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Relevant bibliographies by topics / Homosexuality in art – exhibitions

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Academic literature on the topic 'Homosexuality in art – exhibitions'

Author: Grafiati

Published: 28 July 2024

Last updated: 31 July 2025

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Journal articles on the topic "Homosexuality in art – exhibitions"

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Han, Luyi. "Analysis of the artwork Murder by Jared French in the context of Christianity, Masculinity and Homosexuality." Journal of Education, Humanities and Social Sciences 8 (February 7, 2023): 2271–77. http://dx.doi.org/10.54097/ehss.v8i.4688.

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This paper aims to explore the dilemma society imposed on the queer community by analyzing the artwork Murder by Jared French and exploring the connection between Christianity, homosexuality, and masculinity. Murder is one of the paintings displayed in The Young and Evil, a collection of artworks created by artists during 1930-the 1940s. The analysis is based on a review of relative materials and literature. The purpose of the review is to give an insight into the dilemma that queer community faced in the context of the era, thereby promoting people with queer identities to pursue equal rights

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Van den Berg, Mariecke. "Zie de mens." Religie & Samenleving 11, no. 2 (2016): 249–70. http://dx.doi.org/10.54195/rs.12214.

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This article analyzes the photo-exhibition Ecce Homo (1998) by Swedish artist Elisabeth Ohlson Wallin. In Ecce Homo, which depicts twelve moments from the life of Jesus Christ, traditional church art is mixed with the themes and symbols of contemporary LGBT-culture. In the article it is investigated, through a queer focus, whether Ecce Homo has the potential to destabilize the rather strict oppositional pairing of religion and homosexuality in contemporary debates in post-secular societies like Sweden. Based on a discussion of three works (The Annunciation, Palm Sunday and Calvary) it is argue

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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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Simmel, Georg. "On Art Exhibitions." Theory, Culture & Society 32, no. 1 (2014): 87–92. http://dx.doi.org/10.1177/0263276414531052.

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Zhang, Juntong. "Research on Factors Influencing Online Art Exhibitions and the Role that Social Media Can Play during Online Exhibitions." Communications in Humanities Research 3, no. 1 (2023): 38–45. http://dx.doi.org/10.54254/2753-7064/3/20220131.

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During the epidemic, many art exhibitions and museums started online exhibitions actively or passively. How to make online art exhibitions accepted by more people and how to promote online art exhibitions more smoothly have become the main problems facing the society. This paper aims to explore the factors that affect people to watch online art exhibitions, and how to make the promotion of online art exhibitions successful.

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Tsang, Winnie. "Creating National Narrative: The Red Guard Art Exhibitions and the National Exhibitions in the Chinese Cultural Revolution 1966 - 1976." Contemporaneity: Historical Presence in Visual Culture 3 (June 5, 2014): 117–32. http://dx.doi.org/10.5195/contemp.2014.58.

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The artistic development in China experienced drastic changes during the Cultural Revolution from 1966 to 1976. Traditional Chinese art was denounced, whereas propaganda art became predominant in shaping the public’s loyalty towards the Communist Party and the country. Two major groups of art exhibitions emerged during the Revolution—the unofficial Red Guard art exhibitions organized by student activists in collaboration with local communes and art schools between 1966 and 1968, and the state-run national exhibitions from 1972 to 1975. These exhibitions were significant to this period because

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Senina, J. N. "«Blasphemy» in Contemporary Art Exhibitions in Russia, or Why Art Offends." State, Religion and Church in Russia and Worldwide 42, no. 4 (2025): 137–74. https://doi.org/10.22394/2073-7203-2024-42-4-137-174.

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The article examines the contemporary art exhibitions in twenty‑first‑century Russia that sparked accusations of “blasphemy” and extensive public debate and prompted law enforcement interventions. In the first part of the article, I retrospectively illustrate the history of the most prominent “blasphemous” contemporary art exhibitions in Russia, leading to the application of Article 282 of the Russian Criminal Code against the artists. These incidents, which followed the “Pussy Riot” case, resulted in the amendments to the Criminal Code that tightened the penalties for offending religious sent

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Jasny, B. "EXHIBITIONS: ART: Global Perspectives." Science 322, no. 5905 (2008): 1191a. http://dx.doi.org/10.1126/science.1167366.

