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

Author: Grafiati

Published: 4 June 2021

Last updated: 13 February 2022

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1

Jacknis, Ira. "Anthropology, Art, and Folklore." Museum Worlds 7, no. 1 (2019): 109–33. http://dx.doi.org/10.3167/armw.2019.070108.

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In the great age of museum institutionalization between 1875 and 1925, museums competed to form collections in newly defined object categories. Yet museums were uncertain about what to collect, as the boundaries between art and anthropology and between art and craft were fluid and contested. As a case study, this article traces the tortured fate of a large collection of folk pottery assembled by New York art patron Emily de Forest (1851–1942). After assembling her private collection, Mrs. de Forest encountered difficulties in donating it to the American Museum of Natural History and the Metropolitan Museum of Art. After becoming part of the Philadelphia Museum of Art, it finally found a home at the Pennsylvania State Museum of Anthropology. Emily de Forest represents an initial movement in the estheticization of ethnic and folk crafts, an appropriation that has since led to the establishment of specifically defined museums of folk art and craft.

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2

Brody, David Eric. "The Building of a Label: The New American Folk Art Museum." American Quarterly 55, no. 2 (2003): 257–76. http://dx.doi.org/10.1353/aq.2003.0011.

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3

Marshall, Jennifer. "Common Goods: American Folk Crafts as Sculpture at the Museum of Modern Art, New York City, 1932—33." Prospects 27 (October 2002): 447–65. http://dx.doi.org/10.1017/s0361233300001289.

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During New York City's newly opened Museum of Modern Art's (MoMA's) fourth exhibition season of 1932–33, while director and intellectual leader Alfred H. Barr, Jr. was on sabbatical leave in Europe, interim director Holger Cahill mounted a show of 18th- and 19th-century American arts and crafts. Offered for sale in New England as antiques at the time of the show, the items on display in Cahill's American Folk Art: The Art of the Common Man in America 1750–1900 obscured the divisions between the avant-garde and the traditional, between high art and the everyday object. In an exhibit of items not easily categorized as modern nor properly considered art, MoMA admitted such local antiques and curiosities as weather vanes and amateur paintings into spaces otherwise reserved for the likes of Cézanne and Picasso.

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4

Kirwin, Liza. "Plain Painters: Making Sense of American Folk Art. John Michael VlachThe Spirit of Folk Art: The Girard Collection at the Museum of International Folk Art. Henry Glassie." Archives of American Art Journal 31, no. 1 (1991): 31–34. http://dx.doi.org/10.1086/aaa.31.1.1557701.

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5

Rosa, John. "Small Numbers/Big City: Innovative Presentations of Pacific Islander Art and Culture in Phoenix, Arizona." AAPI Nexus Journal: Policy, Practice, and Community 5, no. 1 (2007): 59–78. http://dx.doi.org/10.36650/nexus5.1_59-78_rosa.

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This resource paper provides an overview of how the small but growing Pacific Islander and Asian American community in Phoenix has sustained, developed, and preserved its culture and art in the absence of a permanent AAPI art or cultural museum. This article gives examples of such alternative formats and includes details on dance, music, and other folk cultural practices. Metropolitan statistical areas with AAPI populations comparable to Phoenix include Minneapolis, Atlanta, and Dallas. Phoenix community groups use small, temporary displays at annual AAPI cultural festivals. One approach is a ?museum on wheels? ? a used tour bus filled with certified reproductions of artifacts on loan from the Bishop Museum in Honolulu. Native Hawaiians also collaborate with the more numerous Native American organizations that can provide venues for indigenous arts. Universities and state humanities councils are frequent sources of funding for AAPI artists. MSAs with Pacific Islander populations most comparable to Phoenix (in the range of 10,000 to 15,000) are the U.S. Southwestern cities of Las Vegas and Salt Lake City. Pacific Islanders in these cities might be most likely to employ display formats and strategies similar to those used in Phoenix.

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Brown, Douglas. "Encyclopedia of American Folk Art2004277Edited by Gerard C. Wertkin. Encyclopedia of American Folk Art. New York, NY and London: Routledge 2004. xxxiii + 612 pp., ISBN: 0 415 92986 5 £120 $125 Published in association with the American Folk Art Museum." Reference Reviews 18, no. 5 (2004): 44–45. http://dx.doi.org/10.1108/09504120410543264.

