Relevant bibliographies by topics / Freer Gallery of Art

Contents

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

Academic literature on the topic 'Freer Gallery of Art'

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

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Journal articles on the topic "Freer Gallery of Art"

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Gómez González, Marisa. "Scientific Research on Ancient Asian Metallurgy. Proceedings of the Fifth Forbes Symposium at the Freer Gallery of Art." Ge-conservacion 5 (December 22, 2013): 149–50. http://dx.doi.org/10.37558/gec.v5i0.202.

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Scientific Research on Ancient Asian Metallurgy. Proceedings of the Fifth Forbes Symposium at the Freer Gallery of Art Editado por P. Jett, B. McCarty and J. G. Douglas Publicado por Archetype Publications Ltd. and Freer Gallery of Art, Smithsonian Institution. London, Los Angeles, 2012. 268 páginas, 297x210mm. ISBN. 9781904982722
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Steinberg, Arthur, Esin Atil, W. T. Chase, and Paul Jett. "Islamic Metalwork in the Freer Gallery of Art." Journal of the American Institute for Conservation 25, no. 2 (1986): 105. http://dx.doi.org/10.2307/3179631.

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Shu, Yue, and Reiko Yoshimura. "The Chinese Collection of the Freer Gallery of Art | Arthur M. Sackler Gallery Library." Art Libraries Journal 39, no. 2 (2014): 33–38. http://dx.doi.org/10.1017/s0307472200018290.

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The library of the Freer Gallery of Art | Arthur M. Sackler Gallery is considered one of the finest East Asian art research collections in the United States. The development and progress of the library’s Chinese Collection has mirrored the historical changes in the field of Chinese art studies in the last one hundred years. Today, the library collection has more than 90,000 volumes, including 17,437 Chinese language monographs and 836 serials in over 25,000 volumes. In a landscape of changing scholarship, technology and user demands, the library is balancing the use of printed materials and digital resources and collaborating with other libraries to continue to meet the needs of curators, researchers and visitors.
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Schneider, Karen. "“The Soul Sense of a Beautiful Thing”." Journal of Japonisme 7, no. 1 (March 18, 2022): 1–17. http://dx.doi.org/10.1163/24054992-07010001.

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Abstract Katharine Nash Rhoades, a painter, Charles Lang Freer’s assistant, and a member of the Stieglitz Circle, met Freer at Mount Kisco, New York, the country home of Asian art collectors Agnes and Eugene Meyer on June 29, 1913. Their friendship lasted until Freer’s death on September 25, 1919. Although their relationship was relatively short in duration, it was characterized by loyalty, warmth, and mutual respect. Rhoades and Freer shared the pursuit of beauty as the guiding principle in their lives. Rhoades’s paintings reveal the influence that the Japanese art in Freer’s collection had upon her work. She was instrumental in the creation of the Freer Gallery of Art as it is known today. This article, based on extensive research using primary sources, sheds new light on the relationship between Katharine Rhoades and Charles Lang Freer and the ways in which the art of Japan played a key role in their lives.
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Ojha, Hari Kumar. "Marry Shepherd Slusser: The Antiquity of Nepalese Wood Carving: A Reassessment." Himalayan Journal of Sociology and Anthropology 4 (May 9, 2011): 256–59. http://dx.doi.org/10.3126/hjsa.v4i0.4680.

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Marry Shepherd Slusser: The Antiquity of Nepalese Wood Carving: A Reassessment, Published by: University of Washington Press, Seattle and London in Association with the Freer Gallery of Art and the Arthur M. Sackler Gallery, Smithsonian Institution Washington DC (2010) Page: 315 xix, ISBN 978-0-295-99029-3 (hardback)DOI: http://dx.doi.org/10.3126/hjsa.v4i0.4680 Himalayan Journal of Sociology and Anthropology Vol.IV (2010) 256-259
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Stillwell, Joana. "Art Museum Exhibitions in the Library." International Journal of Librarianship 9, no. 2 (June 20, 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 Art, The National Museum of Women in the Arts, The American Art and Portrait Gallery, The Freer Gallery of Art and Arthur M. Sackler Gallery, The Hirshhorn Museum and Sculpture Garden, The National Museum of African Art, The Phillips Collection, and the George Washington University Textile Museum. This paper is an examination of the current state of exhibitions in art museum libraries and aims to establish a set of best practices to help foster the production of art museum library exhibitions.
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Harper, Prudence O., Ann C. Gunter, and Paul Jett. "Ancient Iranian Metalwork in the Arthur M. Sackler Gallery and the Freer Gallery of Art." Journal of the American Oriental Society 116, no. 3 (July 1996): 567. http://dx.doi.org/10.2307/605190.