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Lin, Jiajing. "Analysis of the Development and Direction of Contemporary Exhibitions." Communications in Humanities Research 9, no. 1 (2023): 238–45. http://dx.doi.org/10.54254/2753-7064/9/20231191.

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With the advancement of civilization and the passage of time, art has steadily merged into everyday life. The quantity and variety of art exhibitions held have significantly expanded, becoming a daily activity for the majority of the public as the social process and the pace of peoples lives continue to quicken. The public is given a strong sense of connection to the art institution and the exhibition space as a result of the modern exhibitions progressive evolution and subsequent innovation and improvement. This paper looks at the potential and direction of contemporary art exhibitions, analy

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Andreeva, E. Yu. "Soviet Art at Art Exhibitions and Expositions of Russian Museums and Galleries in the 1990s-2020s." Art & Culture Studies, no. 4 (December 2023): 390–421. http://dx.doi.org/10.51678/2226-0072-2023-4-390-421.

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The article systematizes the approaches to the study and presentation of Soviet art material in the post-Soviet period and gives a periodization of changes in these approaches. The author refers to the types of exhibition recycling of Soviet art, mainly in the practice of the State Russian Museum, the State Tretyakov Gallery, and the Central Exhibition Halls of Moscow and St. Petersburg. In general, two types of temporary exhibitions of Soviet material stand out: research exhibitions and attraction exhibitions. The purpose of research exhibitions is to introduce previously unknown or marginali

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Dissertations / Theses on the topic "Homosexuality in art – exhibitions"

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Li, Vivian Yan. "Art negotiations : Chinese international art exhibitions in the 1930s." Connect to resource, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1209143379.

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Forstrom, Melissa. "Interpretation and visitors in two Islamic art exhibitions." Thesis, University of Westminster, 2017. https://westminsterresearch.westminster.ac.uk/item/q3610/interpretation-and-visitors-in-two-islamic-art-exhibitions.

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In the past fifteen years there has been an increase is Islamic art exhibitions in the United States and Europe. Islamic art exhibition includes both reinstallations of permanent collections and temporary exhibitions. Often Islamic art exhibitions are equated with broader social and political contexts and infused with beliefs like Islamic art can “bridge divides” (Flood, 2007; Winegar, 2008) and “speak” for the humanity of Islam and Muslim peoples. This conflation or slippage is unique to the coverage of Islamic art exhibition and may, at least in part, be rooted in societal and religious ideo

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Hatcher, Lynn A. "Exhibition in the curriculum preparing students to complete the artistic cycle /." Atlanta, Ga. : Georgia State University, 2009. http://digitalarchive.gsu.edu/art_design_theses/49/.

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Thesis (M.A. Ed.)--Georgia State University, 2009.<br>Title from title page (Digital Archive@GSU, viewed July 13, 2010) Melanie Davenport, committee chair; Kevin Hsieh, Melody Milbrandt, committee members. Includes bibliographical references (p. 45-46).

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Fuller, Michele. "Reviewing medium: paint as flesh." Thesis, Nelson Mandela Metropolitan University, 2011. http://hdl.handle.net/10948/d1008590.

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The research question explored in this exhibition and dissertation was to review the conventional notions of craftsmanship and the use of the specific medium of oil paint with reference to the art of Rembrandt and Damien Hirst. The subject matter is flesh. This study foregrounds the involvement and acknowledgment of the corporeal body, the hand of the artist, and of the organic material reality of our existence and the objects that surround us. The paintings reflect a series of interventions that resulted in abstracted images based on photographs of meat. Once a detail had emerged that emphasi

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Asquith, Wendy. "Haiti and art : curating the nation for international exhibitions." Thesis, University of Liverpool, 2015. http://livrepository.liverpool.ac.uk/2027099/.

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This dissertation presents a fresh approach to the study of Haitian art through research conducted in the emerging interdisciplinary field of exhibition history. In a deliberate attempt to move away from existing notions of Haitian art as a formal or aesthetic style of art practice associated with primitivism – based on mid-twentieth-century art historical narratives – I have opted to explore the display of works by Haitian artists outside of conventional museum and gallery settings. Taking a broader cultural studies approach centred on three case studies, I examine the exhibition of artworks

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Kamata, Mayumi. "Chinese art exhibitions in Japan, ca 1900 to 1931." Connect to resource, 2001. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1233600845.