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7

Blackstone, Sarah. "The Theatre Museum of Repertoire Americana." Theatre Survey 41, no. 1 (2000): 89–93. http://dx.doi.org/10.1017/s0040557400004403.

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Sarah Blackstone is Chair of the Department of Theatre at Southern Illinois University and serves on the Advisory Board for the Theatre Museum of Repertoire Americana. Neil and Caroline Schaffner started collecting memorabilia from the repertoire theater movement during the 1950s. They dreamed of one day establishing a museum that would display their collection and other items connected with this wide-spread popular entertainment form. In 1973, with the help of the Midwest Old Settlers and Threshers Association, and endless hours of effort, their dream was realized in the small town of Mt. Pleasant, Iowa. Since that time, the Museum of Repertoire Americana has prospered, and it currently houses an impressive collection of uniquely American research materials. Dedicated to preserving the rural theatrical heritage of the Midwest, the Museum has materials related to opera houses, circle stock companies, Uncle Tom shows, showboats, and tent shows of all descriptions. I offer here a brief description of the collection, together with information about the National Society for the Preservation of Tent, Folk, and Repertoire Theatre and the annual Theatre History Seminar this organization holds at the Museum each April.

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8

Schriber, Abbe. "Mapping a New Humanism in the 1940s: Thelma Johnson Streat between Dance and Painting." Arts 9, no. 1 (2020): 7. http://dx.doi.org/10.3390/arts9010007.

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Thelma Johnson Streat is perhaps best known as the first African American woman to have work acquired by the Museum of Modern Art. However, in the 1940s–1950s she inhabited multiple coinciding roles: painter, performer, choreographer, cultural ethnographer, and folklore collector. As part of this expansive practice, her canvases display a peculiar movement and animacy while her dances transmit the restraint of the two-dimensional figure. Drawing from black feminist theoretical redefinitions of the human, this paper argues that Streat’s exploration of muralism, African American spirituals, Native Northwest Coast cultural production, and Yaqui Mexican-Indigenous folk music established a diasporic mapping forged through the coxtension of gesture and brushstroke. This transmedial work disorients colonial cartographies which were the products of displacement, conquest, and dispossession, aiding notions of a new humanism at mid-century.

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9

Kumar, Lal Bahadur. "MADHUBANI FOLK PAINTINGS AND AMAZING COMBINATION OF COLORS." International Journal of Research -GRANTHAALAYAH 2, no. 3SE (2014): 1–2. http://dx.doi.org/10.29121/granthaalayah.v2.i3se.2014.3573.

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Through the Madhubani Lak Chitrakala of Mithilanchal, the tradition of Lakkitra is still being maintained. The art of the art is dynamic even today, based on the Sh वंशi dynasty tradition. Madhubani paintings are in great demand abroad but they are neglected in their own country. It is unfortunate that those who have skills in their hands are poor on the rural artist. The country's art world did not get noticed, while "Hasebhawa of Japan has established the Mithila Museum on a hill in Niigata, northwest of the capital Takia." "Hasegawa", a Japanese art admirer and art connoisseur, has visited India more than twenty five times. He also went to the residence of many famous artists of Madhubani paintings and discussed the combination of techniques and colors with the artists of Mithila and Madhubani paintings. After understanding, Mithila artists went to Japan with them and also painted them. Apart from this, many artists visiting America, England, South Africa, France, Germany, Mauritius have made people aware of this art and have raised the value of the country. मिथिलांचल की मधुबनी ल¨क चित्र्ाकला के माध्यम से ल¨कचित्र्ा परम्परा का निर्वाह आज भी किया जा रहा है। यहाँ की ल¨क कला श्©ली वंश परम्परा के आधार पर आज भी गतिशील है। मधुबनी ल¨क चित्र्ाकला की विदेश¨ं में काफी मांग है ल्¨किन वह अपने ही देश में उपेक्षित है। दुर्भाग्य की बात है कि जिनके हाथ में हुनर है, वे ग्रामीण कलाकार आमत©र पर गरीब हैं। देश के कला-जगत् की नजर इस पर नहीं गई, जबकि ‘‘जापान के हासेभावा ने राजधानी ट¨किय¨ से उत्तर-पश्चिम में स्थित निगाता में एक पहाड़ी पर मिथिला म्यूजियम की स्थापना की है। जापान के कला के मर्मज्ञ एवं कला पारखी ‘‘हासेगावा’’ पच्चीस से अधिक बार भारत आ चुके हैं। वे मधुबनी ल¨क चित्र्ाकला के कई सुप्रसिद्ध कलाकार¨ं के आवास पर भी गए अ©र मिथिला के कलाकार¨ं से मधुबनी ल¨क चित्र्ाकला के माध्यम व तकनीक एवं रंग¨ं के संय¨जन पर चर्चा की अ©र उनक¨ समझने के बाद मिथिला कलाकार¨ं क¨ अपने साथ जापान ल्¨ जाकर चित्र्ा रचना भी कराई। इसके अलावा अमेरिका, इंग्ल्©ण्ड, दक्षिण अफ्रीका, फ्रांस, जर्मनी, मॉरीशस जाकर कई कलाकार¨ं ने इस ल¨क कला श्©ली से ल¨ग¨ं क¨ अवगत कराया अ©र देश का मान बढ़ाया है।