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Anderson, Jeffrey C. "A Twelfth-Century Leaf from the Byzantine Courtly Circle in the Freer Gallery of Art (Freer 33.12)." Gesta 35, no. 2 (January 1996): 142–48. http://dx.doi.org/10.2307/767178.

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Bell, Catherine. "Worshiping the Ancestors: Chinese Commemorative Portraits. By Jan Stuart and Evelyn S. Rawski. [Washington, DC and Stanford, CA: Freer Gallery of Art and the Arthur M. Sackler Gallery in association with Stanford University Press, 2001. 216pp. $75.00. ISBN 08047 4262 6.]." China Quarterly 173 (March 2003): 214–51. http://dx.doi.org/10.1017/s000944390343012x.

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This lovely book accompanies a show of ancestor portraits from the mid-15th to the 20th century held at the Smithsonian's Arthur M. Sackler Gallery in 2001. The Sackler's recently acquired collection, supplemented for the show with contributions from the Freer Gallery and private collections, consists of 85 paintings depicting mostly noble and upper-class men and women, probably sold by families caught in the disruptions of the late Qing.
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Li, Kin Sum (Sammy), Quanyu Wang, J. Keith Wilson, Fan Jeremy Zhang, Jody Ho Yee Cheung, Tsz Hin Chun, Sum Lam, et al. "DECORATED MODELS, REPLICATION, AND ASSEMBLY LINES FOR BRONZE INDUSTRIAL PRODUCTION IN 500 b.c.e. CHINA." Early China 44 (September 2021): 109–42. http://dx.doi.org/10.1017/eac.2021.9.

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AbstractThis article examines the earliest examples of replication of bronze objects of complicated structure in China. It uses four quadrupeds from the Freer Gallery (National Museum of Asian Art, Smithsonian Institution), the Asian Art Museum of San Francisco, the British Museum, and the Yūrinkan Museum in Kyōto as examples to illustrate the complex technology required in replicating bronzes. It provides evidence to define identical bronzes and proves that the four quadrupeds shared the same decorated model. The application of section-mold casting, spacers, clay cores, and mold section assemblage will be examined using 3D scanning, X-ray photography, computerized tomography (CT) scanning, and alloy composition analysis.
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Dissertations / Theses on the topic "Freer Gallery of Art"

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Fitzherbert, Teresa. "Bal ami s Tabari : An illustrated manuscript of Bal ami s Tarjama-yi Tarikh-i Tabari in the Freer Gallery of Art, Washington." Thesis, University of Edinburgh, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.506389.

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Ajlani, Tarek F. "Gallery For Art." Thesis, Virginia Tech, 2005. http://hdl.handle.net/10919/33977.

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For my thesis I explored the idea of the mask in relation to architecture. For my project I designed an art gallery located in Georgetown Washington DC which is composed of three layers: a structural layer, an environmental casing, and an outer layer. Theoretical parallels are drawn between the outer layer of the gallery and what is commonly referred to as a mask. Additionally, I explored the interaction between the layers of the gallery. The distinguishing characteristics of the building include the tri-facade mask, the unique spaces in between the gallery's layers, the glass system, the mask's ghost effect, and the floor system.
Master of Architecture
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Wolters, Erika. "A mobile art gallery." Thesis, KTH, Arkitektur, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-223739.

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Most art galleries around the world look the same; a large white room with a few artworks placed far apart. This standard way of designing art spaces together with locating them almost exclusively in the city centers makes them both physically and culturally distant for many people.  This project aims to explore other ways of displaying art to make it accessible to more people through small architectural interventions. It is an exploration about the relation between space the body and the object. A prototype for a mobile art gallery has been built as a testing device.
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Bundalo, Mladen. "Cyber Gallery "Art Zeppelin"." Master's thesis, Vysoké učení technické v Brně. Fakulta výtvarných umění, 2011. http://www.nusl.cz/ntk/nusl-232290.

