals, came home and in 1946 took up a teaching position at the Federal Institute of Technology in Zurich where he later became professor of art history. While in the United States he delivered the Charles Eliot Norton Lectures (1938–39), saw them in print as Space, Time and Architecture, and also completed most of the research in industrial archives and patent offices for Mechanization Takes Command. These two books are an important but, for the past twenty years, a mostly neglected, analysis of American material culture by a European intellectual, whose interests in Modernism included painting — notably Cubism and Constructivism — as well as architecture and planning. The period which saw the publication of Giedion's key works is, itself, an overlooked phase in the trans-Atlantic relationship between Modernism and modernization.
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Gelfant, Blanche H. "The Possessive Self in Mary Antin and Anzia Yezierska: Gender, Jewishness, and the Assumptions of Americanization." Prospects 23 (October 1998): 357–77. http://dx.doi.org/10.1017/s0361233300006384.

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Mary Antin was not modest in her use of the possessive case in The Promised Land — in her iterations of Mine, Mine, Mine. While still a schoolgirl, Antin asserted that everything she saw in the Boston Public Library, a “treasure house” of wisdom and art, was “Mine.” As the child of a newly naturalized American, she felt entitled to claim possession; the library and its treasured holdings were “Mine,” she said, “because I was a citizen; mine, though I was born an alien; mine … My palace — mine! … This is mine” (266, original emphasis). By the time Antin came to the soaring conclusion of The Promised Land, she had exchanged her natural (and naturalized) father for the country's Founding Father, and as the child of George Washington, she claimed as her “heritage” everything in human evolutionary history that had led to the creation of America and everything yet to be evolved. “I am the youngest of America's children,” she wrote, “and into my hands is given all her priceless heritage … Mine is the whole majestic past, and mine is the shining future” (286). In swooping hyperbole, Antin equated American citizenship with possession, and possession with inheritance, property, and rights: with a treasure house in which she “had a right to be … at home” (266).
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RYDELL, ROBERT W. "THE PROXIMITY OF THE PAST: EUGENICS IN AMERICAN CULTURE." Modern Intellectual History 7, no. 3 (2010): 667–78. http://dx.doi.org/10.1017/s1479244310000296.

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In 1935, as the Nazis’ state-of-the art eugenics exhibition from the Deutsches Hygiene Museum was concluding its American tour, a decision had to be made about whether to return the displays to Germany or to house them in an American museum. After the American Academy of Medicine decided against the display because of its political implications, the director of the Buffalo Museum of Science, Carlos Cummings, himself a physician, offered his institution as the exhibition's permanent home. “What is the astounding eugenics program upon which Chancellor Hitler has launched the German people?” Cummings wondered aloud. “As a matter of public interest, without endorsement,” he added, “the Museum will display in the Central Hall throughout this final quarter of 1935, a set of fifty-one posters and charts . . . which gives Americans a graphic explanation of Germany's campaign to rear in posterity ‘a new race nobility.’” Seven years later, with war raging, the museum received permission from the company that had insured the exhibition, to dismantle it from its permanent home in the museum's Hall of Heredity. An exhibition about eugenics, Nazi eugenics no less, that had been enthusiastically received as it had traveled the United States in the mid-1930s, had seemingly fallen victim to the war against eugenics launched by cultural anthropologists and geneticists. In light of the broad scholarship on eugenics, this certainly would be a plausible reading of the deinstallation of the Nazi eugenics exhibition. But the three books under review here suggest a more complex reading, one that suggests that eugenics and racism, considered as ideological systems, were less easily dislodged from American culture than from Buffalo's Museum of Science.
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Saad, Saad Michael. "The Contemporary Life of the Coptic Orthodox Church in the United States." Studies in World Christianity 16, no. 3 (2010): 207–25. http://dx.doi.org/10.3366/swc.2010.0101.

