Relevant bibliographies by topics / Museum of Latin American Art

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Museum of Latin American Art'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Museum of Latin American Art"

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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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Kempe, Deborah, Deirdre E. Lawrence, and Milan R. Hughston. "Latin American art resources north of the border: an overview of the collections of the New York Art Resources Consortium (NYARC)." Art Libraries Journal 37, no. 4 (2012): 5–14. http://dx.doi.org/10.1017/s0307472200017673.

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The New York Art Resources Consortium (NYARC), consisting of The Frick Art Reference Library and the libraries of the Brooklyn Museum and the Museum of Modern Art (MoMA), houses significant collections of material on Latin American art that document the cultural history of Mexico, Central America, the Caribbean and South America, as well as the foundation of New York City as an epicenter of US Latino and Latin American cultural production since the 19th century. Ranging from historic archeological photographs to contemporary artists’ books, the holdings of the NYARC libraries are varied in their scope and record the contributions of Latin American and Latino artists to the international art scene. With the creation of Arcade, the shared online catalog of the Frick, MoMA and Brooklyn Museum, the ‘collective collection’ of material about and from Latin America has been strengthened in ways both expected and unanticipated. Techniques for integrating Latin American bibliographic information into discovery platforms, strategies for increasing the visibility of these collections, and ideas for providing improved access to the Latin American subset of the NYARC collections are being explored, and many further opportunities exist to engage in co-operative collection development in this area, across the NYARC consortium and with other peer institutions.
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Robin, Alena. "Mapping the Presence of Latin American Art in Canadian Museums and Universities." Latin American and Latinx Visual Culture 1, no. 2 (2019): 33–57. http://dx.doi.org/10.1525/lavc.2019.120004.

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This essay overviews how Canadian museums and universities have historically accessioned Latin American visual culture and identifies potential ways of sustaining interest, streamlining initiatives, and promoting access. The larger project aims at contributing to a hemispheric and transnational understanding of the history and growth in Canada of the field of Latin American art and its subfields of Pre-Columbian, colonial, modern, and contemporary art. While the study of art history among Canadian museums and universities has kept up with the decades-long interest in Latin American art and visual culture, there remain considerable challenges in bringing Latin American art to the forefront of public consciousness. Despite the pioneering efforts of Canadian museums and universities, Latin American visual art remains largely unknown and underutilized. This essay advocates for better collaboration among institutions involved in Latin American visual art initiatives across Canada, and dialogue among these disparate stakeholders to establish underlying narratives. RESUMEN Este ensayo busca ofrecer una visión general de cómo los museos y universidades canadienses han accedido históricamente a la cultura visual latinoamericana para identificar formas potenciales de mantener el interés, racionalizar iniciativas y promover el acceso. El objetivo del proyecto es contribuir a una comprensión hemisférica y transnacional de la historia y el crecimiento en Canadá del campo del arte latinoamericano y su subcampo del arte precolombino, colonial, moderno y contemporáneo. Si bien el estudio de la historia del arte entre los museos y las universidades canadienses ha seguido el paso del interés que ha habido en el arte y la cultura visual latinoamericanos durante décadas, sigue habiendo desafíos considerables para hacer que el arte latinoamericano ocupe un lugar de primera línea en la conciencia pública. A pesar de los esfuerzos pioneros de museos y universidades canadienses, el arte visual latinoamericano ha permanecido en gran parte desconocido e infrautilizado. Específicamente, este ensayo aboga por una mejor colaboración entre las instituciones canadienses que participan en iniciativas relacionadas con el arte visual de América Latina, y pretende alentar el diálogo entre estas diferentes partes interesadas para establecer narrativas comunes. RESUMO Este ensaio procura fornecer uma visão geral de como os museus e universidades canadenses historicamente acessaram a cultura visual latino-americana a fim de identificar formas potenciais de manter o interesse, simplificar iniciativas e promover o acesso a ela. O projeto visa contribuir para uma compreensão hemisférica e transnacional da história e do crescimento no Canadá do campo da arte latino-americana e seus subcampos – arte pré-colombiana, colonial, moderna e contemporânea. Embora o estudo da história da arte entre os museus e universidades canadenses tenha acompanhado o interesse de décadas na arte e na cultura visual da América Latina, ainda existem desafios consideráveis ​​para levar a arte latino-americana à vanguarda da consciência pública. Apesar dos esforços pioneiros dos museus e universidades canadenses, a arte visual latino-americana permaneceu em grande parte desconhecida e subutilizada. Especificamente, este ensaio defende uma melhor colaboração entre instituições envolvidas em iniciativas de arte visual latino-americanas em todo o Canadá, e o incentivo ao diálogo entre esses diferentes atores para estabelecer narrativas subjacentes.
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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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Kirking, Clayton C. "Both sides of the fence, librarian and curator: forming a Latin American library collection." Art Libraries Journal 20, no. 3 (1995): 11–14. http://dx.doi.org/10.1017/s0307472200009445.