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Špirić, Dajan. "Cyber gallery "Art Zeppelin"." Master's thesis, Vysoké učení technické v Brně. Fakulta výtvarných umění, 2011. http://www.nusl.cz/ntk/nusl-232321.

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Bergman, John. "IMMERSIVE GALLERY OF DIGITAL ART." Thesis, KTH, Arkitektur, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-223228.

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Tolley, Rebecca. "Review of Art Museum Image Gallery." Digital Commons @ East Tennessee State University, 2006. https://dc.etsu.edu/etsu-works/5631.

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Vicens, Rebeca. "Alley-Gallery." Thesis, Virginia Tech, 2002. http://hdl.handle.net/10919/9660.

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The site chosen for this thesis project is located in downtown Blacksburg, Virginia. It consists of a 30'­x110' infill lot and an alley running parallel to it. An initial desire to blur the boundary between the alley and the proposed building led to a study of the potential of parallel planes overlapped along the shared border. Representation of these planes in two dimensions allowed almost simultaneous perceptions of multiple spatial and geometrical configurations among them. The architectural consequences of this phenomenon became the main subject of inquiry. Exploration through silkscreen prints and model studies culminated in the design of an outdoor art gallery.
Master of Architecture
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Thomas, Catherine. "Trans, intersections of art, life and the art gallery." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ42105.pdf.

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Eekelaar, Catherine. "Art gallery-based interventions in dementia care." Thesis, Canterbury Christ Church University, 2011. http://create.canterbury.ac.uk/10460/.

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Section A reviews whether arts-based activities for people with a dementia (PWD) have significant cognitive, social, and psychological benefits for this population. There is a variety of theoretical perspectives on dementia that encompass the biological, psychological, and social effects of the disease on the wellbeing of PWD. Visual arts may be an appropriate way of addressing some of the challenges that PWD face by providing a means of ameliorating some of their cognitive, social, and psychological difficulties. Literature from the field of arts-based activities with PWD suggests that there is no apparent theoretical conceptualisation in the area, as most studies have attempted to evaluate various art programmes with no clear rationale for expected findings; rather, they have taken a more exploratory stance. However, they indicate that arts-based activities can have social and psychological benefits by increasing confidence, enthusiasm, enjoyment, social contact, mood, quality of life, and ratings of depression. The review concludes with a rationale for why it is important to expand the current evidence base on arts-based activities for PWD. Section B: Dementia refers to a variety of diseases that are characterised by cognitive difficulties and an overall decline in daily living skills. Arts and health interventions may be particularly valuable ways of improving the lives of PWD and their family carers. This exploratory study involved six people with mild to moderate dementia and six family carers attending an arts-based intervention at a major London art gallery for three sessions over three weeks, in which they engaged in art-viewing and art-making. Using audio recordings to record PWDs’ responses, rather than standardised measures, which are often problematic with this population, the study sought to explore possible changes in cognition of PWD during the intervention, namely episodic memory and verbal fluency. Using a mixed methods design, data were collected at five points and analysed using content and thematic analyses. The findings suggested that episodic memory and verbal fluency appeared to improve during the art gallery-based intervention. This was substantiated by family carers who also reported that PWD showed increased mood, confidence and social interaction, and that they valued the shared experience and learning opportunity. Whether these changes can be attributed to the intervention is a matter for further research beyond this exploratory study. Future research is proposed to further understand the implications of these preliminary findings. Section C presents a critical appraisal of the research. Research skills that have been learned and developed over the course of the process are discussed, such as increased awareness of the benefits of working within a wider research community. There is consideration of the need to communicate clearly and sensitively with other professionals from differing backgrounds and organisations, as well as the importance of building on a coherent evidence base when designing a research project. Better organisation relating to recruitment and investigation into recording during the art-viewing sessions at the gallery are identified as aspects that would be done differently, as well as consideration of using a case study approach. Clinical consequences of the research are discussed, such as utilising a community psychology approach and involving art and creativity in therapeutic sessions. Finally, further research in the area is considered, such as by expanding the study and using robust neuropsychological measures to detect cognitive change.
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Books on the topic "Freer Gallery of Art"

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Lawton, Thomas. Freer: A legacy of art. Washington, D.C: Freer Gallery of Art, Smithsonian Institution, 1993.

