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Journal articles on the topic 'Lewis Museum of Art'

Author: Grafiati

Published: 4 June 2021

Last updated: 10 February 2022

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1

Stevens, Scott Manning. "Collecting Haudenosaunee Art from the Modern Era." Arts 9, no. 2 (April 29, 2020): 55. http://dx.doi.org/10.3390/arts9020055.

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My essay considers the history of collecting the art of Haudenosaunee (Iroquois) artists in the twentieth century. For decades Native visual and material culture was viewed under the guise of ‘crafts.’ I look back to the work of Lewis Henry Morgan on Haudenosaunee material culture. His writings helped establish a specific notion of Haudenosaunee material culture within the scholarly field of anthropology in the nineteenth century. At that point two-dimensional arts did not play a substantial role in Haudenosaunee visual culture, even though both Tuscarora and Seneca artists had produced drawings and paintings then. I investigate the turn toward collecting two-dimensional Haudenosaunee representational art, where before there was only craft. I locate this turn at the beginning of Franklin Delano Roosevelt’s administration in the 1930s. It was at this point that Seneca anthropologist Arthur C. Parker recruited Native crafts people and painters working in two-dimensional art forms to participate in a Works Progress Administration-sponsored project known as the Seneca Arts Program. Thereafter, museum collectors began purchasing and displaying paintings by the artists: Jesse Cornplanter, Sanford Plummer, and Ernest Smith. I argue that their representation in museum collections opened the door for the contemporary Haudenosaunee to follow.

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2

Mirza, Romana. "Contemporizing Modesty." Fashion Studies 1, no. 2 (2019): 1–17. http://dx.doi.org/10.38055/fs010204.

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Contemporary Muslim Fashions, September 22, 2018 – January 6, 2019 was organized by the Fine Arts Museums of San Francisco, shown in the de Young Museum and curated by Jill D’Alessandro and Laura Camerlengo, both curators at the museum, and consulting curator Reina Lewis, a scholar at the London College of Fashion, University of the Arts London. The aim was to represent contemporary Muslim fashions. To this end, they assembled and exhibited a collection of garments from the most popular fashion designers of the day, chosen from a series of shows at modest fashion weeks around the world. Supplemented by key pieces that have gained traction in the news such as the Burkini™ and Nike®’s sport hijab, this exhibit elevated perceptions and highlighted a global view by showing designs from around the globe, honouring the African-American, Muslim-American, Arab, and South East Asian cultures and aesthetics. Supporting the sartorial narrative was a display of visual and multimedia art from hip hop music videos, film, Instagram feeds, photography, magazine covers, and prints. The multimedia “exhibit within an exhibit” complemented the sartorial narrative by providing a contemporary context for the clothing. It reminded the observer that the exhibit was not merely about fashion history or the evolution of modesty in dress but about a contemporary moment. The relationship between fashion and the body was explored through designs that cover the body and intentionally hide the often objectified and sexualized female figure to reveal a contemporary approach to fashion that is empowering.

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3

Thomas, John L. "Coping with the Past: Patrick Geddes, Lewis Mumford and the Regional Museum." Environment and History 3, no. 1 (February 1, 1997): 97–116. http://dx.doi.org/10.3197/096734097779556006.

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4

Wojtowicz, Robert. "A Model House and a House's Model: Reexamining Frank Lloyd Wright's House on the Mesa Project." Journal of the Society of Architectural Historians 64, no. 4 (December 1, 2005): 522–51. http://dx.doi.org/10.2307/25068203.

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This article examines Frank Lloyd Wright's House on the Mesa project, which, despite its familiarity to most historians of twentieth-century architecture, has never been thoroughly studied within the general context of Wright's expansive oeuvre and the specific circumstances of the Museum of Modern Art's 1932 Modern Architecture: International Exhibition. Numerous drawings for the project survive in the Frank Lloyd Wright Archives at Taliesin West, although only photographic evidence survives of the original model. Scattered references to the project appear in Wright's writings, most notably his correspondence with wealthy Denver businessman George Cranmer, whose family served as a kind of inspirational muse for the architect. Of special importance is a letter from Wright to critic Lewis Mumford recently discovered in the Lewis Mumford Papers at the University of Pennsylvania. Handwritten on the back of a photograph of the project's model, Wright's letter sheds new light on some of the project's technical innovations, which included textile-block walls, cantilevered roofs, and stepped casements. Less a response to the International Style, as is commonly held, the project was Wright's model of individualized, machine-age luxury for a merit-based democracy.

