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Relevant bibliographies by topics / Museum of Contemporary Art (Chicago, Ill.)

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Journal articles

Academic literature on the topic 'Museum of Contemporary Art (Chicago, Ill.)'

Author: Grafiati

Published: 4 June 2021

Last updated: 31 July 2024

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Journal articles on the topic "Museum of Contemporary Art (Chicago, Ill.)"

1

Stone, Lisa. "Playing House/Museum." Public Historian 37, no. 2 (2015): 27–41. http://dx.doi.org/10.1525/tph.2015.37.2.27.

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What happens when a historic house museum is owned and operated by an art school, much of the work is done by students, and it is used as a stage for contemporary practices and experimentation? The Roger Brown Study Collection, an instructional resource of the School of the Art Institute of Chicago (SAIC), has operated as an “artists’ museum” for the SAIC community and the public since 1997. Our project has been to rewrite the rules of playing house/museum, to allow the histories of a nineteenth-century building and a twentieth-century artist to perform fully in the twenty-first century.

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Navvab, Mojtaba. "Daylighting System Design and Evaluation of the Museum of Contemporary Art in Chicago." Journal of the Illuminating Engineering Society 27, no. 2 (1998): 160–73. http://dx.doi.org/10.1080/00994480.1998.10748243.

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3

Message, Kylie, Eleanor Foster, Joanna Cobley, et al. "Book Review Essays and Reviews." Museum Worlds 7, no. 1 (2019): 292–317. http://dx.doi.org/10.3167/armw.2019.070117.

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Book Review EssaysMuseum Activism. Robert R. Janes and Richard Sandell, eds. New York: Routledge, 2019.New Conversations about Safeguarding the Future: A Review of Four Books. - A Future in Ruins: UNESCO, World Heritage, and the Dream of Peace. Lynn Meskell. New York: Oxford University Press, 2018. - Keeping Their Marbles: How the Treasures of the Past Ended Up in Museums—And Why They Should Stay There. Tiffany Jenkins. Oxford: Oxford University Press, 2016. - World Heritage and Sustainable Development: New Directions in World Heritage Management. Peter Bille Larsen and William Logan, eds. New York: Routledge, 2018. - Safeguarding Intangible Heritage: Practices and Politics. Natsuko Akagawa and Laurajane Smith, eds. New York: Routledge, 2019. Book ReviewsThe Filipino Primitive: Accumulation and Resistance in the American Museum. Sarita Echavez See. New York: New York University Press, 2017.The Art of Being a World Culture Museum: Futures and Lifeways of Ethnographic Museums in Contemporary Europe. Barbara Plankensteiner, ed. Berlin: Kerber Verlag, 2018.China in Australasia: Cultural Diplomacy and Chinese Arts since the Cold War. James Beattie, Richard Bullen, and Maria Galikowski. London: Routledge, 2019.Women and Museums, 1850–1914: Modernity and the Gendering of Knowledge. Kate Hill. Manchester: Manchester University Press, 2016.Rethinking Research in the Art Museum. Emily Pringle. New York: Routledge, 2019.A Natural History of Beer. Rob DeSalle and Ian Tattersall. New Haven, CT: Yale University Press, 2019.Fabricating Power with Balinese Textiles: An Anthropological Evaluation of Balinese Textiles in the Mead-Bateson Collection. Urmila Mohan. Chicago: University of Chicago Press, 2018.

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Gable, Eric. "In Search of a Lost Avant-Garde: An Anthropologist Investigates the Contemporary Art Museum By Matti Bunzl. Chicago: University of Chicago Press, 2015." Visual Anthropology Review 33, no. 1 (2017): 97–98. http://dx.doi.org/10.1111/var.12126.

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5

Williamson, Bess. "Exhibition Review of “Rowan and Erwan Bouroullec: Bivouac”Museum of Contemporary Art, Chicago, (October 20, 2012–January 20, 2013)." Design Issues 30, no. 3 (2014): 101–3. http://dx.doi.org/10.1162/desi_r_00285.

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ORR, JOEY. "Radical View of Freedom: An Interview with Dread Scott." Journal of American Studies 52, no. 04 (2018): 913–28. http://dx.doi.org/10.1017/s0021875818001342.

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In 2019, US-based African American artist Dread Scott will present his new performative work, Slave Rebellion Reenactment, just outside the city of New Orleans, Louisiana, USA. It will be a re-performance of the German Coast uprising of 1811, one of the largest rebellions of enslaved people in US history. It is the most recent installment in a slowly growing historical body of knowledge about this little-known history. The story is about a radical idea of freedom that Scott seeks to enliven through recruiting the performers. The potential for organizing and future networks is at the heart of this effort. This text is based upon Joey Orr's interview with Dread Scott on Thursday 12 May 2016, at the Museum of Contemporary Art Chicago.

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7

Haron, Muhammed. "Inscription as Art in the World of Islam." American Journal of Islam and Society 13, no. 4 (1996): 589–92. http://dx.doi.org/10.35632/ajis.v13i4.2287.

