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Journal articles on the topic 'Biggs Museum of American Art'

Author: Grafiati

Published: 4 June 2021

Last updated: 27 July 2025

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1

Hummel, Charles F. "Book ReviewsPhilip D. Zimmerman. Delaware Clocks. Dover, DE: Biggs Museum of American Art, 2006. iii+62 pp.; 23 black‐and‐white and 67 color illustrations, footnotes, bibliography, index. $24.95." Winterthur Portfolio 41, no. 4 (2007): 316–18. http://dx.doi.org/10.1086/523027.

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2

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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3

Smith, Donna B. "National Museum of American Art9839National Museum of American Art." Electronic Resources Review 2, no. 4 (1998): 43–44. http://dx.doi.org/10.1108/err.1998.2.4.43.39.

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4

TALLACK, DOUGLAS. "Seeing out the Century." Journal of American Studies 35, no. 1 (2001): 127–31. http://dx.doi.org/10.1017/s0021875801006491.

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Barbara Haskell, The American Century: Art and Culture 1900–1950 (New York: Whitney Museum of American Art, in association with W. W. Norton, 1999, $60 cloth). Pp. 408. ISBN 0 393 04723 7, 0 87427 122 3.Lisa Phillips, The American Century: Art and Culture 1900–1950 (New York: Whitney Museum of American Art, in association with W. W. Norton, 1999, $60 cloth). Pp. 398. ISBN 0 393 04815 2, 0 87427 123 1.

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5

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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6

Barohn, Richard J. "Rick's North American Art Museum Ranking List." RRNMF Neuromuscular Journal 1, no. 5 (2020): 7–12. http://dx.doi.org/10.17161/rrnmf.v1i5.14840.

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7

Harris, Neil. "Period Rooms and the American Art Museum." Winterthur Portfolio 46, no. 2/3 (2012): 117–38. http://dx.doi.org/10.1086/667401.

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8

Lindsay, G. "American Art Museum Architecture: Documents and Design." Journal of Design History 26, no. 1 (2012): 125–28. http://dx.doi.org/10.1093/jdh/eps037.

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9

Stahl, Joan. "The National Museum of American Art Online." Visual Resources 10, no. 4 (1995): 365–67. http://dx.doi.org/10.1080/01973762.1995.9658305.

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10

González Fraile, Eduardo Miguel. "WHITNEY MUSEUM OF AMERICAN ART (MET BREUER)." Proyecto, Progreso, Arquitectura 23 (November 19, 2020): 28–45. http://dx.doi.org/10.12795/ppa.2020.i23.02.

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El museo de arte Whitney de Breuer se ubica en la isla de Manhattan, en Nueva York, próximo a varios museos muy importantes: al Museo Americano de Historia Natural, al Museo Metropolitano de Arte y al Museo Guggenheim, la obra más conocida de Franz Lloyd Wright. En la génesis del proyecto influirán las características del lugar, la geometría de la parcelación, las metáforas concomitantes con la fachada del anterior Museo Whitney, la emulación de la aérea volatilidad del Museo Guggenheim y la bien engrasada disposición del programa funcional, condensadas en una sección principal que se hunde ba

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Russell, Marilyn, and Thomas E. Young. "Selected resources on Native American art." Art Libraries Journal 33, no. 2 (2008): 34–38. http://dx.doi.org/10.1017/s0307472200015339.

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This review of selected paper and electronic resources on Native American art describes what is available at the Haskell Indian Nations University Library and Archives in Lawrence, Kansas; the Institute of American Indian Arts Library and Archives in Santa Fe, New Mexico; the H.A. & Mary K. Chapman Library and Archives at the Philbrook Museum of Art in Tulsa, Oklahoma; and the Billie Jane Baguley Library and Archives at the Heard Museum Library in Phoenix, Arizona. These four institutions develop and maintain resources and collections on Native American art and make the information they co

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12

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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13

Atkinson, Jeanette, Tracy Buck, Simon Jean, et al. "Exhibition Reviews." Museum Worlds 1, no. 1 (2013): 206–40. http://dx.doi.org/10.3167/armw.2013.010114.