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The present state of the Coptic Orthodox Church in America could not have been imagined fifty years ago. As an integral part of the Coptic Orthodox Church of Egypt, the young archdiocese in America evolved from non-existence to a formidable 151 parishes, two monasteries, three seminaries and many benevolent, educational and media organisations. Waves of immigration from Egypt brought not only Copts, but also a wealth of Coptic art, music, architecture, literature and spirituality. These treasures are being preserved and promoted by the immigrants and the second generation; in the homes, churches and community centers; and also at American universities via programs of Coptic studies. This article covers the above topics and discusses a few of the challenges that come with immigration and assimilation, especially when the community desires to maintain the depth and versatility of an ancient religious culture.
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Dissertations / Theses on the topic "Art History. Art, American Home in art"

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Sprinkle, Mark E. "Picturing home: Domestic painting and the ideologies of art." W&M ScholarWorks, 2004. https://scholarworks.wm.edu/etd/1539623460.

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This dissertation describes domestic painting in Atlanta, Georgia between 1995 and 2004 as a market defined by its intentional connection of the ideologies and spaces of art with those of bourgeois domesticity. The first half of the work seeks to contextualize the market's various objects and texts within public and academic discourses on culture that commonly posit an antithesis between the practices of bourgeois women (especially decoration) and "high" or avant-garde art, as suggested by the sentiment, "GOOD ART WON'T MATCH YOUR SOFA." Thus, Chapter 1 addresses the promises and pitfalls of sociological approaches to understanding art in general, Chapter 2 addresses two recent field studies of local markets as examples of how methodological decisions can mask ideological bias, and Chapter 3 discusses the historical context behind the divorce of art and the home as part of the gendering of aesthetic creativity as a predominantly masculine pursuit, each chapter examining the place of the literature itself in the creation of the categories of art. The second part of the dissertation provides an account of the way paintings produced in the market encode its social and spatial relations as a way of visualizing the private home and its interpersonal contents. In Chapter 4, the author proposes intuitive vision to name distinctive visual habits and bodily practices of bourgeois domesticity in contemporary Atlanta, especially the role of artworks in the phenomenological space of the home. Chapter 5 focuses on integration as domestic painting's central quality and goal: the market's various agents are integrated in a coherent social milieu not restricted to art-related roles, but that is, nevertheless, focused through aesthetic experience of the physical and stylistic features of artworks as they, themselves, are integrated into specific domestic settings. Chapters 6 and 7 chart the concrete terrain of 'home-like' spaces devoted to the production and distribution of paintings in the market, while developing the distinction between phenomenological and sight-based representations of domesticity. Finally, the Conclusion returns to the supposed antithesis between avant-garde aesthetics and the various practices known collectively as decoration as a way to address the question, "What is bourgeois art?"
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Barbour, Susan Jean. "Elegaic materialism : the poetry and art of Susan Howe." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:4a0decd4-dec1-4f23-9457-d4d8b58c97c1.

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The American poet Susan Howe (1937-present) began her career as a visual artist, but owing to a dearth of information about her early collages it has been difficult to say anything substantive about how they might have shaped her poetic practice. In 2010, she placed her collages on archive. Along with a number of personal interviews with Howe, this heretofore unavailable material has enabled me to consider Howe's subsequent work in a new light and to establish significant links between her early visual aesthetics and the poetics of bibliography, historiography, and elegy for which she is now known. Howe's collages, like her poetry, focus on details that are at risk of vanishing from cultural memory and printed record. For this reason, I argue that her work evinces an 'elegaic materialism', or a way of reading, viewing, and thinking about texts that is attuned to loss. If “history is the record of the winners,” as Howe says, then one way of rescuing marginalized perspectives is by regarding manuscripts as drawings, thereby rescuing the concrete particulars deemed irrelevant by editors and historians. As Howe's late work turned increasingly toward elegy, her early aesthetic contributed to a nuanced poetics of personal loss and to a series of astonishing new formal tropes. The Introduction to this thesis discusses Howe's materialism in the context of current literary theory and textual scholarship. Chapter 1 concerns itself with Howe's art historical context. Chapter 2 analyses a selection of her word-drawings. Chapter 3 considers Howe's transition to poetry. Chapter 4 addresses her turn to archival documents in her middle period. Chapter 5 looks at the influence on Howe of documentary film, especially in connection with the task of representing a lost loved one, and Chapter 6 discusses her two most recent elegies, The Midnight and THAT THIS. A Coda completes the circle by once more considering Howe in the context of the visual arts at the moment she was selected to exhibit at the 2014 Whitney Biennial.
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Stitt, Amber C. "American Images of Childhood in an Age of Educational and Social Reform, 1870-1915." Case Western Reserve University School of Graduate Studies / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=case1364908854.