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이윤영 and Yoon Yung Lee. "The Joseon Fine Art Exhibition under Japanese colonial rule." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2013. http://hdl.handle.net/10722/196493.

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At the turn of the twentieth century, as Japan expanded its territory by colonizing other Asian nations, the Japan-Korea Annexation Treaty was signed in 1910 and Korea lost its sovereignty. In political turmoil, the formation of national and cultural identity was constantly challenged, and the struggle was not argued in words alone. It was also embedded in various types of visual cultures, with narratives changing under the shifting political climate. This thesis focuses on paintings exhibited in the Joseon Mijeon (조선미술전람회 The Joseon Fine Art Exhibition) (1922-1944), which was supervised by th

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Zhang, Linzhi. "Contemporary art and the exhibitionary system : China as a case study." Thesis, University of Cambridge, 2019. https://www.repository.cam.ac.uk/handle/1810/289428.

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The challenge of contemporary art, unlike in art history, has only recently been identified in sociology. Furthermore, an overly philosophical orientation, has undermined sociological expla- nations of artistic production. To remedy this, I propose a sociology of exhibitions. This entails a shift of focus from the elusive subject matter of art towards the tangible exhibition, and the construction of a new framework: the exhibitionary system, which also stands for the physical, institutional, and network environment of exhibitions. The central question in the sociology of exhibitions is to expl

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Cook, Shashi Chailey. ""Redress : debates informing exhibitions and acquisitions in selected South African public art galleries (1990-1994)" /." Thesis, Rhodes University, 2009. http://eprints.ru.ac.za/1631/.

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Palmer, Daniel. "Exhibiting practice : retrospective survey exhibitions of conceptual art, 1989-2000." Thesis, Kingston University, 2007. http://eprints.kingston.ac.uk/20221/.

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In recent decades, the retrospective survey exhibition has become one of the primary sites for the presentation of art historical propositions. This thesis examines the contribution of four such exhibitions to a history of Conceptual art: L'Art Conceptuel, Une Perspective (Paris, 1989); Reconsidering the Object of Art, 1965-1975 (Los Angeles, 1995-96); Global Conceptualism: Points of Origin, 1950s-1980s (New York, 1999); and Live in Your Head: Concept and Experiment in Britain, 1965-1975 (London, 2000). These exhibitions could not claim access to an objective and empirically verifiable categor

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Books on the topic "Homosexuality in art – exhibitions"

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Quixal, Mari Trini. Museari queer art 5. Universitat de València, 2021.

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Museo donazione Umberto Mastroianni (Rome, Italy), ed. Premio Catel 2018: Arte e omosessualità : concorso di arti visive. Il cigno GG edizioni, 2018.

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Museum, Schwules, ed. Winckelmann - das göttliche Geschlecht: Auswahlkatalog zur Ausstellung im Schwulen Museum* Berlin, 16. Juni bis 9. Oktober 2017. Michael Imhof Verlag, 2017.

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Zahrtmann, Kristian. Kristian Zahrtmann: Queer, kunst og lidenskab. Edited by Kjærboe Rasmus, Holm Kitt, Nielsen-Bergqvist Josephine, et al. Ribe kunstmuseum, 2019.

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Fitness, Sharon. It's a dyke thing. Sharon Fitness, 2007.

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Chopo, Museo Universitario del, Círculo Cultural Gay (Mexico), and Semana Cultural Lésbica-Gay (10th : 1996 : Museo Universitario del Chopo), eds. Diez y va un siglo: Libro conmemorativo de los diez años de la Semana Cultural Lésbica-Gay. Difusión Cultural, UNAM, 1997.

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Fidelis, Gaudêncio. Queermuseu: Cartografias da diferença na arte brasileira = Queermuseum : cartographies of difference in Brazilian art. Edited by Escola de Artes Visuais do Parque Lage. Escola de Artes Visuais do Parque Lage, 2018.

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Vittorio, Sgarbi, and Viola Eugenio, eds. Arte e omosessualità: Da von Gloeden a Pierre et Gilles : l'amicizia amorosa. Electa, 2007.