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Steampunk (Bradford Industrial Museum, UK)Framing India: Paris-Delhi-Bombay . . . (Centre Pompidou, Paris)E Tū Ake: Māori Standing Strong/Māori: leurs trésors ont une âme (Te Papa, Wellington, and Musée du quai Branly, Paris)The New American Art Galleries, Virginia Museum of Fine Arts, RichmondScott's Last Expedition (Natural History Museum, London)Left-Wing Art, Right-Wing Art, Pure Art: New National Art (Museum of Modern Art, Warsaw)Focus on Strangers: Photo Albums of World War II (Stadtmuseum, Jena)A Museum That Is Not: A Fanatical Narrative of What a Museum Can Be (Guandong Times Museum, G

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Holt, Sharon Ann, Sophie Kazan, Gloriana Amador, et al. "Exhibitions." Museum Worlds 6, no. 1 (2018): 125–57. http://dx.doi.org/10.3167/armw.2018.060110.

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Exhibition Review EssaysThe National Museum of African American History and Culture, Washington, D.C.After Darkness: Social Impact and Art InstitutionsExhibition ReviewsBehind the Red Door: A Vision of the Erotic in Costa Rican Art, The Museum of Costa Rican Art, San José“A Positive Future in Classical Antiquities”: Teece Museum, University of Canterbury, ChristchurchHeavenly Bodies: Fashion and the Catholic Imagination: The Metropolitan Museum of Art, New YorkAnche le Statue Muoiono: Conflitto e Patrimonio tra Antico e Contemporaneo, Museo Egizio, Fondazione Sandretto Re Rebaudengo, Musei Rea

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Clarkin, Maura A., and Cynthia Rawson. "Instructional Resources: The Terra Museum of American Art." Art Education 45, no. 5 (1992): 25. http://dx.doi.org/10.2307/3193362.

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Gundlach, Cory, and Hervé Youmbi. "Invitation as Intervention: Hervé Youmbi's Bamiléké-Dogon Ku'ngang Mask and the Stanley Museum of Art." L'Esprit Créateur 64, no. 4 (2024): 116–27. https://doi.org/10.1353/esp.2024.a949904.

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Abstract: The Stanley Museum of Art acquired recently Hervé Youmbi's Bamiléké-Dogon Ku'ngang Mask VI, 2019–2022, to highlight the contemporary relevance of masquerade in Africa, and to critique the ways in which African ritual objects function in an American art museum context. Created as a commodity for the global artworld and for ritual performance by members of the Ku'Ngang Society in Cameroon, Youmbi's work blurs and defies conventional museological and ritual practices. Through an invitation to circulate the work regularly between an American art museum and African community of origin, Yo

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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 Metrop

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18

Carrier, David. "The Aesthete in Pittsburgh: Public Sculpture in an Ordinary American City." Leonardo 36, no. 1 (2003): 35–39. http://dx.doi.org/10.1162/002409403321152284.

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There is a great deal of public art in Pittsburgh. Surveying some examples of this public sculpture suggests some general lessons about the role of such art. Art in public spaces needs to be accessible to the public. One way to make it so is to present local history, commemorating local sports heroes, politicians or artists. Public art also needs to be placed in a way that is sensitive to local history. Most public art in Pittsburgh is not successful because it does not deal with the interesting history of that city. Much sculpture that is successful in a museum is not good public art, and som

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19

Mihalache, Irina. "Art Museum Dining: The History of Eating Out at the Art Gallery of Ontario." Museum and Society 15, no. 3 (2018): 287–300. http://dx.doi.org/10.29311/mas.v15i3.2543.