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The Department of Latin American Art at the Phoenix Art Museum was established on 1st January 1992, and the Librarian of the Museum accepted the additional role of Curator of the Department. Although the Museum has always collected Mexican art, the new Department is concerned with all of Latin America and especially with the 20th century. Similarly, the Library, which has long-established interests in Mexican art, is now expanding its coverage to reflect the scope of the new Department. Grant support has been forthcoming, and Library purchasing has been enhanced by the generosity of a private donor and by a strategy of using a proportion of each exhibition budget for Library acquisitions. Specialist suppliers have been identified, but it has also been necessary to travel. Better networking is needed between professionals in Latin America and the USA; exchange programs have the potential to be mutually beneficial. (The text of a paper presented to the IFLA Section of Art Libraries at the IFLA General Conference at Havana, August 1994).
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Alba, Elia. "History, Memory, and Imprint." Latin American and Latinx Visual Culture 3, no. 2 (2021): 65–71. http://dx.doi.org/10.1525/lavc.2021.3.2.65.

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Curated by Yelaine Rodriguez and edited by Tatiana Flores, this Dialogues stages a series of conversations around Afro-Latinx art through interventions by Afro-Latina cultural producers. Black Latinxs often feel excluded both from the framework of latinidad as well as from the designation “African American.” The essays address blackness in a US Latinx context, through discussion of curatorial approaches, biographical reflections, art historical inquiry, artistic projects, and museum-based activism. Recent conversations around Latinxs and Black Lives Matter reveal that in the popular imaginary, Latinx presupposes a Brown identity. In their contributions to “Afro-Latinx Art and Activism,” the authors argue for a more inclusive and nuanced understanding of Latinx that does not reproduce the racial attitudes of the Lusophone and Hispanophone countries of Latin America, nor the black-white binary of the United States. They look forward to a time when the terms Afro or Black might cease to be necessary qualifiers of Latinx.
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Rodriguez, Yelaine. "Afro-Latinx at NYU." Latin American and Latinx Visual Culture 3, no. 2 (2021): 50–59. http://dx.doi.org/10.1525/lavc.2021.3.2.50.

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Curated by Yelaine Rodriguez and edited by Tatiana Flores, this Dialogues stages a series of conversations around Afro-Latinx art through interventions by Afro-Latina cultural producers. Black Latinxs often feel excluded both from the framework of latinidad as well as from the designation “African American.” The essays address blackness in a US Latinx context, through discussion of curatorial approaches, biographical reflections, art historical inquiry, artistic projects, and museum-based activism. Recent conversations around Latinxs and Black Lives Matter reveal that in the popular imaginary, Latinx presupposes a Brown identity. In their contributions to “Afro-Latinx Art and Activism,” the authors argue for a more inclusive and nuanced understanding of Latinx that does not reproduce the racial attitudes of the Lusophone and Hispanophone countries of Latin America, nor the black-white binary of the United States. They look forward to a time when the terms Afro or Black might cease to be necessary qualifiers of Latinx.
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Rodriguez, Yelaine. "Strategies for Combating Erasure and Silencing." Latin American and Latinx Visual Culture 3, no. 2 (2021): 79–88. http://dx.doi.org/10.1525/lavc.2021.3.2.79.