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5

KITLV, Redactie. "Book reviews." Bijdragen tot de taal-, land- en volkenkunde / Journal of the Humanities and Social Sciences of Southeast Asia 168, no. 2-3 (2012): 337–75. http://dx.doi.org/10.1163/22134379-90003565.

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Andrea Acri, Helen Creese, and Arlo Griffiths (eds), From Laṅkā Eastwards: The Rāmāyaṇa in the literature and visual arts of Indonesia (Dick van der Meij) Michael Arthur Aung-Thwin and Kenneth R. Hall (eds), New perspectives on the history and historiography of Southeast Asia: Continuing explorations (David Henley) Steven Farram, A short-lived enthusiasm: The Australian consulate in Portuguese Timor (Hans Hägerdal) R. Michael Feener, Patrick Daly and Anthony Reid (eds), Mapping the Acehnese past (William Bradley Horton) Geoffrey C. Gunn, History without borders: The making of an Asian world region, 1000-1800 (Craig A. Lockard) Andrew Hardy, Mauro Cucarzi and Patrizia Zolese, (eds), Champa and the archaeology of Mỹ Sơn (Vietnam) (William A. Southworth) Jac. Hoogerbrugge, Asmat: Arts, crafts and people; A photographic diary, 1969-1974 (Karen Jacobs) Felicia Katz-Harris, Inside the puppet box: A performance of wayang kulit at the Museum of international folk art (Sadiah Boonstra) Douglas Lewis, The Stranger-Kings of Sikka (Keng We Koh) Jennifer Lindsay and Maya H.T. Liem (eds), Heirs to world culture: Being Indonesian 1950-1965 (Manneke Budiman) Trần Kỳ Phương and Bruce M. Lockhart, The Cham of Vietnam: History, society and art (Arlo Griffiths) Krishna Sen and David T. Hill (eds), Politics and the media in twenty-first century Indonesia: Decade of democracy (E.P. Wieringa) Andrew N. Weintraub (ed.), Islam and popular culture in Indonesia and Malaysia (Andy Fuller) Meredith L. Weiss, Student activism in Malaysia: Crucible, mirror, sideshow (Richard Baxstrom) Widjojo Nitisastro, The Indonesian development experience: A collection of writings and speeches of Widjojo Nitisastro (J. Thomas Lindblad)

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6

Nicolescu, Gabriela. "The museum’s lexis: Driving objects into ideas." Journal of Material Culture 21, no. 4 (November 22, 2016): 465–89. http://dx.doi.org/10.1177/1359183516664207.

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This article discusses how exhibition making can be seen as a creative method for building anthropological knowledge. Situations of conflict between social classes, curatorial practices and disciplines remind us of the existence of a very subtle and enduring museum lexis which governs how political ideas are put on display. Research was conducted in tandem with an exhibition the author curated in the National Museum of the Romanian Peasant 21 years after the collapse of the communist regime in South-Eastern Europe. Reflecting upon this process, the author shows how museums use a specific lexis that is based not only on existing practices but also on contingency. These facets each engage two different notions of temporality: while practice involves repetitiveness, predictability and continuity over different historical periods, contingency creates unexpected groupings of things, settings and meanings. It is the balance of the interplay between practice and contingency that dictates how the audience engages with museum discourse.

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7

Cheney, Iris. "The Engravings of Giorgio Ghisi. Introduction and entries by Suzanne Boorsch; catalogue raisonné by Michael and R. E. Lewis. New York: The Metropolitan Museum of Art, 1985. 73 pls. + 85 figs. + 247 pp. $35; pap. $25." Renaissance Quarterly 39, no. 3 (1986): 531–33. http://dx.doi.org/10.2307/2862053.