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Lockette, Philip M. "Sex in the Kitchen: The Re-interpretation of Gendered Space Within the Post-World War II Suburban Home in the West." DigitalCommons@USU, 2010. https://digitalcommons.usu.edu/etd/668.

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In the decades following 1945, Americans moved increasingly out of cities into suburbs. The migration illustrated the emergence of a new, broader middle class as a result of growing postwar affluence. In the previous half-century, families living in a suburb could claim middle-class status. The emerging class built its identity on the forms and values adopted from this earlier, more affluent Victorian middle class. These adopted values were played out in a home designed around Progressive era ideals of the family. Through this Progressive filter, the new concept of the home was scaled down, without servants, and ceased existing wholly as the wife's sphere of influence--as in the Victorian version. The Progressive impulse also reduced the size of the house to make it more efficient, and through government subsidies shaped the home into a smaller, economically sized package. The financial framework that determined the shape of the postwar home also influenced the technology placed within its walls. This financially influenced technology particularly affected the shape and content of the kitchen. The new, efficient kitchen did not release women from their duty to provide daily family meals, but it did create a culturally safe space for men to cook as a hobby. In the postwar, suburban kitchen women and men contended with economic pressures and changing social realities which complicated the Victorian values and Progressive ideals. Middle-class women needed to leave the home for work, and--now separated from traditional urban social outlets--middle-class men sought refuge in the suburban home. By examining Sunset magazine's "Chefs of the West" column, traditional women's cookbooks and service magazines, men's magazines, building industry trade journals, and census reports, the kitchen demonstrates that women and men reshaped the home in response to changing middle-class values. While financing regulations at first shaped how the emerging middle class lived within the postwar, suburban home, residents reinterpreted the space as a reaction to the economic changes around them. This cycle continued with each new interpretation of the postwar single-family home.
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Feder, Louise Howard. "Lloyd Ney's "New London Facets:" Abstraction and Rebellion in the Section of Fine Arts." Master's thesis, Temple University Libraries, 2013. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/236292.

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Art History<br>M.A.<br>Lloyd Raymond "Bill" Ney's mural New London Facets was commissioned for the New London, Ohio post office through the Treasury Department-run New Deal program, the Section of Fine Arts (the Section), and is the only mural that program officials considered abstract. An examination of the mural today reveals that the label of "abstract" may be a bit extreme; objects in the piece have been abstracted but the mural as a whole is not at all strictly non-representational. This discrepancy and the ensuing controversy over Ney's mural reveal much about the sensitivity of Section officials to abstraction and to subjects outside genre or allegorical scenes typical of Section commissions. Correspondence between Ney and Section officials indicate a fear in the Section that the public would reject and fail to understand or relate to anything outside of the representational norm, a belief against which Ney adamantly and successfully argued. As a result, the Section made its lone exception in the case of Ney and New London Facets. While Ney did not achieve national renown as an artist within his lifetime, his work is still exhibited and auctioned relatively regularly in his hometown of New Hope, Pennsylvania. With the exception of Karal Ann Marling's description of the New London Facets incident in her book Wall to Wall America: A Cultural History of Post-Office Murals in the Great Depression, there is nothing significant published on Ney or his mural. With this thesis I hope to raise awareness of Ney as an artist, provide readers with a complete understanding of the New London Facets commission and approval, and explore the relationship between abstraction and the New Deal art programs.<br>Temple University--Theses
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McVey, Shannon Lee. "A House But Not A Home? Measuring "Householdness" in the Daily Lives of Monticello's "Nail Boys"." Scholar Commons, 2011. http://scholarcommons.usf.edu/etd/3244.