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Curated by Yelaine Rodriguez and edited by Tatiana Flores, this Dialogues stages a series of conversations around Afro-Latinx art through interventions by Afro-Latina cultural producers. Black Latinxs often feel excluded both from the framework of latinidad as well as from the designation “African American.” The essays address blackness in a US Latinx context, through discussion of curatorial approaches, biographical reflections, art historical inquiry, artistic projects, and museum-based activism. Recent conversations around Latinxs and Black Lives Matter reveal that in the popular imaginary, Latinx presupposes a Brown identity. In their contributions to “Afro-Latinx Art and Activism,” the authors argue for a more inclusive and nuanced understanding of Latinx that does not reproduce the racial attitudes of the Lusophone and Hispanophone countries of Latin America, nor the black-white binary of the United States. They look forward to a time when the terms Afro or Black might cease to be necessary qualifiers of Latinx.
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Delgado, Aldeide. "What Does Archipelagic Thought Offer toward the Understanding of Latinx Identity?" Latin American and Latinx Visual Culture 3, no. 2 (2021): 72–78. http://dx.doi.org/10.1525/lavc.2021.3.2.72.

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Curated by Yelaine Rodriguez and edited by Tatiana Flores, this Dialogues stages a series of conversations around Afro-Latinx art through interventions by Afro-Latina cultural producers. Black Latinxs often feel excluded both from the framework of latinidad as well as from the designation “African American.” The essays address blackness in a US Latinx context, through discussion of curatorial approaches, biographical reflections, art historical inquiry, artistic projects, and museum-based activism. Recent conversations around Latinxs and Black Lives Matter reveal that in the popular imaginary, Latinx presupposes a Brown identity. In their contributions to “Afro-Latinx Art and Activism,” the authors argue for a more inclusive and nuanced understanding of Latinx that does not reproduce the racial attitudes of the Lusophone and Hispanophone countries of Latin America, nor the black-white binary of the United States. They look forward to a time when the terms Afro or Black might cease to be necessary qualifiers of Latinx.
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Legros, Ayanna. "Capturing Emancipation." Latin American and Latinx Visual Culture 3, no. 2 (2021): 60–64. http://dx.doi.org/10.1525/lavc.2021.3.2.60.

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Curated by Yelaine Rodriguez and edited by Tatiana Flores, this Dialogues stages a series of conversations around Afro-Latinx art through interventions by Afro-Latina cultural producers. Black Latinxs often feel excluded both from the framework of latinidad as well as from the designation “African American.” The essays address blackness in a US Latinx context, through discussion of curatorial approaches, biographical reflections, art historical inquiry, artistic projects, and museum-based activism. Recent conversations around Latinxs and Black Lives Matter reveal that in the popular imaginary, Latinx presupposes a Brown identity. In their contributions to “Afro-Latinx Art and Activism,” the authors argue for a more inclusive and nuanced understanding of Latinx that does not reproduce the racial attitudes of the Lusophone and Hispanophone countries of Latin America, nor the black-white binary of the United States. They look forward to a time when the terms Afro or Black might cease to be necessary qualifiers of Latinx.
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Dissertations / Theses on the topic "Museum of Latin American Art"

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Huffstetter, Olivia. "From Sahagun to the Mainstream| Flawed Representations of Latin American Culture in Image and Text." Thesis, Oklahoma State University, 2019. http://pqdtopen.proquest.com/#viewpdf?dispub=10808090.