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Esin, Atıl, Chase W. T, and Jett Paul, eds. Islamic metalwork in the Freer Gallery of Art. Washington, D.C: The Gallery, Smithsonian Institution, 1985.

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Art, Freer Gallery of. Shang bronzes in the Freer Gallery of Art. Princeton, N.J: [s.n.], 1998.

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Lawton, Thomas. Beyond the legacy: Anniversary acquisitions for the Freer Gallery of Art and the Arthur M. Sackler Gallery. Washington, D.C: Smithsonian Institution, 1998.

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Gunter, Ann Clyburn. A collector's journey: Charles Lang Freer and Egypt. Washington, DC: Freer Gallery of Art, 2002.

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Gunter, Ann Clyburn. A collector's journey: Charles Lang Freer and Egypt. Washington, D.C: Freer Gallery of Art, Smithsonian Institution, Arthur M. Sackler Gallery, 2002.

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Arthur M. Sackler Gallery (Smithsonian Institution). Ancient Iranian metalwork in the Arthur M. Sackler Gallery and the Freer Gallery of Art. Washington, D.C: Arthur M. Sackler Gallery, 1992.

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Freer Gallery of Art. Library. Dictionary catalog of the Library of the Freer Gallery of Art, Smithsonian Institution. 2nd ed. Boston: G.K. Hall Micropublications, 1991.

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Abe, Stanley Kenji. A Freer stela reconsidered. Washington, D.C: Freer Gallery of Art, 2002.

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artist, Katsushika Hokusai 1760-1849, Ulak James T, Feltens Frank, and Asano Shūgō 1950-, eds. Hokusai no nikuhitsu: Sumisonian Kyōkai Furīa Bijutsukan korekushon = Hokusai's brush : paintings, drawings, and sketches by Katsushika Hokusai in the Freer Galleery of Art, Smithsonian Institution. Kyōto-shi: Seigensha, 2018.

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Book chapters on the topic "Freer Gallery of Art"

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Chudzicka, Dorota. "The Dealer and the Museum: C. T. Loo (1880–1957), the Freer Gallery of Art, and the American Asian Art Market in the 1930s and 1940s." In Kunst sammeln, Kunst handeln, 243–54. Wien: Böhlau Verlag, 2012. http://dx.doi.org/10.7767/boehlau.9783205791997.243.

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Griffiths, John. "Annual Report of the Committee of the Free Public Library. Museum, and Walker Art Gallery 1888." In Empire and Popular Culture, 213–50. London: Routledge, 2021. http://dx.doi.org/10.4324/9781351024785-39.

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Lee, Elizabeth. "Charles Lang Freer." In The Routledge Companion to Art and Disability, 204–23. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003009986-15.

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Pritchard, Jacki. "The art gallery." In Hypnotherapy Scripts to Promote Children’s Wellbeing, 103–7. Abingdon, Oxon; New York, NY: Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9781003044147-29.

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Margenstern, Maurice. "Hyperbolic Gallery." In Designing Beauty: The Art of Cellular Automata, 65–71. Cham: Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-27270-2_8.

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Franks, Anton. "Expanding the gallery." In Debates in Art and Design Education, 196–210. Second edition. | Abingdon, Oxon ; New York, NY : Routledge,2021.: Routledge, 2020. http://dx.doi.org/10.4324/9780429201714-12.

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Hunt, Bruce. "A Gallery of Algebraic Surfaces." In Mathematics and Art, 237–66. Berlin, Heidelberg: Springer Berlin Heidelberg, 2002. http://dx.doi.org/10.1007/978-3-662-04909-9_26.

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Hubard, Olga. "Introduction: What Is Gallery Teaching?" In Art Museum Education, 1–6. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1007/978-1-137-41288-1_1.