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8

Koch, Lewis. "Art: Lewis Koch." Baffler 25 (March 2014): 115. http://dx.doi.org/10.1162/bflr_a_00270.

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9

Meirion-Jones, Gwyn I. "Medieval Hall Houses of the Winchester Area. By Elizabeth Lewis, Edward Roberts and Kenneth Roberts. 300 × 215mm. Pp. 128, many ills. Winchester: Winchester City Museum, 1988. ISBN 0-86135-011-1. £10·00." Antiquaries Journal 69, no. 1 (March 1989): 172–74. http://dx.doi.org/10.1017/s000358150004364x.

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10

Offringa, Dirkie, and Suzelle Botha. "The Pretoria Art Museum." de arte 33, no. 57 (April 1998): 58–60. http://dx.doi.org/10.1080/00043389.1998.11761269.

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11

van Deventer, Anriet. "The Pietersburg Art Museum." de arte 33, no. 57 (April 1998): 61–62. http://dx.doi.org/10.1080/00043389.1998.11761270.

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12

Stylianou-Lambert, Theopisti. "Perceiving the art museum." Museum Management and Curatorship 24, no. 2 (June 2009): 139–58. http://dx.doi.org/10.1080/09647770902731783.

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13

Carrier, David. "The Art Museum Today." Curator: The Museum Journal 54, no. 2 (April 2011): 181–89. http://dx.doi.org/10.1111/j.2151-6952.2011.00080.x.

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14

Blair, Jennifer. "Art Museum Image Gallery." Charleston Advisor 21, no. 3 (January 1, 2020): 15–19. http://dx.doi.org/10.5260/chara.21.3.15.

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Art Museum Image Gallery provides access through a subscription to museum collections of over 156,000 high-quality images sourced from the Art Archive of Picture Desk, Inc. and includes paintings, prints, ceramics, sculpture, and other art. The images span from 3000 B.C. to the present, with an emphasis on cultural and area studies. The price varies and is based on subscribers’ overlap with packages and other factors unique to institution needs, but primarily is on bracket determined by number of users. The interface could use improvement in its limiters. But individual item displays surpass similar products by providing comprehensive data including copyright privileges, the artist, original source, subjects with live links, description, and accession numbers. A link also provides a higher quality version of each image with downloadable capability. Art Museum Image Gallery is best suited for educational use and is ideal for academics, schools, the public, and the government.

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15

Hebb, Timothy Tore. "Kalmar Museum of Art." Architectural Design 78, no. 6 (November 2008): 134–35. http://dx.doi.org/10.1002/ad.791.

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16

Tollfree, Eleanor. "Art and the Museum." Art Book 8, no. 2 (March 2001): 3–5. http://dx.doi.org/10.1111/1467-8357.00235.

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17

Guffey, Elizabeth. "The Disabling Art Museum." Journal of Visual Culture 14, no. 1 (April 2015): 61–73. http://dx.doi.org/10.1177/1470412914565965.

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18

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 (October 1997): 53–54. http://dx.doi.org/10.1086/adx.16.2.27948904.

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19

Imajo, Motoi. "New lighting for museum and museum of art." JOURNAL OF THE ILLUMINATING ENGINEERING INSTITUTE OF JAPAN 74, Appendix (1990): 177. http://dx.doi.org/10.2150/jieij1980.74.appendix_177.

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20

Miller, Jack, and Laurie B. Reese. "MUSEUM TOL: Confessions of an Art Museum Librarian." Art Documentation: Journal of the Art Libraries Society of North America 6, no. 4 (December 1987): 168–69. http://dx.doi.org/10.1086/adx.6.4.27947827.

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21

Carrier, David. "THE ART MUSEUM AS A WORK OF ART: THE J. PAUL GETTY MUSEUM." Source: Notes in the History of Art 22, no. 2 (January 2003): 36–44. http://dx.doi.org/10.1086/sou.22.2.23206841.

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22

Eskilson, S. "Museum Movies: The Museum of Modern Art and the Birth of Art Cinema." Journal of American History 93, no. 1 (June 1, 2006): 267–68. http://dx.doi.org/10.2307/4486181.