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<p> Early European travel literature was a prominent source from which information about the New World was presented to a general audience. Geographic regions situated within what is now referred to as Latin America were particularly visible in these accounts. Information regarding the religious customs and styles of dress associated with the indigenous peoples who inhabited these lands were especially curious points of interest to the European readers who were attempting to understand the lifestyles of these so-called &ldquo;savages.&rdquo; These reports, no matter their sources, always claimed to be true and accurate descriptions of what they were documenting. Despite these claims, it is clear that the dominant Western/Christian perspective from which these sources were derived established an extremely visible veil of bias. As a result, the texts and images documenting these accounts display highly flawed and misinformed representations of indigenous Latin American culture. Although it is now understood that these sources were often greatly exaggerated, the texts and images within them are still widely circulated in present-day museum exhibitions. When positioned in this framework, they are meant to be educational references for the audiences that view them. However, museums often condense the amount of information they provide, causing significant details of historical context to be excluded. </p><p> With such considerable omission being common in museum exhibitions, it causes one to question if this practice might be perpetuating the distribution of misleading information. Drawing on this question, I seek, with this research, to investigate how early European representations of Latin American culture in travel literature may be linked to current issues of misrepresentation. Particularly, my research is concerned with finding connections that may be present with these texts and images and the negative aspects of cultural appropriation. Looking specifically at representations of Aztec culture, I consult three texts and their accompanying illustrations from the sixteenth, seventeenth, and eighteenth centuries to analyze their misrepresentational qualities, and how they differed between time periods and regions. Finally, I use this information to analyze museum exhibition practices and how they could be improved when displaying complex historical frameworks like those of indigenous Latin American cultures.</p><p>
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Kogler-Heimburger, S. B. "Shifting curatorial strategies for art from Latin America and Latino art at the Museum of Fine Arts, Houston 1956-2004." Thesis, University of Essex, 2017. http://repository.essex.ac.uk/20126/.

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This thesis explores changing curatorial strategies at the Museum of Fine Arts, Houston. This is preceded by an assessment of the Museum of Modern Art’s earlier role in systematizing and defining this field throughout the 1930s and 1940s. Three exhibitions of art from Latin America and Latino art will illustrate how the MFAH contributed to shifts in this field proposing parallel and expanded readings to those first introduced at MoMA. Firstly, the Gulf-Caribbean Art Exhibition (1956) was a collaboration with the Pan American Union. This exhibition was framed by Cold War modernist approaches and a re-imagined geographical conception of the Gulf region. Secondly, Hispanic Art in the United States- Thirty Contemporary Painters and Sculptors (1987) sought to include Latino art and reflect the community in Houston within this mainstream institution. This lead to traditional museum practices emphasising the quality of artworks, while the criteria for selection was based on the ethnicity of the artists. Finally, Inverted Utopias- Avant-Garde Art in Latin America (2004) revised curatorial structures that were based upon the geographical and national survey format. Six constellations emphasising nodal connections between movements from Latin America disrupted established narratives of this field. The extensive use of archival documents further aided this historical review. I will answer how political, diplomatic, social, and art historical contexts have influenced the curation of these exhibitions and the outcomes of each. I will argue that through the location of the MFAH in the south of the United States, this institution is able to experiment with curatorial approaches and contribute to reviewed readings of art and art history in the United States.
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Betancourt, Verónica E. "Brillan por su ausencia: Latinos as the missing outsiders of mainstream art museums." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1339516509.

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Betancourt, Veronica Elena. "Visiting while Latinx: An Intersectional Analysis of the Experiences of Subjectivity among Latinx Visitors to Encyclopedic Art Museums." The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu1561819806003679.

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Junior, Eustáquio Ornelas Cota. "A formação da coleção latino-americana do Museu de Arte Moderna de Nova York: cultura e política (1931-1943)." Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/8/8138/tde-09122016-152003/.

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Este projeto tem como objetivo central analisar a formação da coleção latino-americana do Museu de Arte Moderna de Nova York (MoMA), entre 1931 e 1943, buscando entender as relações entre política e cultura. Essas balizas cronológicas se abrem com a primeira exposição do pintor mexicano, Diego Rivera, ocorrida em 1931, e se fecham com a primeira exposição coletiva de artistas da América Latina no MoMA, em 1943. Por meio da análise do extenso catálogo publicado sobre a coleção, pretendemos acompanhar a sua criação e os principais atores envolvidos nesse empreendimento. Pensamos que o texto tinha a finalidade de justificar artisticamente a formação da coleção e de mostrar uma determinada visão sobre a arte da América Latina. Entendemos que a coleção está conectada com as perspectivas da chamada Política da Boa Vizinhança, que marcou as relações entre os Estados Unidos e os países da América Latina nesse período.<br>This dissertation aims to analyze the making of the Latin American Collection of the Museum of Modern Art (MoMA) in New York, between 1931 and 1943, emphasizing the relationship between politics and culture. It begins with the first exhibition of a Mexican artist, Diego Rivera, at the Museum, which took place in 1931, and it ends with the first exhibition of Latin America artists in 1943. Our main source is the extensive catalog of the collection that presents the actors and the ideas involved in the project. The relevance of the collection is connected to the so called Good Neighbor Policy, which designed the international relations between the United States and the countries of Latin America in the period between 1933 and 1945.
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Einreinhofer, Nancy. "The paradox of the American art museum." Thesis, University of Leicester, 1994. http://hdl.handle.net/2381/35302.