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Monticello, the plantation home of Thomas Jefferson, was also home to more than 100 African American slaves between 1771 and 1826. As many as 40 members of this community lived and worked on Mulberry Row, once a bustling avenue of residential and industrial activity adjacent to the Palladian mansion. Archaeological excavations in 1957 and 1982–-1983 uncovered the remains of Mulberry Row's nailery, where preteen and teenaged enslaved "“nail boys”" manufactured nails for internal use and sale. These excavations revealed surprisingly high amounts of domestic artifacts, particularly ceramics and glass, indicating the young nailers also may have lived inside the nailery. This study investigates whether the nail boys maintained some semblance of childhood through ongoing participation in their parents'’ households or fully took on the mantle of adulthood by forming a household of their own, independent of their parents, as expressed in the local production and consumption of household goods. This question is explored within the contexts of the archaeology of slavery, household archaeology, and the archaeology of children. The intersection of these three themes provides a richer and more realistic understanding of the boys'’ complex lives. In this study, artifact abundance indices and Pearson residuals are used to compare artifacts from the nailery to artifacts from industrial and dwelling sites across Monticello plantation. I hypothesized that if the nail boys were participating in food production and consumption, the abundance of refined and utilitarian ceramics and glass would be similar to or higher than the abundance of those artifacts in dwelling sites. If the abundance of the nailery artifacts was lower than those for dwelling sites and was therefore more similar to those for industrial sites, the nail boys probably did not participate in domestic activities. The indices and residuals reveal a high abundance of refined ceramics and glass in the nailery and a low abundance of utilitarian ceramics, which would have been needed to cook and store food. The data suggest the nail boys engaged in the consumption of food and associated artifacts but participated in little or no food production. It is likely that their age and gender prevented them from fully engaging in food production within the nailery. This project adds to the fledgling research into slave children, who have traditionally been ignored by childhood, slave, and household archaeologists.
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Wilson, Elizabeth Danielle. "I Want a Man Who: Desires, Wishes, Ideals, and Expectations in Women’s Online Personal Ads." The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1284691475.

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Hebble, John. "The Vassall-Craigie-Longfellow House of 1759: From Colonial America to the Colonial Revival and Beyond." VCU Scholars Compass, 2014. http://scholarscompass.vcu.edu/etd/603.

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The Longfellow House in Cambridge, Massachusetts is one of America’s best known historic homes. Built in 1759 by Major John Vassall, the grand house exemplified Colonial English tastes and was at the center of a cycle of Colonial Royalist mansions. After the American Revolution, however, the house quickly became a symbol of American patriotism. Occupants ranging from General George Washington and Henry Wadsworth Longfellow each added to the legacy of the house. Early in the nineteenth century, the Longfellow House’s distyle portico- pavilion traveled to Canterbury, Connecticut, becoming a colloquial house-type. Aided by its connection to General Washington and its appearance in two World’s Fairs, the house gained further popularity around the American Centennial. This thesis provides the most expansive history of the house’s impact on American architecture to date and is the first to connect the house to both the Greenhouse at Mount Vernon and Connecticut’s “Canterbury Style.”
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Bingham, Margaret M. "Professional Machine Quilting and Its Impact On The Contemporary Quilt Movement." University of Akron / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=akron1279395269.

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Reeves, Hannah Stealey Josephine M. "Home-made home creating in the face of the nostalgic impulse /." Diss., Columbia, Mo. : University of Missouri-Columbia, 2008. http://hdl.handle.net/10355/5634.

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Thesis (M.F.A.)--University of Missouri-Columbia, 2008.<br>The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file (viewed on September 12, 2008) Vita. Includes bibliographical references.
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Books on the topic "Art History. Art, American Home in art"

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Horvitz, Roth Linda, Kornhauser Elizabeth Mankin 1950-, and Wadsworth Atheneum Museum of Art., eds. At home with Gustav Stickley: American arts & crafts from the Stephen Gray collection. Wadsworth Atheneum Museum of Art, 2009.

