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Books on the topic 'Kentucky Museum'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

Hornberger, Patrick. The Lancaster long rifle at the Landis Valley Village & Farm Museum. Trappe, Md: Eastwind Publishing, 2012.

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2

W, Fowler Harriet, ed. Handbook of the collection. Lexington, Ky: University of Kentucky Art Museum, 1991.

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3

Rough road: The Kentucky Documentary Photographic Project, 1975-1977 : an exhibit at the Frazier History Museum, Louisville, Kentucky : photographs. Jeffersonville, Ind: Quadrant Inc., 2011.

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4

Sophia, Wallace, and University of Kentucky. Art Museum., eds. New Deal art: WPA works at the University of Kentucky : University of Kentucky Art Museum, August 25--October 27, 1985. [Lexington]: The Museum, 1985.

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5

University of Kentucky. Art Museum. Russian icons from the Humble Collection. Lexington, Ky: University of Kentucky Art Museum, 1995.

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6

Pennington, Estill Curtis. With joy and wonder: Ante-bellum taste in the Bluegrass : University of Kentucky Art Museum, Lexington, Kentucky, October 4-November 29, 1992. Lexington, Ky: The Art Museum, 1992.

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7

Eason, Eige, and University of Kentucky. Art Museum., eds. A spectacular vision: The George and Susan Proskauer collection. Lexington, Ky: University of Kentucky Art Museum, 1994.

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8

Museum, University of Kentucky Art. The Robert C. May photography collection: With essays. Lexington, Ky: University of Kentucky Art Museum, 1995.

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9

Roger, Rawlings, and University of Kentucky. Art Museum., eds. Orphan in the attic: Photographs. Lexington, Ky: University of Kentucky Art Museum, 1995.

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10

Tuska: A 25-year retrospective, 8 January-19 February 1989, University of Kentucky Art Museum, Lexington. Lexington, Ky: The Museum, 1988.

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11

Pennington, Estill Curtis. With joy and wonder: Ante-bellum taste in the Bluegrass. Lexington, Ky: University of Kentucky Art Museum, 1992.

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12

Buser, Thomas. Looking in Louisville: An introduction to art based on the architecture, sculpture & painting in Louisville, Kentucky, with a careful consideration of the collection of the J.B. Speed Art Museum. [U.S.A: s.n.], 1987.

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13

Lawrence, Ardi. A daytripper's guide to the natural wonders of Kentucky: Parks, preserves & wild places. Oaks, Pa: Country Roads Press, 1997.

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14

Kentucky Derby Museum at Historic Churchill Downs, Louisville, Kentucky. Harmony House Pub Louisville, 1986.

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15

The Kentucky Derby Museum cook book. Louisville, Ky: Kentucky Derby Museum Corp., 1986.

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16

Museum, Headley-Whitney, and Kentucky. Dept. of the Arts., eds. Kentucky graphics '88: A juried exhibition of drawings, photography, and prints by Kentucky artists, December 11, 1988-January 29, 1989, Headley-Whitney Museum, Lexington, Kentucky. Frankfort, Ky: The Department, 1988.

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17

Blaker, George A. Fighting vehicles of the Patton Museum of Cavalry and Armor, Fort Knox, Kentucky. G.A. Blaker, 1995.

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18

Oberlin, Kathleen C. Creating the Creation Museum. NYU Press, 2020. http://dx.doi.org/10.18574/nyu/9781479881642.001.0001.

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The typical story about creationist social movements centers on battles in the classroom or in the courtroom—like the Scopes Trial in 1925. But there is a new setting: a museum. “Prepare to Believe” is the slogan that greets visitors throughout the Creation Museum located in Petersburg, Kentucky. It carries the message that the organization Answers in Genesis (AiG) uses to welcome fellow believers as well as skeptics since opening in 2007. The Creation Museum seeks to persuade visitors that if one views both the Bible (a close, literal reading) and nature (observational, real world data) as sources of authority, then the earth appears to be much younger than conventionally understood in mainstream society. This book argues that the impact of the Creation Museum does not depend on the accuracy or credibility of its scientific claims, as many scholars, media critics, and political pundits would suggest. Instead, what AiG goes after by creating a physical site like the Creation Museum is the ability to foster plausibility politics—broadening what the audience perceives as possible and amplifying the stakes as the ideas reach more people. Destabilizing the belief that only one type of secular institution may make claims about the age of the earth and human origins, the Creation Museum is a threat to this singular positioning. In doing so, AiG repositions itself to produce longstanding effects on the public’s perception of who may make scientific claims. Creating the Creation Museum is a story about how a group endures.

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19

Tuska, John Regis. Tuska: A 25-year retrospective, 8 January-19 February 1989, University of Kentucky Art Museum, Lexington. The Museum, 1988.