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Using archival materials from the Art Gallery of Ontario (AGO), this article recreates the culinary history of the art museum and advocates for the inclusion of food in the literature on art museum history and practice. The AGO, like many other North American art museums, has a rich culinary history, which started with dining events organized by volunteer women’s committees since the 1940s. These culinary programs generated a culinary culture grounded in gourmet ideologies, which became the grounds for the first official eating spaces in the museum in the mid-1970s. Awareness of the museum’s c

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Horswell, Michael J. "“The museum, cross-dressed as a museum”." Journal of Language and Sexuality 5, no. 2 (2016): 222–49. http://dx.doi.org/10.1075/jls.5.2.05hor.

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This article explicates the discursive strategies deployed by the curator of the Museo travesti de Perú (2008), philosopher, activist, and artist Giuseppe Campuzano (1969–2013), to explore theoretical intersections of national identity and globalization(s) and to appreciate a testimonial, Neo-Baroque, peripheral aesthetic that challenges and “decolonizes” the cultural history of peripheral genders and sexualities in Latin American countries like Peru. Through an analysis of the museum’s visual codes in its works of art and a discursive interpretation of the narratives framing those pieces, thi

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21

Kempe, Deborah, Deirdre E. Lawrence, and Milan R. Hughston. "Latin American art resources north of the border: an overview of the collections of the New York Art Resources Consortium (NYARC)." Art Libraries Journal 37, no. 4 (2012): 5–14. http://dx.doi.org/10.1017/s0307472200017673.

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The New York Art Resources Consortium (NYARC), consisting of The Frick Art Reference Library and the libraries of the Brooklyn Museum and the Museum of Modern Art (MoMA), houses significant collections of material on Latin American art that document the cultural history of Mexico, Central America, the Caribbean and South America, as well as the foundation of New York City as an epicenter of US Latino and Latin American cultural production since the 19th century. Ranging from historic archeological photographs to contemporary artists’ books, the holdings of the NYARC libraries are varied in the

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22

Stillwell, Joana. "Art Museum Exhibitions in the Library." International Journal of Librarianship 9, no. 2 (2024): 103–7. http://dx.doi.org/10.23974/ijol.2024.vol9.2.376.

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Typically, museums are seen as the primary venue for exhibitions. However, an interest in library exhibitions has been growing as indicated by increased literature in the library field, albeit with a large focus on academic libraries. On a broader scale, library exhibitions continue to be under-researched as indicated by the continuing lack of library exhibition evaluation standards, library exhibition reviews, and exhibition-related professional training for librarians. In this 2021 study, interviews were conducted at eight Washington, DC-based art museum libraries: The National Gallery of Ar

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23

Hubert, Erell. "Arts from Latin America at the Montreal Museum of Fine Arts." Latin American and Latinx Visual Culture 4, no. 1 (2022): 93–100. http://dx.doi.org/10.1525/lavc.2022.4.1.93.

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This Dialogues section seeks to contribute to the scholarship on Latin American art in Canada and “Latinx Canadian art.” We aim to broaden the historical and current narratives of art and artists from Latin America north of the United States, taking into account Canada’s history of migration and its official bilingual status (French-English), multilingual and multicultural reality, and relationship with Indigenous peoples. Adding to the urgency of studying the presence of Latin American art in Canada, there is also a need to focus on the work of artists and curators with a Latin American backg

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24

Gaber, Tammy. "Islamic Art and the Museum." American Journal of Islam and Society 31, no. 2 (2014): 132–36. http://dx.doi.org/10.35632/ajis.v31i2.1048.

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This volume contains an impressive number of essays by authors from diversebackgrounds. What the title does not indicate is the reason for this publication– the conference “Layers of Islamic Art and the Museum Context” (held inBerlin during January 13-16, 2010) in cooperation with the Aga Khan Trustfor Culture, the Museum of Islamic Art in Berlin, and the “Europe in the MiddleEast – The Middle East in Europe” (EUME). The EUME is a Berlin-basedresearch program initiated by the Brandenburg Academy of Science, the FritzThyssen Foundation, Wissenschaftskolleg zu Berlin, and the Forum Transregional

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25

Hutton, Kathleen, and Wanda Urbanska. "Instructional Resources: Examining Prejudice through Art: Reynolda House Museum of American Art." Art Education 50, no. 5 (1997): 25. http://dx.doi.org/10.2307/3193660.