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1844-1926, Cassatt Mary, ed. Mary Cassatt: Impressionist at home. Universe, 1998.

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Boss, Homer. Homer Boss: The figure and the land. Elvehjem Museum of Art, University of Wisconsin-Madison, 1994.

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Stula, Nancy. At home and abroad: The transcendental landscapes of Christopher Pearse Cranch (1813-1892). Lyman Allyn Art Museum, 2007.

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Places, Center for American, ed. The Southwest in American literature and art: The rise of a desert aesthetic. University of Arizona Press, 1997.

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Honrath, Barbara. Die New York Poets und die Bildende Kunst. Königshausen & Neumann, 1994.

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Warren Kimble American folk artist: His life, his art & collections with inspirations and patterns for creative American folk crafts. Landauer Books, 2000.

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Ketchum, William C. Native American art. Todtri, 1997.

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American art deco. Crescent Books ; distributed by Outlet Book Company, 1992.

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Lewis, Samella S. Art: African American. 2nd ed. Hancraft Studios, 1990.

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Book chapters on the topic "Art History. Art, American Home in art"

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Schulman, Sarah. "Is the nea good for gay art?" In My American History. Routledge, 2018. http://dx.doi.org/10.4324/9781315121765-47.

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Bonfante, Larissa. "HISTORICAL ART: ETRUSCAN AND EARLY ROMAN." In American Journal of Ancient History, edited by Ernst Badian. Gorgias Press, 2017. http://dx.doi.org/10.31826/9781463237400-003.

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Cooke, Jennifer. "The Technical Study of Art." In Millard Meiss, American Art History, and Conservation. Routledge, 2020. http://dx.doi.org/10.4324/9780367138356-5.

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Flores, Tatiana. "Art, Revolution, and Indigenous Subjects." In The Routledge History of Latin American Culture. Routledge, 2017. http://dx.doi.org/10.4324/9781315697253-9.

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Cooke, Jennifer. "Kulturgeschichte or Social History of Art?" In Millard Meiss, American Art History, and Conservation. Routledge, 2020. http://dx.doi.org/10.4324/9780367138356-4.

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Cooke, Jennifer. "Two Generations of American Connoisseurs." In Millard Meiss, American Art History, and Conservation. Routledge, 2020. http://dx.doi.org/10.4324/9780367138356-2.

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Cooke, Jennifer. "Introduction." In Millard Meiss, American Art History, and Conservation. Routledge, 2020. http://dx.doi.org/10.4324/9780367138356-1.

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Cooke, Jennifer. "The Far Side of the Moon." In Millard Meiss, American Art History, and Conservation. Routledge, 2020. http://dx.doi.org/10.4324/9780367138356-3.

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Cooke, Jennifer. "Italian Meiss-Fortunes." In Millard Meiss, American Art History, and Conservation. Routledge, 2020. http://dx.doi.org/10.4324/9780367138356-6.

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Larkin, Oliver W. "1950 Award. About the Art and Life in the United States." In American History Awards 1917–1991, edited by Heinz-D. Fischer. De Gruyter, 1993. http://dx.doi.org/10.1515/9783110972146-037.

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Conference papers on the topic "Art History. Art, American Home in art"

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Pacheco, Beatriz A., Werner Marin, Bruno Cruz, et al. "What where?! A game for learning art, history and architecture." In 2017 Twelfth Latin-American Conference on Learning Technologies (LACLO). IEEE, 2017. http://dx.doi.org/10.1109/laclo.2017.8120909.

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YOSHIMURA, Noriko. "The identity and design of the modern British home under the influence of the ‘feminine territory’ and Japanese Art." In Design frontiers: territories, concepts, technologies [=ICDHS 2012 - 8th Conference of the International Committee for Design History & Design Studies]. Editora Edgard Blücher, 2014. http://dx.doi.org/10.5151/design-icdhs-033.