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Robin, Metcalfe, and Mount Saint Vincent University. Art Gallery., eds. Queer looking, queer acting: Lesbian and gay vernacular. MSVU Art Gallery, 1997.

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Bisky, Norbert. Norbert Bisky: Malerei. Künstlerhaus Bethanien, 2005.

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Book chapters on the topic "Homosexuality in art – exhibitions"

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Codell, Julie F. "International Exhibitions." In A Companion to British Art. Blackwell Publishing Ltd, 2013. http://dx.doi.org/10.1002/9781118313756.ch10.

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Tanga, Martina. "Extramural Exhibitions." In Arte Ambientale, Urban Space, and Participatory Art. Routledge, 2019. http://dx.doi.org/10.4324/9781351187954-2.

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Zabunyan, Elvan. "Decolonizing contemporary art exhibitions." In Decolonizing Colonial Heritage. Routledge, 2021. http://dx.doi.org/10.4324/9781003100102-11.

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Mader, Rachel. "Art for Society, Whitechapel Art Gallery, London, 1978." In "When exhibitions become politics". Böhlau Verlag, 2016. http://dx.doi.org/10.7788/9783412504632-005.

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Brannigan, Erin. "Exhibitions and Exclusions." In Choreography, Visual Art and Experimental Composition 1950s–1970s. Routledge, 2022. http://dx.doi.org/10.4324/9781003253556-8.

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Frey, Bruno S. "Superstar Museums and Special Exhibitions." In Economics of Art and Culture. Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-15748-7_11.

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Grabar, Oleg. "On Catalogs, Exhibitions and Complete Works*." In Islamic Art and Beyond. Routledge, 2024. http://dx.doi.org/10.4324/9781003554424-24.

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Wynne-Jones, Victoria. "Introduction: Exhibitions and the Choreographic Turn." In Choreographing Intersubjectivity in Performance Art. Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-40585-4_1.

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Moscoso, Philip G., and Alejandro Lago. "The ‘la Caixa’ Foundation: Art exhibitions." In When Business Meets Culture. Palgrave Macmillan UK, 2011. http://dx.doi.org/10.1057/9780230295117_13.

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Vives, Anna. "Planells’ Participation in Two Major Exhibitions." In Àngel Planells’ Art and the Surrealist Canon. Routledge, 2019. http://dx.doi.org/10.4324/9780429439605-4.

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Conference papers on the topic "Homosexuality in art – exhibitions"

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Pombo, Pedro M., Maria Isabel Azevedo, and Emanuel Santos. "Holography: art and science through exhibitions." In Practical Holography XXXIX: Displays, Materials, and Applications, edited by Hiroshi Yoshikawa and Pierre-Alexandre J. Blanche. SPIE, 2025. https://doi.org/10.1117/12.3044994.

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Bauer, Axel, Martin Kocur, and Juergen Hagler. "Augmenting Murals: Creating Playful AR Experiences for Wall Art Exhibitions." In 2025 IEEE Conference on Virtual Reality and 3D User Interfaces Abstracts and Workshops (VRW). IEEE, 2025. https://doi.org/10.1109/vrw66409.2025.00009.

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Gotea, Mihaela. "�HOW DO I CONSTRUCT MY IDENTITY AS AN ARTIST?� THE USE OF STORYTELLING IN ARTIST�S ENDEAVOURS DURING A GLOBAL PANDEMIC." In 11th SWS International Scientific Conferences on SOCIAL SCIENCES - ISCSS 2024. SGEM WORLD SCIENCE, 2024. https://doi.org/10.35603/sws.iscss.2024/vs07/40.

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During the COVID-19 pandemic, the arts played an important role for people while coping during lockdown and other severe social restrictions. This presentation introduces a work in progress, where the researcher conducts a self-observation of herself as an artist by constructing a brand personality through storytelling on social media. Data consisted of weekly YouTube videos during a 20-week period, followed with diary entries and self-reflections and reactions of followers (YouTube, Instagram and Facebook). Each episode had a specific theme where I intertwined stories from my own childhood, b

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Aydoğan, Derya. "Art Exhibitions During the Pandemic." In COMMUNICATION AND TECHNOLOGY CONGRESS. ISTANBUL AYDIN UNIVERSITY, 2021. http://dx.doi.org/10.17932/ctcspc.21/ctc21.005.