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26

Maroja, Camila. "Entrevista com Lynn Zelevansky." ARS (São Paulo) 15, no. 30 (2017): 277. http://dx.doi.org/10.11606/issn.2178-0447.ars.2017.134681.

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Em outubro de 2016, o Carnegie Museum of Art, em Pittsburgh, inaugurou “Hélio Oiticica: to organize delirium”. Em fevereiro de 2017, foi a vez do Art Institute of Chicago, e, finalmente em julho, a exposição foi montada no Whitney Museum of American Art em Nova Iorque. Nesta entrevista, Lynn Zelevansky relata o processo de organizar a mostra no Carnegie Museum, seus primeiros contatos com o Brasil na condição de curadora-assistente do MoMA e a importância de ter em mente a audiência e o timing da exposição.

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27

Myers, Arnold, and Laurence Libin. "American Musical Instruments in the Metropolitan Museum of Art." Galpin Society Journal 45 (March 1992): 151. http://dx.doi.org/10.2307/842280.

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28

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 programmin

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Linden, Diana L. "Modern? American? Jew? Museums and Exhibitions of Ben Shahn's Late Paintings." Prospects 30 (October 2005): 665–84. http://dx.doi.org/10.1017/s0361233300002222.

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The year 1998 marked the centennial of the birth of artist Ben Shahn (1898–1969). Coupled with the approach of the millennium, which many museums celebrated by surveying the cultural production of the 20th century, the centennial offered the perfect opportunity to mount a major exhibition of Shahn's work (the last comprehensive exhibition had taken place at the Jewish Museum in New York City in 1976). The moment was also propitious because a renewed interest in narrative, figurative art, and political art encouraged scholarly and popular appreciation of Ben Shahn, whose reputation within the h

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Bishop, Claire. "The Perils and Possibilities of Dance in the Museum: Tate, MoMA, and Whitney." Dance Research Journal 46, no. 3 (2014): 63–76. http://dx.doi.org/10.1017/s0149767714000497.

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This article argues that the art world's current fascination for dance follows on from a previous high point of interaction in the late 1960s and 1970s, and before that, a moment in the late 1930s and early 1940s. It traces these first, second, and third waves of dance in the museum at three institutions: the Tate in London, and the Museum of Modern Art and the Whitney Museum of American Art in New York. Three institutional histories are sketched, drawing out the differences between their approaches. The conclusion presents the four most pressing possibilities/problems of presenting dance in t

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31

Tsirogiannis, Christos, and David W. J. Gill. "“A Fracture in Time”: A Cup Attributed to the Euaion Painter from the Bothmer Collection." International Journal of Cultural Property 21, no. 4 (2014): 465–80. http://dx.doi.org/10.1017/s0940739114000289.

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Abstract:In February 2013 Christos Tsirogiannis linked a fragmentary Athenian red-figured cup from the collection formed by Dietrich von Bothmer, former chairman of Greek and Roman Art at New York’s Metropolitan Museum of Art, to a tondo in the Villa Giulia, Rome. The Rome fragment was attributed to the Euaion painter. Bothmer had acquired several fragments attributed to this same painter, and some had been donated to the Metropolitan Museum of Art as well as to the J. Paul Getty Museum. Other fragments from this hand were acquired by the San Antonio Museum of Art and the Princeton University

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32

Scott, David A. "Modern Antiquities: The Looted and the Faked." International Journal of Cultural Property 20, no. 1 (2013): 49–75. http://dx.doi.org/10.1017/s0940739112000471.