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Abbott, Morgan S., Samuel I. Nofchissey, Paul G. Bushman, et al. "THE HISTORY OF WATER IN BEARS EARS NATIONAL MONUMENT, SOUTHEASTERN UTAH: TOWARDS A SYNTHESIS OF GEOCHRONOLOGY, NATIVE AMERICAN ORAL HISTORY AND ROCK ART." In GSA Annual Meeting in Seattle, Washington, USA - 2017. Geological Society of America, 2017. http://dx.doi.org/10.1130/abs/2017am-303377.

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Stanton, Michael. "The American City." In 1995 ACSA International Conference. ACSA Press, 1995. http://dx.doi.org/10.35483/acsa.intl.1995.9.

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A city divides into forms and attitudes, into significances, in the most political of senses, into episodic impressions, grand narratives and great collective generalizations. Cities are the vehicles for vivid nostalgia and are often the victims of banal cliche, both in the making of their form and in the way they are perceived. They are collaborative works, and, like works of art, they are conceived passionately, formed imperfectly, understood and misread by a continually transforming and distracted collective. Cities embody myth and fact, blurring the border between the two. All this applies especially to the fraught history and troubled body of the American city.
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Rogoff, Marc J., Michelle Mullet Nicholls, and Michael Keyser. "Developing a 21st Century Energy From Waste Facility in American Samoa." In 18th Annual North American Waste-to-Energy Conference. ASMEDC, 2010. http://dx.doi.org/10.1115/nawtec18-3501.

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American Samoa is an unincorporated territory of the U.S. roughly 2,300 air miles southwest of Honolulu and about 2,700 miles north of Australia. The largest and most populated island in American Samoa is Tutuila, which is located the territory’s historic capitol of Pago Pago. The territory is home to the world’s largest tuna cannery. Population growth has been dramatic and the island’s energy costs have increased substantially in recent years. The American Samoa Power Authority (ASPA) is responsible for solid waste collection and disposal in the territory with landfilling being the primary mode of waste disposal. However, limited available land on the main island due to volcanic topography limits the long-term use of landfilling as the island’s sole waste management tool. The relative isolated location of American Samoa and the instability of world oil markets have prompted ASPA to look at more environmentally and economically sustainable means of solid waste management. As an outgrowth of its research, ASPA submitted and received a technical assistance grant from the U.s. Department of the Interior to conduct an extensive waste composition study and EfW feasibility study to examine the advantages and disadvantages of efW for American Samoa. The results of these studies have been completed by SCS on behalf of ASPA, which is currently taking steps to permit and procure a 2.0 megawatt, modular efW facility that will go online in 2012 as part of a public private partnership. The lessons learned by SCs and ASPA during the course of the investigations are illustrative of the types of long-term, waste management and energy decision-making that many small communities will have to undertake to attain viable and sustainable alternatives.
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Schindler, Florestan, Fritz Klocke, Richard Brocker, and Patrick Mattfeld. "A Discussion on Removal Mechanisms in Grinding Polycrystalline Diamond." In ASME 2014 International Manufacturing Science and Engineering Conference collocated with the JSME 2014 International Conference on Materials and Processing and the 42nd North American Manufacturing Research Conference. American Society of Mechanical Engineers, 2014. http://dx.doi.org/10.1115/msec2014-4102.

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In this paper, the removal mechanisms in grinding polycrystalline diamond (PCD) with vitrified bonded diamond grinding wheels are discussed fundamentally. After a short review about the history of diamond machining, the author summarizes the state of the art in PCD grinding and thus deduces gaps and a deficit in research. In order to analyze occurring removal mechanisms in PCD grinding, tool grinding tests were carried out. For the experimental investigations a conventional tool grinding machine has been modified in order to withstand process loads. Subsequent to the tests, the surface integrity of ground PCD inserts has been analyzed in detail for the first time. Therefore, focused ion beam (FIB) preparation, which has minimum invasive influence on the sub surface, was applied in order to get an insight into the substrate. Gained lamellae have been analyzed with transmission electron microscopy (TEM). The drawn conclusion questions solely ductile or brittle behavior as removal mechanisms. With reference to simulation researches about polishing diamond with diamond, alternative removal mechanisms should be regarded as well. Both, thermal and mechanical process loads might lead to thermo-physical and chemical effects on a microscopic scale which influences the material removal even in grinding.
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Camiz, Alessandro. "Diachronic transformations of urban routes for the theory of attractors." In 24th ISUF 2017 - City and Territory in the Globalization Age. Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/isuf2017.2017.5639.