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10

Benedetti, Joan. "MADE WITH PASSION: THE HEMPHILL FOLK ART COLLECTION IN THE NATIONAL MUSEUM OF AMERICAN ART. Lynda Roscoe Hartigan , Andrew L. Connors , Elizabeth Tisdel Holmstead , Tonia L. Horton." Art Documentation: Journal of the Art Libraries Society of North America 10, no. 2 (1991): 114–15. http://dx.doi.org/10.1086/adx.10.2.27948345.

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11

Benedetti, Joan M. "Folk Artists Biographical Index, edited by George H. Meyer. Detroit: Gale Research Co., 1987. Published in association with the Museum of American Folk Art. 496 pp. ISBN 0-8103-2145-9. $40.00." Art Libraries Journal 13, no. 1 (1988): 28–33. http://dx.doi.org/10.1017/s030747220000554x.

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12

Blanchette, Jean-François. "Rousseau, Valérie (dir.). When the Curtain Never Comes Down : Performance Art and the Alter Ego. New York, American Folk Art Museum, 2015, 137 p. ISBN 978-0-912161-24-2. Exposition : When the Curtain Never Comes Down, Valérie Rousseau, commissaire, du 26 mars 2015 au 5 juillet 2015 à l’American Folk Art Museum, New York." Rabaska: Revue d'ethnologie de l'Amérique française 15 (2017): 277. http://dx.doi.org/10.7202/1041154ar.

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13

TALAMANTEZ, JOSIE S. "Museum of International Folk Art. JOYCE ICE, director; ANNIE CARLANO, curator of European and North American Collections; FELICIA KATZ HARRIS, curator of Asian and Middle Eastern collections; BARBARA MOULDIN, curator of Latin American collections." Public Historian 29, no. 4 (2007): 99–102. http://dx.doi.org/10.1525/tph.2007.29.4.99.

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14

Joselit, Jenna Weissman. "Leap of Faith: Review of the American Folk Art Museum Exhibition, “Gilded Lions and Jeweled Horses: The Synagogue to the Carousel—Jewish Carving Traditions,” curated by Murray Zimiles and Stacy C. Hollander." IMAGES 2, no. 1 (2008): 219–20. http://dx.doi.org/10.1163/187180008x408690.

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15

Zaslavsky, Claudia. "Symmetry In American Folk Art." Arithmetic Teacher 38, no. 1 (1990): 6–12. http://dx.doi.org/10.5951/at.38.1.0006.

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Symmetrical designs and repeated patterns are important elements in the arts of many cultures—in fabrics, masks, pottery, and wood carvings, to mention just a few examples (Appleton 1971; Chatley 1986; Harris 1987; Krause 1983; Larsen and Gull 1977; Zaslavsky 1973, 1979, 1981, 1987). Many examples can be found in the textile arts alone. Symmetrical patterns in quilts and rugs, the subject of this article, often have symbolic meaning and play a role similar to writing in conveying ideas. The artist, who is usually anonymous, may introduce variations on the traditional themes or may boldly create new designs.