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23

Yuliasari, Yuliasari, and Yeptadian Sari. "Penerapan Konsep Arsitektur Kontemporer pada Art 1 : New Museum and Art Space." Journal of Architectural Design and Development 1, no. 1 (June 30, 2020): 37. http://dx.doi.org/10.37253/jad.v1i1.718.

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Museum merupakan bangunan yang diperuntukkan sebagai tempat untuk pameran benda-benda karya seni yang memiliki nilai sejarah, seni dan ilmu. Namun pada kenyataannya, museum tidak lagi dianggap tempat penting karena kondisi beberapa museum di Indonesia kurang diperhatikan. Sehingga tingkat kunjungan masyarakat ke museum semakin menurun. Berdasarkan latar belakang tersebut maka perlu penerapan arsitektur kontemporer agar tempat yang tadinya dianggap demikian menjadi tempat yang menarik untuk dikunjungi masyarakat tanpa mengenal umur dan kalangan. Penelitian ini bertujuan untuk memahami penerapan prinsip-prinsip konsep arsitektur kontemporer pada bangunan museum dan penerapannya jika mengacu pada prinsip ruang yang terkesan terbuka. Metode dalam penelitian ini menggunakan prinsip konsep arsitektur kontemporer menurut Ogin Schirmbeck. Penerapan arsitektur kontemporer pada bangunan museum menghasilkan desain bangunan yang tidak biasa dan berbeda dari museum-museum pada umumnya.

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24

Lee, Eunjeok. "Art Museum Education to Form Art Subject Competencies." Korean Association For Learner-Centered Curriculum And Instruction 18, no. 9 (May 5, 2018): 955–77. http://dx.doi.org/10.22251/jlcci.2018.18.9.955.

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25

Stone, Denise L. "The Secondary Art Specialist and the Art Museum." Studies in Art Education 35, no. 1 (1993): 45. http://dx.doi.org/10.2307/1320837.

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26

Crampton, Sharon. "The art collection of Oliewenhuis Art Museum, Bloemfontein." de arte 37, no. 65 (January 2002): 98–101. http://dx.doi.org/10.1080/00043389.2002.11876993.

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27

Barbosa, Ana Mae Tavares Bastos. "Art education in a museum of contemporary art." Museum International 41, no. 1 (March 1989): 45–49. http://dx.doi.org/10.1111/j.1468-0033.1989.tb00757.x.

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28

Moomaw, Kate. "Collecting participatory art at the Denver Art Museum." Studies in Conservation 61, sup2 (June 2016): 130–36. http://dx.doi.org/10.1080/00393630.2016.1190904.

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29

Jacoby, Thomas. "ETHIOPIAN ART: THE WALTERS ART MUSEUM. Kelly Holbert." Art Documentation: Journal of the Art Libraries Society of North America 21, no. 2 (October 2002): 46. http://dx.doi.org/10.1086/adx.21.2.27949210.

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30

Darish, Patricia J. "African Art at the Indiana University Art Museum." African Arts 20, no. 3 (May 1987): 30. http://dx.doi.org/10.2307/3336475.

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31

Stone, Denise Lauzier. "The Art Museum and the Elementary Art Specialist." Journal of Museum Education 17, no. 1 (December 1992): 9–11. http://dx.doi.org/10.1080/10598650.1992.11510190.

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32

Glesne, Corrine E. "Museum Art in Everyday Life." LEARNing Landscapes 5, no. 2 (May 2, 2012): 99–116. http://dx.doi.org/10.36510/learnland.v5i2.555.

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Art museums engage diverse audiences in multiple forms of learning. Based on qualitative research at seven academic institutions, this article focuses on the role academic art museums play in the everyday life of students and faculty, on how people become interested in art and art museums, and on possible contributions of campus art museums beyond use in classes and research.

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33

Camilla Jalving. "Utopia at the Art Museum:." Utopian Studies 22, no. 2 (2011): 360. http://dx.doi.org/10.5325/utopianstudies.22.2.0360.