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Alessandro Camiz ¹ ¹ Department of Architecture, Girne American University, Cyprus, Association for Historical Dialogue and Research, Home for Cooperation (H4C), 28 Marcou Dracou Street, Nicosia, Cyprus, 1102. E-mail: alessandrocamiz@gau.edu.tr Keywords (3-5): urban tissues, urban morphology, urban routes, theory, history Conference topics and scale: Tools of analysis in urban morphology Recent urban morphology studies consider urban tissues as living organisms changing in time (Strappa, Carlotti, Camiz, 2016), following this assumption the theory should examine more analytically what Muratori called ‘medievalisation’ (Muratori, 1959), a term describing some of the transformations of urban routes happened in the middle ages. The paper considers the diachronic deformation of routes, and other multi-scalar occurrences of the attraction phenomena (Charalambous, Geddes, 2015), introducing the notion of attractors and repellers. Archaeological studies already do consider attractors and repellers as a tool to interpret some territorial transformations, following the assumption that “the trajectory that a system follows through time is the result of a continuous dynamic interaction between that system and the multiple 'attractors' in its environment” (Renfrew, Bahn, 2013, p. 184). There are different elements that can act as attractors in an urban environment, such as bridges, city walls, city gates, water systems, markets, special buildings, and it is possible to consider each of these anthropic attractors as equivalent to a morphological attractor at the geographical scale. We can even interpret the ridge-top theory (Caniggia, 1976) as the result of attraction and repellence of geographic features on anthropic routes. The territorial scale analysis is the methodological base of the theory, but the attractors herein considered operate at the urban scale, deviating locally across time from a rectilinear trajectory and defining a specific urban fabric. The research interprets and reads the effects of attractors on urban routes and fabrics as a method for the reconstruction of Nicosia’s medieval city walls, in continuity between the Conzenian approach (Whitehand, 2012) and the Italian School of Urban Morphology (Marzot, 2002). References:, Muratori, S. (1959) Studi per un’operante storia urbana di Venezia (Istituto Poligrafico dello Stato, Roma). Caniggia, G. (1976) Strutture dello spazio antropico. Studi e note (Uniedit, Firenze). Marzot, N. (2002) ‘The study of urban form in Italy’, Urban Morphology 6.2, 59-73. Whitehand, J.W.R. (2012) ‘Issues in urban morphology’, Urban Morphology 16.1, 55-65. Renfrew, C., Bahn, P. (eds.) (2013) Archaeology: The Key Concepts, (London, Routledge). Charalambous, N., Geddes, I. (2015) ‘Making Spatial Sense of Historical Social Data’, Journal of Space Syntax 6.1, 81-101. Strappa, G., Carlotti, P., Camiz, A. (2016) Urban Morphology and Historical Fabrics. Contemporary design of small towns in Latium (Gangemi, Roma).
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Reports on the topic "Art History. Art, American Home in art"

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Dodd, Hope, David Peitz, Gareth Rowell, et al. Protocol for Monitoring Fish Communities in Small Streams in the Heartland Inventory and Monitoring Network. National Park Service, 2021. http://dx.doi.org/10.36967/nrr-2284726.