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16

Howell, Joyce Bernstein. "Encyclopedia of American Folk Art." Journal of American Culture 27, no. 4 (2004): 442–43. http://dx.doi.org/10.1111/j.1542-734x.2004.148_12.x.

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17

Hughston, Milan R. "NATIONAL MUSEUM OF AMERICAN ART, SMITHSONIAN INSTITUTION. National Museum of American Art." Art Documentation: Journal of the Art Libraries Society of North America 16, no. 2 (1997): 53–54. http://dx.doi.org/10.1086/adx.16.2.27948904.

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18

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

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19

Polyakova, L. M. "Folk embroidery lessons." Ethnography of Altai and Adjacent Territories 10 (2020): 376–80. http://dx.doi.org/10.37386/2687-0592-2020-10-376-380.

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The article describes the author's practical experience in studying the basics of Russian folk embroidery, mastering the skill of embroidery on the best examples of traditional folk art from the country's museum collections, popularizing knowledge about arts and crafts creativity and spiritual traditions of the Russian people. Particular attention is paid to the role of mentors in the study of folk art.

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20

Harris, Trudier, and William Ferris. "Afro-American Folk Art and Crafts." Western Folklore 44, no. 1 (1985): 52. http://dx.doi.org/10.2307/1499953.

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21

Lewis, Samella, and William Ferris. "Afro-American Folk Art and Crafts." African Arts 20, no. 4 (1987): 85. http://dx.doi.org/10.2307/3336645.

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22

Melnychuk, Halyna. "Modern forms of handicraftsmanship preservation and promotion (taking Kosiv Museum of Hutsul Folk Art and Life as an example)." Науковий вісник Чернівецького національного університету імені Юрія Федьковича. Історія 2, no. 50 (2019): 64–69. http://dx.doi.org/10.31861/hj2019.50.64-69.

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The author of the article expounds modalities of Kosiv Museum of Hutsul Folk Art and Life activities, cultural and educational, in particular. It is found out that the regional museum centres carry out an important mission to collect, house and learn about the handmade artefacts. The factual material is analysed, which indicates that the museum is highly ranked in terms of preservation of the traditional arts and crafts of Hutsul region. The museum staff has developed a certain concept, the goal of which is to coordinate activities of both the artists and educational institutions, in order to popularize the historical and cultural legacy of Hutsul region. The museum staff is the initiator and co-organizer of various exhibitions, fairs, master classes and displays of folk arts and crafts. Young people are involved in practical classes on traditional crafts during art events with folk artisans and interactive games. Interactive digital media, tours, lectures, theatre performances, folklore and musical performances are used in the museum expositions to achieve the educational goal. Displays of works by folk and amateur masters, artists of professional decorative and applied art are at the forefront of the museum activities. The main place, among various events, is occupied by exhibitions dedicated to the disappearing Hutsul traditions, clothing, in particular. The innovative elements, which are manifested in the support of the contemporary art and implementation of the original art projects, have become traditional. The museum holds unique exhibitions, in which all exhibits are accessible to people with severe visual impairments. The material analysed proves that the museum activities are an important part of the life of Hutsul region in the field of culture and art. The museum vernissages help increase the cultural level of the audience and their approximation for understanding of how important it is to preserve the material and spiritual legacy of Ukrainian people. Keywords. Kosiv Museum of Hutsul Folk Art and Life, arts and crafts, artisans, artists, preservation, popularization, handicraftsmanship, exhibitions, material and spiritual legacy.

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23

Deutsch, James I., and Simon J. Bronner. "American Folk Art: A Guide to Sources." Western Folklore 45, no. 1 (1986): 59. http://dx.doi.org/10.2307/1499610.

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Mayer, Nevin J. "Sources: American Folk Art: A Regional Reference." Reference & User Services Quarterly 52, no. 2 (2012): 163–64. http://dx.doi.org/10.5860/rusq.52n2.163.

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Young, M. Jane, and Simon J. Bronner. "American Folk Art: A Guide to Sources." Journal of American Folklore 98, no. 389 (1985): 362. http://dx.doi.org/10.2307/539956.