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34

Gaber, Tammy. "Islamic Art and the Museum." American Journal of Islam and Society 31, no. 2 (April 1, 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 TransregionaleStudien. This publication drew upon the expertise of the Aga KhanNetwork and experts in Germany because it was originally to be a workshopfocused on the reorganization of Berlin’s Museum of Islamic Art (MIA) aswell as a study for Toronto’s Museum of Islamic Art, which will open thisyear and house the Aga Khan’s personal collection.The forum offers a certain diversity of voices regarding issues in general(the display of Islamic art around the world) and specific to the MIA at thePergamon Museum. Its twenty-nine essays are divided into five sections: “In-132 The American Journal of Islamic Social Sciences 31:2troduction,” ...

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35

Foden-Lenahan, Erica. "Viewpoint: educating art museum librarians?" Art Libraries Journal 33, no. 1 (2008): 3–4. http://dx.doi.org/10.1017/s0307472200015145.

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36

Železnik, Adeia. "Art Museum Education in Transition." Journal of Museum Education 37, no. 3 (September 2012): 31–42. http://dx.doi.org/10.1080/10598650.2012.11510740.

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37

Gurian, Elaine Heumann. "Kelvingrove Art Gallery and Museum." Curator: The Museum Journal 50, no. 3 (July 2007): 358–61. http://dx.doi.org/10.1111/j.2151-6952.2007.tb00278.x.

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38

Dale, Daniel A., and Brenae L. Bailey. "Physics in the Art Museum." Physics Teacher 41, no. 2 (February 2003): 82–83. http://dx.doi.org/10.1119/1.1542042.

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39

Persaud, R. "Art: The Museum of Emotions." BMJ 320, no. 7246 (May 20, 2000): 1413. http://dx.doi.org/10.1136/bmj.320.7246.1413.

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40

Campbell, Siobhan. "Kamasan Art in Museum Collections." Bijdragen tot de taal-, land- en volkenkunde / Journal of the Humanities and Social Sciences of Southeast Asia 170, no. 2-3 (January 1, 2014): 250–80. http://dx.doi.org/10.1163/22134379-17002001.

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41

Newton, Douglas. "The Museum of Primitive Art." African Arts 18, no. 3 (May 1985): 8. http://dx.doi.org/10.2307/3336346.

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42

Carrier, David, and Didier Maleuvre. "Museum Memories. History, Technology, Art." Journal of Aesthetic Education 35, no. 2 (2001): 122. http://dx.doi.org/10.2307/3333680.

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43

Dillon, Paul. "The Rose Art Museum crisis." New Directions for Higher Education 2010, no. 151 (September 24, 2010): 83–92. http://dx.doi.org/10.1002/he.403.

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44

Hacker, Inge. "The Philadelphia Museum of Art." Rivista di Neuroradiologia 11, no. 1_suppl (May 1998): 31–32. http://dx.doi.org/10.1177/19714009980110s119.

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45

Harney, Elizabeth. "National Museum of African Art." African Arts 35, no. 4 (December 1, 2002): 89. http://dx.doi.org/10.1162/afar.2002.35.4.89.

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46

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

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47

Sepessy, Joan, and William B. Walker. "MUSEUM TOL: Librarians in The Metropolitan Museum of Art." Art Documentation: Journal of the Art Libraries Society of North America 5, no. 3 (October 1986): 125. http://dx.doi.org/10.1086/adx.5.3.27947625.

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48

Koszarski, Richard. "Museum Movies: The Museum of Modern Art and the Birth of Art Cinema (review)." Film History: An International Journal 18, no. 3 (2006): 350–51. http://dx.doi.org/10.1353/fih.2006.0027.

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49

Keil, Charlie. "Museum Movies: The Museum of Modern Art and the Birth of Art Cinema (review)." University of Toronto Quarterly 76, no. 1 (2007): 535–37. http://dx.doi.org/10.1353/utq.2007.0138.

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50

Selznick, Barbara. "Museum Movies: The Museum of Modern Art and the Birth of Art Cinema (review)." Moving Image 6, no. 2 (2006): 136–38. http://dx.doi.org/10.1353/mov.2007.0015.

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