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Alekseenko, S., and D. Markovich. "Gallery of physical phenomena." In Science and Art Symposium 2000, 127–38. Dordrecht: Springer Netherlands, 2000. http://dx.doi.org/10.1007/978-94-011-4177-2_15.

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Chandra, Anupam, and Praveen Uchil. "Art of Designing an e-Art Gallery." In Research into Design for Communities, Volume 1, 537–46. Singapore: Springer Singapore, 2017. http://dx.doi.org/10.1007/978-981-10-3518-0_47.

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Conference papers on the topic "Freer Gallery of Art"

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Nagel, Alexander, Blythe McCarthy, and Stacy Bowe. "Crafting glass vessels: current research on the ancient glass collections in the Freer Gallery of Art, Washington, D.C." In Integrated Approaches to the Study of Historical Glass - IAS12, edited by Hugo Thienpont, Wendy Meulebroeck, Karin Nys, and Dirk Vanclooster. SPIE, 2012. http://dx.doi.org/10.1117/12.974708.

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Bärtschi, Andreas, Subir Kumar Ghosh, Matúš Mihalák, Thomas Tschager, and Peter Widmayer. "Improved bounds for the conflict-free chromatic art gallery problem." In Annual Symposium. New York, New York, USA: ACM Press, 2014. http://dx.doi.org/10.1145/2582112.2582117.

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Tu, Wei, and Cuicui Liu. "Discussion on Service Marketing for Gallery Management in Free Opening Age." In 2016 3rd International Conference on Education, Language, Art and Inter-cultural Communication (ICELAIC 2016). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/icelaic-16.2017.126.

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Haute, Lucile. "Kombucha as a Guide. Serendipitous Journey through Taste, Feminism, Free and Open Source Culture, and Ritual." In 28th International Symposium on Electronic Art. Paris: Ecole des arts decoratifs - PSL, 2024. http://dx.doi.org/10.69564/isea2023-63-full-haute-kombucha-as-a-guide.

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During one and a half years living with kombucha, the author followed it across a journey that diverged from a disciplinary point of view in favor of a “global design” (Papanek) approach that embraces co-dependencies (Haraway, Tsing). This journey spanned several domains: gastronomy and food, health, textile design, social practices. It was the occasion to find out how different cultures might be embodied by the heterogeneous kombucha community and its various locations: from bio-hack lab to the kitchen, art gallery, design school, and brewery lab. What may this Symbiotic Culture Of Bacteria and Yeast teach us—humans—about our ways of collaborating with, cultivating, exploiting or caring for the living beings we eat and/or use to make everyday objects? Could kombucha SCOBY provide a guide to shifting ways of understanding and performing our way of life, or to phrase it another way: to initiate a cultural revival?
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Jones, Lee, Alaa Nousir, Tom Everrett, and Sara Nabil. "Tangible, Public, and Miniature Creative Exchanges: What HCI and Design Researchers Can Learn From the Free Little Art Gallery Movement." In C&C '23: Creativity and Cognition. New York, NY, USA: ACM, 2023. http://dx.doi.org/10.1145/3591196.3593433.

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Truckenbrod, Joan, Heather Elliott, Jessica Westbrook, John Grimes, Ron Hutt, Deanna Morse, Jane Stevens, and Valerie Sullivan-Fuchs. "Art gallery." In ACM SIGGRAPH 98 Electronic art and animation catalog. New York, New York, USA: ACM Press, 1998. http://dx.doi.org/10.1145/281388.281397.

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Bureaud, Annick, Stephen A. Benton, Deanna Morse, and Jane Stevens. "Art gallery." In ACM SIGGRAPH 98 Electronic art and animation catalog. New York, New York, USA: ACM Press, 1998. http://dx.doi.org/10.1145/281388.281398.

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"D-Art Gallery." In 2019 23rd International Conference in Information Visualization – Part II. IEEE, 2019. http://dx.doi.org/10.1109/iv-2.2019.00007.

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"D-Art Gallery." In 2013 17th International Conference on Information Visualisation. IEEE, 2013. http://dx.doi.org/10.1109/iv.2013.92.

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"D-Art Gallery." In 2014 18th International Conference on Information Visualisation (IV). IEEE, 2014. http://dx.doi.org/10.1109/iv.2014.82.