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26

Rutkow, Ira M. "Folk Art Portraiture of Early American Surgeons." Archives of Surgery 134, no. 7 (1999): 782. http://dx.doi.org/10.1001/archsurg.134.7.782.

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Staub, Shalom. ""The Jewish Heritage in American Folk Art"." Journal of American Folklore 100, no. 396 (1987): 200. http://dx.doi.org/10.2307/540922.

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Rychkova, Ekaterina А. "THE HANDICRAFTS MUSEUM AS AN ACTUAL FORM OF MUSEUM ACTIVITY IN THE SECOND HALF OF THE XIX - THE FIRST THIRD OF THE XX CENTURIES (ON THE EXAMPLE OF THE MOSCOW HANDICRAFTS MUSEUM)." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 40 (2020): 273–78. http://dx.doi.org/10.17223/22220836/40/25.

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The development of folk crafts in Russia was closely connected with the formation of handicrafts museums that performed complex tasks of preserving, studying and promoting folk art. The study of their history today is one of the problems that have not yet been sufficiently studied in museology. Handicrafts museums were considered by researchers primarily in the general historical context of the influence of state policy and provincial zemstvos on the development of handicraft industry in Russia. However, the phenomenon of handicrafts museums remains insufficiently studied from the point of view of history and the theory of museum work. The type of the handicrafts museum has not yet been singled out as an actual form of the museum institution of the last quarter of the XIX – the first third of the XX centuries, which spread in several provinces of the Russian Empire. The purpose of the article is to review the main activities of the Moscow Handicrafts Museum - an example of the formation of new types of museums in Russia and their influence on the development of folk crafts in the second half of the 19th century – the first third of the 20th centuries. Moscow Handicrafts Museum opened in 1885. His task was to fully promote the development of folk art and the implementation of handicrafts. One of the main features and goals of creating the Handicrafts Museums in the Russian Empire was the formation of an established system of state patronage over the peasants who were freed from serfdom and promotion of their involvement in the new sector of the economy. The museum staff formed the museum collection, actively participated in organizing the training of folk craftsmen, arranging production workshops, became intermediaries in the art market, and was engaged in active exhibition work around the world, especially at large industrial fairs. In the 1890–1910s, the case started in Moscow spread quickly to almost the whole country. Handicrafts museums immediately arose in several provinces of Russia. One of the program documents of that period was the concept of the development of the Handicrafts Museum, proposed in a report of Sergey Morozov in 1910. Thus, at the beginning of the twentieth century in Moscow, the structure of an effective museum was formed, aimed at systematic work with folk crafts and successfully involving a wide range of partners: artists and scientists, merchants and foreign industrialists. Thanks to the assistance of handicrafts museums in Russia in the late XIX – early XX centuries traditional folk crafts were able to survive and be adequately represented throughout the world. The aesthetic significance of folk art has been recognized. The study of folk art has become an important subject of scientific research. All aspects of the multifaceted history of the formation and development of handicrafts museums and their role in the socio-economic and cultural development of Russia are of great scientific interest and require careful further study.

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Wilson, David Scofield, and John Michael Vlach. "Plain Painters: Making Sense of American Folk Art." Western Folklore 49, no. 4 (1990): 420. http://dx.doi.org/10.2307/1499756.

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30

Delacruz, Elizabeth Manley. "Outside In: Deliberations on American Contemporary Folk Art." Journal of Aesthetic Education 34, no. 1 (2000): 77. http://dx.doi.org/10.2307/3333656.

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31

Emans, Charlotte M., and John Michael Vlach. "Plain Painters, Making Sense of American Folk Art." Journal of American Folklore 104, no. 412 (1991): 218. http://dx.doi.org/10.2307/541241.

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

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

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34

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

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El museo de arte Whitney de Breuer se ubica en la isla de Manhattan, en Nueva York, próximo a varios museos muy importantes: al Museo Americano de Historia Natural, al Museo Metropolitano de Arte y al Museo Guggenheim, la obra más conocida de Franz Lloyd Wright. En la génesis del proyecto influirán las características del lugar, la geometría de la parcelación, las metáforas concomitantes con la fachada del anterior Museo Whitney, la emulación de la aérea volatilidad del Museo Guggenheim y la bien engrasada disposición del programa funcional, condensadas en una sección principal que se hunde bajo la línea de tierra y busca allí las raíces del diseño. El plano del terreno original separa arquitecturas distintas respecto al programa, la estructura y la morfología: transparencia de la parte inferior de la fachada frente a la opacidad y masividad de los volúmenes que avanzan hacia el exterior. El patio mediterráneo subyace en el esquema de la disposición de la planta y el complejo patio inglés aporta la sección generadora y da forma literal a las fachadas, contenidas por una envolvente abstracta y poseedoras de un contenido encriptado.