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Along with other sectors and fields, art environments were also faced shutdowns during the COVID-19 Pandemic, which was caused by a type of coronavirus that affected the whole world and resulted in a new period during which people had to work from home and adjust their lives accordingly. In this period, many of the exhibitions were continued online. The prolongation and uncertainty of the period made it necessary to present online exhibitions with more realistic solutions. And this created a new trend towards virtual reality applications that offer closest experience to reality. Virtual realit

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Pittarello, Fabio. "Designing AR enhanced art exhibitions." In the 13th Biannual Conference of the Italian SIGCHI Chapter. ACM Press, 2019. http://dx.doi.org/10.1145/3351995.3352052.

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Prince, P. "A brief history of SIGGRAPH art exhibitions." In SIGGRAPH 89 Art show catalog - Computer art in context. ACM Press, 1989. http://dx.doi.org/10.1145/73877.73878.

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Coulton, Paul, Emma Murphy, Klen Čopič Pucihar, Richard Smith, and Mark Lochrie. "User curated augmented reality art exhibitions." In NordiCHI '14: The 8th Nordic Conference on Human-Computer Interaction. ACM, 2014. http://dx.doi.org/10.1145/2639189.2670190.

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Wee, C. J. "Coordinating Contemporary Asia in Art Exhibitions." In International Conference on Aesthetics and the Sciences of Art. Bandung Institute of Technology, 2020. http://dx.doi.org/10.51555/338678.

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Rina, Ratna Cahaya, Felicia Nathania, and Albert Jonathan. "Redefining Art Spaces: Interactive Features in Digital Art Exhibitions." In The Kyoto Conference on Arts, Media & Culture 2024. The International Academic Forum(IAFOR), 2024. https://doi.org/10.22492/issn.2436-0503.2024.56.

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Song, Suwan. "Discussions about Web Celebrities Frequenting Art Exhibitions." In 2022 3rd International Conference on Language, Art and Cultural Exchange（ICLACE 2022). Atlantis Press, 2022. http://dx.doi.org/10.2991/assehr.k.220706.006.

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Reports on the topic "Homosexuality in art – exhibitions"

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Green, Rachel, and Jimmy Turner. Alternative Futures: Who Decides? A story of lived experiences told through art. University of Edinburgh, 2024. http://dx.doi.org/10.2218/ed.9781836450818.

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This mini-book tells the story of the ‘The Ripple – Past, Present, Future’ Project, conducted as a research partnership between the Ripple Project, a community organisation in the Restalrig, Lochend and Craigentinny areas in Northeast Edinburgh, and the Binks Hub (University of Edinburgh) in 2023-24. The project used community art-making, creative and curational methods and practices to co-research local people’s experiences and understandings of their community, and express their hopes, dreams and demands for the future. In this mini-book we focus on the four artworks produced through the pro

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Vena, Anne. Cultural Center Annual Report 2012. Inter-American Development Bank, 2013. http://dx.doi.org/10.18235/0006015.

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The Cultural Development Program promotes cultural development in Latin America and the Caribbean by financing innovative projects for training to restore artistic traditions, preserve cultural heritage, and educate youth. In 2012, we supported civil society organizations that submitted training programs related to new technologies, creative industries, tourism and natural heritage, among others. Concerts, lectures, films, art exhibitions held at headquarters representing the Bank's member countries cultural heritage

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Duncan, Michael. Recording, Sharing, and Futureproofing Art & Design Research in Pure: Make it count. University of Dundee, 2025. https://doi.org/10.20933/100001404.

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How can practice research be preserved, cited, and recognised for it's valuable contribution to knowledge and understanding? This presentation by Michael Duncan, Research Librarian at the University of Dundee, explores best practices for documenting and sharing art and design research using Pure. It highlights the importance of metadata, DOIs, and evidence-based records to futureproof creative work for the REF and beyond. Whether you’re submitting exhibitions, performances, or artistic outputs, you’ll learn how to boost the visibility and discoverability of your practice research. From underst

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Butyrina, Maria, and Valentina Ryvlina. MEDIATIZATION OF ART: VIRTUAL MUSEUM AS MASS MEDIA. Ivan Franko National University of Lviv, 2021. http://dx.doi.org/10.30970/vjo.2021.49.11075.