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Balcerek, Katherine Emma. "The Whitney Museum of American Art gender, museum display, and modernism /." NCSU, 2010. http://www.lib.ncsu.edu/theses/available/etd-04012010-131832/.

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The Whitney Museum of American Art founded in 1931 by Gertrude Vanderbilt Whitney offers insight into the role of women patrons in the American art world. Furthermore, the Museumâs contemporary identification with the Museum of Modern Art obscures its unique history and different founding principles. This paper explores the foundation of the Whitney Museum in roughly the first two decades of its existence from 1931 to 1953 to examine how Whitney and the Museumâs first director, Juliana Force, negotiated gender and class ideology and the Modernist discourse to found the first museum solely devoted to American art. Gertrude Vanderbilt Whitney and Juliana Force operated the Whitney Museum based on three main principles: the primacy of the individual artist, the promotion of American art, and the importance of an informal museum space. The Whitney Museum of American Art, staked Whitney and Forceâs claim in a male dominated art world. The Museum was a complex space, representing a modern feminine viewpoint that embraced inclusivity and elitism, masculine and feminine, Modernism and conservatism. Whitney and Force wanted the Whitney Museum to be less formal and more inclusive, so they designed it like a middle class home with intimate galleries, furniture, carpets, and curtains. However, the decor hindered the Whitney Museumâs influence on the modern art canon because critics perceived the Museum as feminine and personal, Modernismâs rejection of the feminine and realism that ultimately led to the exclusion of the Whitney Museumâs collection of realist art from the modern art historical canon.
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Macaluso, Rose E. "The Smithsonian Institute Smithsonian American Art Museum registration internship." ScholarWorks@UNO, 2003. http://scholarworks.uno.edu/aa_rpts/88.

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This detailed report of a registration internship at the Smithsonian American Art Museum includes an organizational profile of the Smithsonian Institute, the Smithsonian Institute Affiliate Program, and the Smithsonian American Art Museum, a description of the activities performed during the internship, an analysis of a volunteer management challenge, a proposed resolution to the volunteer management challenge, and a discussion of the short and long term effects of the internship. The duties and expectations of volunteers, the staff preparation for volunteers, and the empowerment of volunteers are important aspects of the analysis and resolution of the volunteer management challenge.
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Galliher, Allison. "Early American Silver at the Currier Museum of Art." Thesis, Harvard University, 2015. http://nrs.harvard.edu/urn-3:HUL.InstRepos:24078350.