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35

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

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36

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

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37

Bystriakova, Valentyna, Alla Osadcha, and Olesia Pilhuk. "The Use of Decorative Art Elements in the Works of Ukrainian Designers." Culturology Ideas, no. 15 (1'2019) (2019): 177–84. http://dx.doi.org/10.37627/2311-9489-15-2019-1.177-184.

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The article assesses the role of elements of decorative art in domestic design. It allocates sources and interrelation of decorative art and design, considers separate definitions of a concept of design. It is established that basic characteristic which helps to separate design from decorative creativity is manual artwork inherent in decorative art. The article argues that generally the design and decorative art are interdependent, while being rather autonomous, providing particular examples from creative practice of the Ukrainian artists and designers. It also considers functioning of creative platforms of the National Museum of the Ukrainian folk decorative art and the Museum of Modern Art of Ukraine. It is unconditional that the role of design steadily increases in the modern world, and a similar trend will only gain strength. Designers of our country managed not only to accumulate the Ukrainian traditional, original art in modern art objects, but also to solve a problem of innovations in decorative art, to keep it as a valuable reference point of modern culture according to the level of social and technological development of society. The role of the National Museum of the Ukrainian folk decorative art and the Museum of Modern Art of Ukraine which act de facto as art spaces for creative exhibitions of designers and other artists of our country is considerable.

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38

Rittig Šiško, Tea. "Musealisation of folk art - on the occasion of the 100th anniversary of the Ethnographic Museum." Etnološka istraživanja, no. 24 (December 5, 2019): 17–42. http://dx.doi.org/10.32458/ei.24.9.

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Starting from the concept of folk art as a historical phenomenon that refers to par- ticular civic processes of valorisation, selection and representation of peasant painting traditions, its role can be considered against the backdrop of specific economic, social and political circumstances of congenial cultural activities, which, from the end of the 19th century to the World War II, included the practices of gathering of ethnographic collections, the formation of the first museum collections and museum activities, the development of artistic crafts, encouragement of home-based handicraft businesses, as well as education in visual arts through professional education. This paper provides a historical overview of the process of affirmation of folk art, with an emphasis on musealisation and it is intended as a contribution to the interpretation of the initial collections of the Ethnographic Museum

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Erickson, Kirstin C. "Pottery of the U.S. South: A Living Tradition." Museum Anthropology Review 9, no. 1-2 (2015): 106–8. http://dx.doi.org/10.14434/mar.v9i1-2.13719.

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Hall, Michael D. "Stereoscopic Perspective: Reflections on American Fine and Folk Art." Journal of Aesthetics and Art Criticism 47, no. 2 (1989): 200. http://dx.doi.org/10.2307/431847.

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Hartigan, Lynda Roscoe. "Going Urban: American Folk Art and the Great Migration." American Art 14, no. 2 (2000): 27–51. http://dx.doi.org/10.1086/424355.

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Honjo, Michiyo. "How to connect: joining up the archives at Musashino Art University Museum & Library." Art Libraries Journal 38, no. 2 (2013): 17–20. http://dx.doi.org/10.1017/s0307472200017983.

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The Musashino Art University Museum & Library is run in a unique way that has allowed it to function as library and museum in one, ever since its inception. The contents of the digital archives being created at this 50-year-old, multifunctional museum and library are highly diverse, ranging from rare books, held in the library, to design collections, visual resources, and material on folk art, held in the art museum. Together with the University’s Research Center for Art and Design, the Museum & Library is currently creating an integrated database of its holdings, and digitising its archive collections. The aim is to offer multifaceted information networks that can be interrogated simultaneously for all intellectual information relating to specific artists or artworks as well as to the art collection of the museum. The common challenge in creating these digital archives is the systematisation, sharing and visualisation of a multiplicity of research resources.