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Reports on the topic "Freer Gallery of Art"

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Campbell, J. R. Downtown Art Gallery Jacket. Ames: Iowa State University, Digital Repository, September 2016. http://dx.doi.org/10.31274/itaa_proceedings-180814-1585.

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Alshaibi, Omar, Victoria Armstrong, Katie Brown, Nicole Hindley, Susie Johnston, Agathe Lermant, Elizabeth Mills, et al. Images of Research: An Art Gallery and Puzzle Book. Edited by Sandra Oza. University of Dundee, March 2024. http://dx.doi.org/10.20933/100001304.

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Images of Research is an annual competition that challenges researchers to capture their work in a single image, alongside a short description. This competition has been run at the University of Dundee since 2020 and represents just a handful of the research projects being carried out by postgraduate researchers. The competition celebrates our research and the many original ways it can be expressed. This collection showcases the winning entries, mixed with fun sketches and puzzles to complete.
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Yonemura, Ann. Art in Context: Aesthetics, Environment and Function in the Arts of Japan. Inter-American Development Bank, March 1995. http://dx.doi.org/10.18235/0007915.

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Mahat, Marian, Guy Morrow, Brian Long, Siew Fang Law, Amy Gullickson, and Chengxin Guo. Developing an impact framework for Science Gallery Network: Final report. University of Melbourne, 2022. http://dx.doi.org/10.46580/124372.

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The aim of this project was to develop an impact framework for the Science Gallery Network (SGN). This work was commissioned by the Science Gallery International (SGI). The SGN has eight member organisations across four continents: Dublin, London, Melbourne, Bengaluru, Detroit, Rotterdam, Atlanta and Berlin. Whilst the network consistently sees unprecedented levels of accomplishment by its members, a testimony to their capacity, innovation and vision, the SGN does not have a systematic way to measure and monitor this impact. An impact framework that can assist with understanding and reporting the value of this impact will provide important recognition that the SGN has achieved what it sets out to do— bringing science, art, technology and design together to deliver world-class educational and cultural experiences for young people. This report details the robust consultation approach that was undertaken by the University of Melbourne’s project team—one that included a desktop review, focus group discussions, surveys and interviews—to ensure multiple perspectives were gathered on what could be considered a multi-faceted concept. The desktop review provided a thorough review and an environmental scan of the impact literature and its measurement. In addition, the focus group discussions and interviews provided a rich understanding of what ‘good impact’ means for the SGN and the implications of this to the measurement of impact outcomes. Five key recommendations are provided and summarised. Note that these key recommendations should be taken as a point of departure for further in-depth consultation throughout the wider SGN.
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Schacht, Kayley, Deidre Gonçalves, Aaron Schmidt, and Adam Smith. A History and Analysis of the WPA Exhibit of Black Art at the Fort Huachuca Mountain View Officers’ Club, 1943–1946. Engineer Research and Development Center (U.S.), June 2023. http://dx.doi.org/10.21079/11681/47184.

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The 1943 art exhibition at the Mountain View Officers’ Club (MVOC), Fort Huachuca, Arizona should be considered one of the most significant events in the intersection of American art, military history, and segregation. Organizers of the event, entitled Exhibition of the Work of 37 Negro Artists, anticipated it would boost soldiers’ morale because Fort Huachuca was a predominately Black duty station during WWII. This report provides a brief history of Black art in the early 20th century, biographies of the artists showcased, and provides information (where known) about repositories that have originals or reproductions of the art today. The following is recommended: the General Services Administration (GSA) investigate the ownership of the pieces described in this report and if they are found to have been created under one of the New Deal art programs to add them to their inventory, further investigation be performed on the provenance and ownership of Lew Davis’s The Negro in America’s Wars mural, for the rehabilitation of the MVOC that the consulting parties agree upon the scope of the reproduction of the art, and request archival full reproductions of the pieces of art found in the collection of the Howard University Gallery of Art.
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6

Brison, Jeffrey, Sarah Smith, Elyse Bell, Antoine Devroede, Simge Erdogan, Christina Fabiani, Kyle Hammer, et al. The Global Engagement of Museums in Canada. University of Western Ontario, 2021. http://dx.doi.org/10.5206/vdjm2980.