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This project-based thesis has added five stops and an introduction to American Silver to the Currier Museum of Art’s mobile tour. The Museum has an extensive silver collection but has very little information readily available for its visitors in the galleries. This thesis provides those visitors with information about the Currier’s American silver collection. It uses the Currier’s current mobile application as a template while incorporating museum education teaching methods to create an engaging tour. The thesis begins with a history of silver in America from Colonial times to the start of the nineteenth century. This time period is best represented in the Currier’s American silver collection. The thesis discusses the role and development of the silversmith as a craftsman as well as the social history of silver in America during this period. It also discusses the use and advantages of using mobile technology in the museum setting. Many visitors already own mobile devices. Museums can take advantage of visitors’ familiarity with these tools by creating programs specifically for this technology. The tour itself is based on teaching methods outlined by the museum educator George E. Hein in his book: Learning in the Museum (1998). These methods are used to build upon the standards set by the Currier Museum of Art’s “Audience Engagement and Interpretation Philosophy” in order to make the tour more engaging for visitors. Articles by museum technology professionals Robert Stein and Nancy Proctor were also consulted when researching the best practices for mobile tours. Their work lays out many key elements for successful mobile applications including the use of media assets, stops where these assets are experienced and the connections used to move between the stops. The accessibility benefits of mobile technology for visitors, especially the use of audio recordings for visitors with disabilities, are also discussed and were taken into account when creating the tour.
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Howe, Laura Paulsen. "Navajo Baskets and the American Indian Voice: Searching for the Contemporary Native American in the Trading Post, the Natural History Museum, and the Fine Art Museum." Diss., CLICK HERE for online access, 2007. http://contentdm.lib.byu.edu/ETD/image/etd2015.pdf.

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Books on the topic "Museum of Latin American Art"

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Art, Blanton Museum of. Blanton Museum of Art: Latin American collection. The Blanton Museum of Art, University of Texas at Austin, 2005.

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Gabriel, Pérez-Barreiro, ed. Blanton Museum of Art: Latin American collection. The Blanton Museum of Art, University of Texas at Austin, 2006.

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Denise, Birkhofer, and Volk Steven Saul 1946-, eds. Latin American Art at the Allen Memorial Art Museum. Oberlin College, 2014.

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MOLAA: Museum of Latin American Art: The permanent collection. Museum of Latin American Art, 2003.

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Constance, Schwartz, ed. ¡Latinas!: Latin American women in art. Nassau County Museum of Art, 2010.

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Nassau County Museum of Art. ¡Latinas!: Latin American women in art. Nassau County Museum of Art, 2010.

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Miami University (Oxford, Ohio). Art Museum. Changing images from the Americas: Latin American art. Edited by Southard Edna Carter 1945-. Miami University Art Museum, 1997.

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Art, San Antonio Museum of. Arte del pueblo: Recent acquisitions of Latin American folk art. San Antonio Museum of Art, 1988.

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Museum of Modern Art of Latin America: Selections from the permanent collection. General Secretariat, Organization of American States, 1985.

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Museum, Denver Art. Companion to Spanish colonial art at the Denver Art Museum. 2nd ed. Denver Art Museum, Mayer Center for Pre-Columbian & Spanish Colonial Art at the Denver Art Museum, 2015.

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Book chapters on the topic "Museum of Latin American Art"

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Prado, José Luis, and María Teresa Alberdi. "Museum and Collections." In The Latin American Studies Book Series. Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-55877-6_3.

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Ezeluomba, Ndubuisi C. "The development of the exhibition of African art in American art museums." In Museum Innovation. Routledge, 2021. http://dx.doi.org/10.4324/9781003038184-4.

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Ciornai, Selma, and Maria Cristina Ruiz. "Latin American Art Therapy." In The Wiley Handbook of Art Therapy. John Wiley & Sons, Ltd, 2015. http://dx.doi.org/10.1002/9781118306543.ch74.

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Wallach, Alan. "The Birth of the American Art Museum." In The American Bourgeoisie. Palgrave Macmillan US, 2010. http://dx.doi.org/10.1057/9780230115569_15.

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de Oliveira, Antonio Genivaldo Cordeiro. "Art of Living." In Encyclopedia of Latin American Religions. Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-319-27078-4_146.

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de Oliveira, Antonio Genivaldo Cordeiro. "Art of Living." In Encyclopedia of Latin American Religions. Springer International Publishing, 2015. http://dx.doi.org/10.1007/978-3-319-08956-0_146-1.

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Couret, Nilo. "Enduring art cinema." In The Routledge Companion to Latin American Cinema. Routledge, 2017. http://dx.doi.org/10.4324/9781315720449-17.

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Bell-Villada, Gene H. "Sex, Politics, and High Art." In Vargas Llosa and Latin American Politics. Palgrave Macmillan US, 2010. http://dx.doi.org/10.1057/9780230113596_9.