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

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This review of selected paper and electronic resources on Native American art describes what is available at the Haskell Indian Nations University Library and Archives in Lawrence, Kansas; the Institute of American Indian Arts Library and Archives in Santa Fe, New Mexico; the H.A. & Mary K. Chapman Library and Archives at the Philbrook Museum of Art in Tulsa, Oklahoma; and the Billie Jane Baguley Library and Archives at the Heard Museum Library in Phoenix, Arizona. These four institutions develop and maintain resources and collections on Native American art and make the information they contain about indigenous groups available not only to their users and other scholars but also to the wider world.

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

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Caragol, Taína. "Documenting Latin American art at the Museum of Modern Art Library." Art Libraries Journal 30, no. 3 (2005): 33–36. http://dx.doi.org/10.1017/s0307472200014085.

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This article traces the history of the Latin American holdings of the Museum of Modern Art Library, one of the first institutions outside Latin America to start documenting the art of this geopolitical region, and one of the best research centers on modern Latin American art in the world. This success story dates back to the thirties, when the Museum Library began building a Latin American and Caribbean collection that currently comprises over 15,000 volumes of catalogues and art books. The launch of various research tools and facilities for scholars and the general public in recent years also shows the Museum’s strong commitment not only towards Latin American art history but also to the present and the future of the Latino art community.

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Sanfuentes, Olaya. "Latin American Popular Art in a Museum: How Things Become Art." Artium Quaestiones, no. 29 (May 7, 2019): 63–89. http://dx.doi.org/10.14746/aq.2018.29.3.

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In 1943 when Universidad de Chile celebrated its centennial all Latin American nations were invited to participate in the commemorative events. One of the most interesting was the Exhibition of American Popular Art at the Museo Nacional de Bellas Artes(National Museum of Fine Arts) which brought together the objects from participating countries. The Universidad de Chile´s invitation asked countries to send functional objects that were part of the people´s daily lives. The exhibition was very successful, critically acclaimed, and highly attended. But above all, it planted the seed for what was to become the Museo de Artes Populares Americanas(American Popular Art Museum) functioning to this day.In this essay I would like to highlight a series of contexts, actors and institutions behind the phenomena: specific incarnations of Pan Americanism during the Second World War; the Latin American perspective in general and in particular, the Chilean perspective of the university´s role in society; the new value of Latin American arts since the 20thcentury. These contexts and events are useful to shed light on the “social life” of the objects that were part of the exhibition and they also help us to understand a dynamic definition of art which emerged from the recognition of craft in use as worthy of exhibition in a National Fine Arts Museum and then to remain at the permanent collection of a popular art museum.The radical importance of this essay is that it constitutes an example of a thing which represents not just art but also other values. In a midst of the World War II, Latin American Popular Art represented peace. The objects of the exhibition were seen as incarnations of Latin American cultural identity and historiography has gone on to view Latin American culture as a specific contribution to peace effort.

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Gavin, Sergey V., and Zoya A. Tanshina. "Tapestry art in Mordovia today." Finno-Ugric World 11, no. 1 (2019): 86–92. http://dx.doi.org/10.15507/2076-2577.011.2019.01.086-092.

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The article discussed the role of contemporary tapestry art in modern culture, the history of the formation and growth of national decorative-applied and monumental art schools in the Republics of former Soviet Union, the importance of both group and personal tapestry exhibitions organized by regional creative organizations of the Union of Artists and the Russian Union of Artists as well as the state Museum-Reserve “Tsaritsyno”. It emphasizes the importance of using richest traditions of folk art, stories and legends of the people living in multiethnic Russia. The works of teachers and graduates of the Department “Folk Art Culture and Contemporary Art” of the Institute of National Culture of Ogarev Mordovia State University have been demonstrated as an example of those who apply modern tapestry in architectural space design. The paper also defines prospects for the development of tapestry art in the works of young artists.

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Griffith, James S., Pat Jasper, and Kay Turner. "Art among Us / Arte Entre Nosotros: Mexican American Folk Art of San Antonio." Journal of American Folklore 101, no. 399 (1988): 126. http://dx.doi.org/10.2307/540286.

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

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

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