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AbstractThis article discusses some of the issues regarding the acquisition of art and the different philosophical views of some of the main protagonists regarding the reclaiming of art by nation-states, following American museums' acceptance of the 1970 UNESCO Convention, using examples from the Getty Museum and the Metropolitan Museum of Art. The mediation of Native American Graves Protection and Repatriation Act (NAGPRA) claims by conservators is often an important component of the dialogue between museums and native communities. The philosophical and art-historical opinions regarding the v

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33

Kirking, Clayton C. "Both sides of the fence, librarian and curator: forming a Latin American library collection." Art Libraries Journal 20, no. 3 (1995): 11–14. http://dx.doi.org/10.1017/s0307472200009445.

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The Department of Latin American Art at the Phoenix Art Museum was established on 1st January 1992, and the Librarian of the Museum accepted the additional role of Curator of the Department. Although the Museum has always collected Mexican art, the new Department is concerned with all of Latin America and especially with the 20th century. Similarly, the Library, which has long-established interests in Mexican art, is now expanding its coverage to reflect the scope of the new Department. Grant support has been forthcoming, and Library purchasing has been enhanced by the generosity of a private

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34

Anderson, E. N. "Grass Roots: African Origins of an American Art." Ethnobiology Letters 1 (August 3, 2010): 7–8. http://dx.doi.org/10.14237/ebl.1.2010.78.

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Review of Grass Roots: African Origins of an American Art. Dale Rosengarten, Theodore Rosengarten, and Enid Schildkrout, eds. 2008. Museum for African Art, New York. Distributed by University of Washington Press, Seattle. Pp. 269, copiously illustrated in black-and-white and color. ISBN (cloth) 978-0-945802-50-1, (paper) 978-0-945802-51-8.

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35

Hilden, Patricia Penn. "Race for Sale: Narratives of Possession in Two “Ethnic” Museums." TDR/The Drama Review 44, no. 3 (2000): 11–36. http://dx.doi.org/10.1162/10542040051058591.

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Have the Museum for African Art and the National Museum of the American Indian, both in New York City, been able to “move the center” from Euro-America to Africa, the African diaspora, or Native America?

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36

Clark, Carol. "“Rabid Just Now on the j”: Revisiting American Japonism." Journal of Japonisme 10, no. 1-2 (2025): 83–88. https://doi.org/10.1163/24054992-10010206.

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Abstract In this essay, the author considers the ‘American Japonism’ exhibition that she curated in tandem with the 1975 Japonisme: Japanese Influence on French Art 1854–1910 exhibition at the Cleveland Museum of Art. She reflects on the organization of this event and its impact on her subsequent career.

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37

SUVOROVA, Anna A. "Outsider Аrt in Art Museum: from “Comparative Material” to Art History (Case of the Museum of Modern Art)". International Journal of Cultural Research, № 3 (2023): 6–21. http://dx.doi.org/10.52173/2079-1100_2023_3_6.

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The article investigates transformations of the discourse of Outsider Art in the culture of the 20th – early 21st centuries through the perspective of its institutionalization and museumification. The article provides a critical analysis of the curatorial strategies of the Museum of Modern Art (New York, NY), as well as other American art institutions (National Art Gallery (Washington, DC), Brookline Museum (New York, NY), etc.), the structure of exhibitions and permanent expositions, curatorial texts of projects dedicated to outsider art. The study of the curatorial strategies of MoMA in the

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38

Doss, Erika. "Displaying Cultural Difference: The North American Art Collections at the Denver Art Museum." Museum Anthropology 20, no. 1 (1996): 21–36. http://dx.doi.org/10.1525/mua.1996.20.1.21.

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Rojas, Marcela. "Our America: The Latino Presence in American Art. Smithsonian American Art Museum ed. by E. Carmen Ramos." Hispania 98, no. 4 (2015): 835–36. http://dx.doi.org/10.1353/hpn.2015.0133.

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40

Krulick, Jan. "Instructional Resources: Images of the American West Phoenix Art Museum." Art Education 48, no. 2 (1995): 25. http://dx.doi.org/10.2307/3193511.

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41

Mayer, Melinda M. "Can Philosophical Change Take Hold in the American Art Museum?" Art Education 51, no. 2 (1998): 15. http://dx.doi.org/10.2307/3193737.