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The research is devoted to the study of the phenomenon of mediatization of art on the example of virtual museums. Main objective of the study is to give communication characteristics of the mediatized socio-cultural institutions. The subject of the research is forms, directions and communication features of virtual museums. Methodology. In the process of study, the method of communication analysis, which allowed to identify and characterize the main factors of the museum’s functioning as a communication system, was used. Among them, special emphasis is put on receptive and metalinguistic funct

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Moreno Mejía, Luis Alberto, and Iván Duque Márquez. Contemporary Uruguayan Artists: An Uruguayan Presence in the About Change Exhibition. Inter-American Development Bank, 2012. http://dx.doi.org/10.18235/0006209.

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Contemporary Uruguayan Artists is part of About Change: Art from Latin America and the Caribbean, a project of the World Bank Art Program in cooperation with the Cultural Center of the Inter-American Development Bank and AMA | Art Museum of the Americas at the Organization of American States. The initiative comprises a series of exhibitions of art from Latin America and the Caribbean being offered in various venues in Washington during 2011-12. The exhibition is presented In honor of Uruguay and the City of Montevideo, site of the 53rd Annual Meeting of the Board of Governors of the IDB. The w

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Sequeira, Dora María, Ileana Alvarado V., and Félix Angel. Young Costa Rican Artists: Nine Proposals. Inter-American Development Bank, 2007. http://dx.doi.org/10.18235/0006438.

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Nine artists, all living in Costa Rica, were selected out of thirty-four who responded to an open call to present portfolios. The selection criteria is to be forty years of age or younger, have had at least one individual show, and have participated in a minimum of three group exhibitions. The exhibition has been organized by the IDB Cultural Center in collaboration with the Foundation of the Central Bank Museums of Costa Rica. Works include installations and interactive digital art, digital graphics, conventional photography, ceramics, painting, wire drawing and design objects manufactured wi

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The IDB Art Collection in Miami. Inter-American Development Bank, 2008. http://dx.doi.org/10.18235/0008063.

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Presenta two exhibitions featuring selections from the Art Collection of the Inter-American Development Bank was open in Miami at the end of March in anticipation of the IDB Annual Meeting of Governors. IDB owns nearly 1,700 works of art representing all 47 member countries of the Bank, and this collection adorns the public areas and executive offices at the Bank¿s headquarters in Washington, DC.

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3rd Inter-American Biennial of Video Art. Inter-American Development Bank, 2006. http://dx.doi.org/10.18235/0006410.

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The call for the Third Biennial included larger cash awards, an electronic registration system in four languages and, for the first time, the inclusion of Puerto Rico as a good will gesture to the United States, and artists from the Commonwealth who are indeed members of the Latin American and Caribbean family. Artist nationals from 20 countries, including Puerto Rico, submitted a total of 211 videos. The international jury with Irma Arestizábal, Cultural Secretary of the Istituto Italo-Latinoamericano in Rome and Curator of the Latin American Pavilion for the Venice Biennial, and José Roca, C

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Contemporary Jamaican Artists: A Jamaican Presence in the ABOUT CHANGE Exhibition. Inter-American Development Bank, 2011. http://dx.doi.org/10.18235/0005963.

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Contemporary Jamaican Artists is part of ABOUT CHANGE, a project implemented by the World Bank Art Program in cooperation with the Inter-American Development Bank Cultural Center, and the Art Museum of the Americas of the Organization of American States (OAS). This initiative comprises a series of exhibitions representing Latin America and the Caribbean that are being held in various venues in Washington during 2011.

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Highlights from the Collection of the Art Museum of the Americas of the Organization of American States (OAS): Outstanding Works by Artists from the Spanish, English, French, and Dutch Speaking Caribbean. Inter-American Development Bank, 2007. http://dx.doi.org/10.18235/0006408.

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Abstract:

The Art Museum of the Americas is a unique and singular asset of the Organization of American States. The museum, inaugurated in 1976, houses the most comprehensive twentieth-century art collection from Latin America and the Caribbean on public display in Washington, DC. The OAS collection, which stands for so many nationalities, traditions, and visual languages has come to embody the goals of integration and mutual understanding long pursued by our inter-American system. The IDB, through its Cultural Center, has been a long-time supporter of the Art Museum of the Americas, and that relationsh

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