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The Global Engagement of Museums in Canada examines Canadian museum diplomacy, assessing the international activities of Canadian museums to consider the ways these institutions act as cultural diplomats on the global stage. The report presents the results of a multi-partner collaborative research project addressing the work of ten institutions, including the Art Gallery of Alberta; Aga Khan Museum; Canadian Museum of History; Canadian Museum of Immigration at Pier 21; Montreal Museum of Fine Arts; Museum of Anthropology at UBC; National Gallery of Canada; Ottawa Art Gallery; Pointe-à-Callière, Montréal Archaeology and History Complex; and the Royal Ontario Museum. Focusing on the period of 2009 to 2019, this report highlights new activities and methods within museum practice, while also grounding these within the context of developments in the last decade. Drawing on archival research, document analysis, and interviews with museum professionals, this research establishes baseline data on the global reach of Canadian museums and identifies best practices to share with the museum sector and cultural diplomacy community. Comprised of three sections, the report begins by presenting the framework for the project, explaining the logic behind the selection of institutions and the pedagogical considerations that informed our collective methodology. Second, the report provides a review of the literature in the field of cultural diplomacy, situating the research project. And third, the core of the project, are ten studies of specific institutions, drawn from the fieldwork conducted by the team. These institutional reports demonstrate the ways in which museums engage with a range of global activities and actors. They further address developing trends in the sector, while also suggesting future avenues for research. The Global Engagement of Museums in Canada is a research project led by Primary Investigators Jeffrey Brison and Sarah E.K. Smith. Funded by a Mitacs Accelerate Grant, the initiative is a collaboration between the Montreal Museum of Fine Arts and Queen’s University.
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Artful Diplomacy: Art as Latin America's Ambassador in ton, D.C. Inter-American Development Bank, January 2008. http://dx.doi.org/10.18235/0006398.

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This exhibition gathers a number of artworks belonging to a diverse group of Latin American embassies and diplomats and their delegations and organizations in Washington, D.C. For a city that boasts such a wealth of artistic institutions on the National Mall, representing art from all corners of the world (the National Museum of African Art, the Freer and Sackler Galleries for Asian arts, and the National Gallery of Art with its impressive collection of European art from the Middle Ages to the present, to name a few), the absence - for whatever reason- of a major institution in the nation¿s capital representing the arts of Latin America is, in itself, a rather negative statement of sorts. This fact, combined with the proclivity of the press to report on the usually not-so-positive aspects of the social, political, and economic realities of the region, tends to indiscriminately put the prestige of Latin American countries at risk, and creates an unappreciative feeling among the public toward a region that, despite its inconsistencies, has excelled culturally for centuries.
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8

Coombs, HC opening exhibition of contemporary Australian paintings at Art Gallery - September 1955. Reserve Bank of Australia, September 2022. http://dx.doi.org/10.47688/rba_archives_pn-002886.

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9

Selections from the IDB Art Collection: August 2-31, 1999. Inter-American Development Bank, August 1999. http://dx.doi.org/10.18235/0005942.

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Forty-nine sculptures, paintings, drawings and graphics from the IDB Art Collection, representative of several periods, with emphasis on the 20th century. This was the third exhibition of works from the IDB Art Collection in the Cultural Center Gallery over the past seven years; normally they are displayed inpublic areas of the IDB building.
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10

Parallel Realities: Five Pioneering Artists from Barbados. Inter-American Development Bank, May 1999. http://dx.doi.org/10.18235/0006427.

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Sixty-four pieces executed in a variety of media: sculpture, painting, pastel and pencil drawing, watercolor, linoleum and metal engraving, monotype and stencil, by two generations of Barbadian artists considered pioneers in 20th century Barbadian art: Golde White, Aileen Hamilton, Katherine Hawkins, Karl Broodhagen, and Ivan Payne; from the collections of the Barbados Gallery of Art, the Barbados Museum and Historical Society, and private collectors. Upon the exhibition¿s return to Barbados, it was reenacted at the Barbados Gallery of Art and the Barbados Museum and Historical Society in Bridgetown.
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