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42

Cummings, Paul. "20th Century Drawings from the Whitney Museum of American Art." Leonardo 22, no. 2 (1989): 274. http://dx.doi.org/10.2307/1575256.

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43

Heckscher, Morrison H. "The American Wing Rooms in the Metropolitan Museum of Art." Winterthur Portfolio 46, no. 2/3 (2012): 161–78. http://dx.doi.org/10.1086/667985.

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44

Thije, Steven ten. "The Joy of Meta: On the Museum of American Art." Afterall: A Journal of Art, Context and Enquiry 37 (September 2014): 72–83. http://dx.doi.org/10.1086/679378.

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45

Yahr, Jayme. "Disappearing act." Journal of the History of Collections 32, no. 1 (2018): 157–76. http://dx.doi.org/10.1093/jhc/fhy042.

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Abstract The American self-made businessman Daniel J. Terra (1911–1996) collected art as a testament to his patriotism and in an attempt to establish his cultural prowess. Between 1971 and his death in 1996, Terra amassed a collection of 605 paintings, works on paper, and sculpture, made possible by a small network of art dealers who aided Terra in his rapid transformation of the American art market. After a failed attempt to donate his collection to the Art Institute of Chicago, Terra created not one, but two museums in Illinois and one in France over the course of twelve years. Each Terra-ba

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46

Weldon-Yochim, Zoe. "Exposure: Native Art and Political Ecology." Journal of Curatorial Studies 12, no. 1 (2023): 88–92. http://dx.doi.org/10.1386/jcs_00082_7.

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Review of: Exposure: Native Art and Political Ecology Curated by Kóan Jeff Baysa, Nivi Christensen (Inuit), Satomi Igarashi, Erin Vink (Ngiyampaa), Tania Willard (Secwepemc Nation) and Manuela Well-Off-Man, Institute of American Indian Arts, Museum of Contemporary Native Arts, Santa Fe, 20 August 2021-10 July 2022

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47

Oliveira, Luiz Sérgio de. "Arte e consumo." POIÉSIS 19, no. 32 (2019): 165. http://dx.doi.org/10.22409/poiesis.1932.165-174.

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48

Selwood, Sara, and Lillia McEnaney. "Exhibition Reviews." Museum Worlds 8, no. 1 (2020): 216–28. http://dx.doi.org/10.3167/armw.2020.080116.

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Hogarth: Place and Progress, Sir John Soane’s Museum, London, 9 October 2019 – 5 January 2020.Place, Nations, Generations, Beings: 200 Years of Indigenous North American Art, Yale University Art Gallery, New Haven, Connecticut, 1 November 2019–28 February 2021.

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49

Gleisser, Faye. "Sitting Beside the Sit-In: Art Museum Dining and Gastrocuratorial Politics in the Age of Dei." ASAP/Journal 9, no. 2 (2024): 343–73. https://doi.org/10.1353/asa.2024.a947149.

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ABSTRACT: This essay challenges the persistent idealizing of art museum restaurants as spaces of diversity and togetherness and instead proposes a more expansive framework of gastrocuratorial politics to confront the colonialist and anti-Black somatic aesthetics manifest within the commissions, designs, and management of eateries in white-dominated collecting art museums. To build this argument, I cross-examine the social politics of dining environments differently but relatedly negotiated within the Tate Britain’s Rex Whistler; The Modern at the Museum of Modern Art in New York; In Situ at th

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Duffy, Damian. "Learning from Comics on the Wall: Sequential art narrative design in museology and multimodal education." Visual Arts Research 35, no. 1 (2009): 1–11. http://dx.doi.org/10.2307/20715483.

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Abstract:

Abstract Out of Sequence: Underrepresented Voices in American Comics is a comics art exhibition that was displayed from October 23, 2008 to January 4, 2009 in the Krannert Art Museum on the campus of the University of Illinois at Urbana Champaign.

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