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Fish communities are an important component of aquatic systems and are good bioindicators of ecosystem health. Land use changes in the Midwest have caused sedimentation, erosion, and nutrient loading that degrades and fragments habitat and impairs water quality. Because most small wadeable streams in the Heartland Inventory and Monitoring Network (HTLN) have a relatively small area of their watersheds located within park boundaries, these streams are at risk of degradation due to adjacent land use practices and other anthropogenic disturbances. Shifts in the physical and chemical properties of aquatic systems have a dramatic effect on the biotic community. The federally endangered Topeka shiner (Notropis topeka) and other native fishes have declined in population size due to habitat degradation and fragmentation in Midwest streams. By protecting portions of streams on publicly owned lands, national parks may offer refuges for threatened or endangered species and species of conservation concern, as well as other native species. This protocol describes the background, history, justification, methodology, data analysis and data management for long-term fish community monitoring of wadeable streams within nine HTLN parks: Effigy Mounds National Monument (EFMO), George Washington Carver National Monument (GWCA), Herbert Hoover National Historic Site (HEHO), Homestead National Monument of America (HOME), Hot Springs National Park (HOSP), Pea Ridge National Military Park (PERI), Pipestone National Monument (PIPE), Tallgrass Prairie National Preserve (TAPR), and Wilson's Creek national Battlefield (WICR). The objectives of this protocol are to determine the status and long-term trends in fish richness, diversity, abundance, and community composition in small wadeable streams within these nine parks and correlate the long-term community data to overall water quality and habitat condition (DeBacker et al. 2005).
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Prysyazhnyi, Mykhaylo. UNIQUE, BUT UNCOMPLETED PROJECTS (FROM HISTORY OF THE UKRAINIAN EMIGRANT PRESS). Ivan Franko National University of Lviv, 2021. http://dx.doi.org/10.30970/vjo.2021.50.11093.

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In the article investigational three magazines which went out after Second World war in Germany and Austria in the environment of the Ukrainian emigrants, is «Theater» (edition of association of artists of the Ukrainian stage), «Student flag» (a magazine of the Ukrainian academic young people is in Austria), «Young friends» (a plastoviy magazine is for senior children and youth). The thematic structure of magazines, which is inferior the association of different on age, is considered, by vital experience and professional orientation of people in the conditions of the forced emigration, paid regard to graphic registration of magazines, which, without regard to absence of the proper publisher-polydiene bases, marked structuralness and expressiveness. A repertoire of periodicals of Ukrainian migration is in the American, English and French areas of occupation of Germany and Austria after Second world war, which consists of 200 names, strikes the tipologichnoy vseokhopnistyu and testifies to the high intellectual level of the moved persons, desire of yaknaynovishe, to realize the considerable potential in new terms with hope on transference of the purchased experience to Ukraine. On ruins of Europe for two-three years the network of the press, which could be proud of the European state is separately taken, is created. Different was a period of their appearance: from odnogo-dvokh there are to a few hundred numbers, that it is related to intensive migration of Ukrainians to the USA, Canada, countries of South America, Australia. But indisputable is a fact of forming of conceptions of newspapers and magazines, which it follows to study, doslidzhuvati and adjust them to present Ukrainian realities. Here not superfluous will be an example of a few editions on the thematic range of which the names – «Plastun» specify, «Skob», «Mali druzi», «Sonechko», «Yunackiy shliah», «Iyzhak», «Lys Mykyta» (satire, humour), «Literaturna gazeta», «Ukraina і svit», «Ridne slovo», «Hrystyianskyi shliah», «Golos derzhavnyka», «Ukrainskyi samostiynyk», «Gart», «Zmag» (sport), «Litopys politviaznia», «Ukrains’ka shkola», «Torgivlia i promysel», «Gospodars’ko-kooperatyvne zhyttia», «Ukrainskyi gospodar», «Ukrainskyi esperantist», «Radiotehnik», «Politviazen’», «Ukrainskyi selianyn» Considering three riznovektorni magazines «Teatr» (edition of Association Mistciv the Ukrainian Stage), «Studentskyi prapor» (a magazine of the Ukrainian academic young people is in Austria), «Yuni druzi» (a plastoviy magazine is for senior children and youth) assert that maintenance all three magazines directed on creation of different on age and by the professional orientation of national associations for achievement of the unique purpose – cherishing and maintainance of environments of ukrainstva, identity, in the conditions of strange land. Without regard to unfavorable publisher-polydiene possibilities, absence of financial support and proper encouragement, release, followed the intensive necessity of concentration of efforts for achievement of primary purpose – receipt and re-erecting of the Ukrainian State.
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