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Benezra, Karen. "Periodizing Latin American Art Since the 1960s." In Contemporary Art and Capitalist Modernization. Routledge, 2020. http://dx.doi.org/10.4324/9781003044345-3.

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Elices Ocón, Jorge. "DA‘ESH’s Video in the Mosul Museum: Heritage Destruction or Heritage-Making?" In The Latin American Studies Book Series. Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-77991-7_10.

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Conference papers on the topic "Museum of Latin American Art"

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Merlin, Jose R., Mateus A. Simon, Matheus M. Bertonha, Daniela Freitas Guilhermino Trindade, and Wellington Della Mura. "Desenvolvimento de Museu Virtual Utilizando Ferramentas Livres." In Congresso Latino-Americano de Software Livre e Tecnologias Abertas. Sociedade Brasileira de Computação - SBC, 2019. http://dx.doi.org/10.5753/latinoware.2019.10328.

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Abstract:
Com o advento da word wide web a partir dos anos 1990, muito do que existia apenas no mundo "físico" começou a existir também no mundo "virtual". Um exemplo são os museus que, embora tradicionalmente sejam lembrados como instituições de preservação de objetos históricos ou obras de arte, também guardam outros tipos de coleções. Neste trabalho é abordado o museu entomológico, que consiste em uma coleção de insetos organizada principalmente para fins de estudo. O objetivo foi analisar a viabilidade da utilização exclusiva de software livre no desenvolvimento de um museu entomológico virtual. Desta forma, esta categoria de software foi utilizada, desde a aquisição e tratamento das imagens até a disponibilização do resultado final na web. O método mostrou-se viável e de baixo custo, evidenciando que as ferramentas utilizadas são totalmente eficazes no que se propõem.
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"[Spine art]." In 2013 Latin American Computing Conference (CLEI). IEEE, 2013. http://dx.doi.org/10.1109/clei.2013.6670675.

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"[Cover art]." In 2008 IEEE Latin American Robotic Symposium. IEEE, 2008. http://dx.doi.org/10.1109/lars.2008.41.

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"[Spine art]." In 2017 XLIII Latin American Computer Conference (CLEI). IEEE, 2017. http://dx.doi.org/10.1109/clei.2017.8226369.

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"[Cover art]." In 2008 Latin American Web Conference (LA-WEB). IEEE, 2008. http://dx.doi.org/10.1109/la-web.2008.31.

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"[Cover art]." In 2009 Latin American Web Congress. LA-WEB 2009. IEEE, 2009. http://dx.doi.org/10.1109/la-web.2009.45.

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"Cover Art." In 2016 Seventh Latin-American Symposium on Dependable Computing (LADC). IEEE, 2016. http://dx.doi.org/10.1109/ladc.2016.41.

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"[Cover art]." In 2009 Fourth Latin-American Symposium on Dependable Computing (LADC). IEEE, 2009. http://dx.doi.org/10.1109/ladc.2009.34.

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"Cover Art." In 2011 5th Latin-American Symposium on Dependable Computing Workshops (LADC-W). IEEE, 2011. http://dx.doi.org/10.1109/ladcw.2011.28.

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Santos Alves, Antonio Pedro, Daniel Oliveira Gherard de Alencar, Antonio Marcio Goncalo Filho, Sofia Costa Paiva, and Darlinton Barbosa Feres Carvalho. "Development and Evaluation of a Chatbot for the Regional Museum of São João del-Rei." In 2018 XLIV Latin American Computer Conference (CLEI). IEEE, 2018. http://dx.doi.org/10.1109/clei.2018.00054.

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Reports on the topic "Museum of Latin American Art"

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Miller, Naomi J., and Scott M. Rosenfeld. Demonstration of LED Retrofit Lamps at the Smithsonian American Art Museum, Washington, DC. Office of Scientific and Technical Information (OSTI), 2012. http://dx.doi.org/10.2172/1044507.

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Edwards, Sebastian. The Economics of Latin American Art: Creativity Patterns and Rates of Return. National Bureau of Economic Research, 2004. http://dx.doi.org/10.3386/w10302.

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