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During April 1996, the Hofstra Cultural Center organized an internationalinterdisciplinary conference that focused upon the role of inscriptionin Islamic art. The conference included diverse areas of inquiry. Forinstance, it accepted a paper that addressed the usage of Arabic script asinscription in different parts of the world and provided an opportunity to listento papers that considered inscription as an icon as well as its context,function, and comparative features. In addition, the coordinators organizedan exhibition of the works of several artists who were invited specificallyto talk about their works. This exhibition started with the opening of theconference and continued into May. On display was a unique blend of traditionaland modem uses of Arabic calligraphy--objects from the seventhcentury as well as those produced via contemporary technology.Habibeh Rahim, who is attached to Hofstra University's department ofphilosophy, and Alexej Ugrinsky of the Cultural Center, were the conferencedirector and coordinator, respectively. The former initiated the ideaand, with a committee of individuals, hosted the conference and exhibiteda selection of Islamic art. This exhibition was supported further by permanentdisplays in New York City at the Metropolitan Museum of Art, theBrooklyn Museum, the Pierpont Morgan Library, and the New York PublicLibrary.The conference opened with prayers from each of the major religioustraditions and two brief addresses by Habibeh Rahim and DavidChristman, the dean of New College and current director of HofstraMuseum. The first session, chaired by Sheila Blair (Harvard Univeristy),consisted of the following scholars and presentations: Valerie Gonzalez(Ecole d'Architecture Provence-Mediterrainee Centre Habitat etDeveloppement, Marseille, France), "The Significant Esthetic System ofInscriptions in Muslim Art"; Peter Daniels (University of Chicago),"Graphic-Esthetic Convergence in the Evolution of Scripts: A FirstEssay"; Solange Ory (Universite de Provence at Aix-Marseille, France),"Arabic Inscriptions and Unity of the Decoration"; Sussane Babarie (NewYork University), "The 'Aesthetics' of Safavid Epigraphy: AnInterpretation"; Ali al-Bidah (Dar al-Athar al-Islamiyah), "Aesthetic andPractical Aspects of a Hexagonal Emerald in Dar al-Athar al-Islamiyah";and Howard Federspiel (McGill University, Canada), "Arabic Script on ...

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8

Margolin, Myra. "Victor Margolin’s Early Years." Disegno, no. 1-2 (2021): 10–21. http://dx.doi.org/10.21096/disegno_2021_1-2mm.

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When I was a small child, my father used to take me to a novelty shop in Chicago called Uncle Fun. It was filled with rows of cabinets with tiny drawers that seemed, to my small self, to reach the ceiling. Each drawer contained a small wonder: little rubber chickens, stickers of Renaissance angels, woven finger traps, wax lips, kazoos. We would venture from our apartment in suburban Chicago to this shop in the city where he and I both delighted in opening the drawers and discovering small bursts of surprise, returning home with bags of treasures. We would lay these out on the dining room table, get out his big box of rubber stamps and spend hours making kookie, kitschy art together. Another clear memory: searching with him for the perfect Chicago hot dog. First we decided it was at Fluky’s, where they gave out bubble gum in the shape of a hot dog. Then we switched our allegiance to Poochie’s, where they grilled the onions and slathered on melted cheddar cheese. When my uncles visited from New York, my father eagerly engaged them in the search, taking them around the city to sample hot dog after hot dog. My father was a seeker of culture, someone who dove into the human-made world, be it looking at paintings at a high-end gallery, questing for hot dog perfection, or buying curios with his pre-schooler. I don’t think there was much difference in his mind. He was endlessly fascinated with material culture, engaging in innumerable collecting endeavors throughout his life. He kept catalogs of every film he had seen, had drawers overflowing with records and CDs of music from every continent, and for years devoted shelves of his university office to his “Museum of Contemporary Art”, his collection of cultural kitsch.

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Hayward, Maria. "Tapestry in the Baroque: threads of splendor. By Thomas P Campbell. 315mm. Pp. 576, 344 ill, 175 in col. New Haven and London: Yale University Press for The Metropolitan Museum of Art, New York, 2007. ISBN 9780300124071. £45 (hbk).European Tapestries in the Art Institute of Chicago. By Koenraad Brosens. 312mm. Pp. 408, 138 colour and 159 duotone ill. New Haven and London: Yale University Press for The Art Institute of Chicago, 2008. ISBN 2008930401. £40 (hbk)." Antiquaries Journal 89 (September 2009): 457–59. http://dx.doi.org/10.1017/s000358150999031x.

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Naef, Silvia. "Exhibiting and Writing on Art from the Middle East — Some Recent European and North American Exhibitions and their Catalogues. 25 ans de créativité arabe, Paris/Cinisello Balsamo (Milan) : Institut du Monde Arabe/Silvana Editoriale, 2012, 215 pp. b/w and col. ill., $ 32.95 paper Isbn 9788836624317 Massimiliano Gioni, ed. Here and Elsewhere, New York : New Museum, 2014, 279 pp. b/w and col. ill., $ 55 paper Isbn 9780915557059 Unedited History, Séquences du moderne en Iran des années 1960 à nos jours, Paris : Paris-Musées, 2014, 199 pp., ill. € 39.90 paper Isbn 9782759602452 Fereshteh Daftari and Layla S. Diba, eds., Iran Modern, New York/New Haven and London : Asia Society Museum/Yale University Press, 2013, 256 p. ill., Cloth Isbn 9780300197365 Omar Kholeif, ed., Imperfect Chronology: Arab Art from the Modern to the Contemporary — Works from the Barjeel Art Foundation, London/Munich/New York: Whitechapel Gallery/Prestel Verlag, 2015, 272 p. ill., $ 65 cloth Isbn 9783791354859." RACAR : Revue d'art canadienne 42, no. 1 (2017): 73. http://dx.doi.org/10.7202/1040841ar.

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