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20

Caudill, Edward. Creationism’s Web. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038013.003.0008.

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This chapter examines how creationists harnessed websites, magazines, museums, and institutes to rewrite history as well as the rules of science. By the end of the twentieth century, the Scopes trial was no longer a humiliation for creationists but an indignation. Realizing that the problem had been to make any compromise with literalism's naysayers, creationists recast and remythologized Scopes as a lesson, their defining moment in the fight against evolution. This chapter begins with an overview of the Creation Museum, located in Petersburg, Kentucky, and the ministry behind it, Answers in Genesis (AiG), along with AiG's proposed Ark Encounter museum. It then considers AiG's web sites as well as the Discovery Institute's creation of an online guide called Getting the Facts Straight: A Viewer's Guide to PBS's Evolution in response to the PBS seven-part series Evolution. It also discusses the movie Alleged, which addressed the conflict between science and creationism, and concludes with an assessment of the Creation Museum's depiction of Darwinism and interpretation of the Scopes trial.

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21

A Romance with the Landscape: Realism to Impressionism. University of Kentucky Art Museum, 2007.

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22

Art, Snite Museum of, Indiana University. Museum of Art., and University of Kentucky. Art Museum., eds. Three universities collect: 20th-century works on paper : the Snite Museum of Art, University of Notre Dame, September 17-November 10, 1989, Indiana University Art Museum, January 23-March 4, 1990, University of Kentucky Art Museum, April 1-May 13, 1990. [Bloomington, Ind.]: Indiana University Art Museum, 1989.

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23

Krupa, James J. Mammals of Robinson Forest: Species composition of an isolated, mixed-mesophytic forest on the Cumberland Plateau in southeastern Kentucky (Special publications / Museum of Texas Tech University). Museum of Texas Tech University, 2002.

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24

Joyce, Gross, Benberry Cuesta, and MAQS, eds. 20th century quilts, 1900-1970: Women make their mark : an exhibition of historic quilts developed in conjunction with the Museum of the American Quilter's Society, Paducah, Kentucky, March 22, 1997-June 29, 1997. Paducah, KY: The Society, 1997.

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25

Snead, James E. Relic Hunters. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198736271.001.0001.

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Relic Hunters is a study of the complex relationship between the people of 19th century America with the material antiquities of North America's indigenous past. As scholars struggled to explain their existence, farmers in Ohio were plowing up arrowheads, building their houses atop burial mounds, and developing their own ideas about antiquity. They experienced the new country as a "place with history" reflected in material traces that became important touch points for scientific knowledge, but for American cultural identity as well. Relic Hunters traces the encounter with American antiquities from 1812 to 1879. This encompasses the period when archaeology took root in the United States: it also spans the "deep settlement" of the Midwest and sectional strife both before and after the Civil War. At the center of the story is the first iconic find of American archaeology, known as "the Kentucky Mummy." Discovered deep in a cavern, this dessicated burial became the subject of scholarly competition, traveling exhibitions, and even poetry. The book uses the theme of the Kentucky Mummy to structure the broader story of the public and American antiquities, a tour that leads through rural museums, mound excavations, lecture tours, shady deals, and ultimately into the famous attic of the Smithsonian Institution. Ultimately, Relic Hunters is a story of the American landscape, and of the role of archaeology in shaping that place. Derived from letters, memoranda, and reports found in more than a dozen archives, this is a unique account of a critical encounter that shaped local and national identity in ways that are only now being explored.

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26

Einboden, Jeffrey. Jefferson's Muslim Fugitives. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190844479.001.0001.

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On October 3, 1807, Thomas Jefferson was contacted by an unknown traveler from the American frontier, who urgently requested a private “interview” with the President, promising to disclose “a matter of momentous importance”. By the next day, Jefferson held in his hands two astonishing manuscripts whose history has been lost for over two centuries. Authored by Muslims fleeing captivity in rural Kentucky, these documents delivered to the President in 1807 were penned by literate African slaves, and written entirely in Arabic. Jefferson’s Muslim Fugitives reveals the untold story of two escaped West Africans in the American heartland whose Arabic writings reached a sitting U.S. President, prompting him to intervene on their behalf. Recounting a quest for emancipation that crosses borders of race, region and religion, Jeffrey Einboden unearths Arabic manuscripts that circulated among Jefferson and his prominent peers, including a document from 1780s Georgia identified as the earliest surviving example of Muslim slave authorship in the newly-formed United States. Revealing Jefferson’s lifelong entanglements with Islam and captivity, Jefferson’s Muslim Fugitives tracks the ascent of Arabic slave writings to the highest halls of U.S. power, while questioning why such vital legacies from the American past have been entirely forgotten.

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