Relevant bibliographies by topics / New Mexico Museum of Art

Contents

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

Academic literature on the topic 'New Mexico Museum of Art'

Author: Grafiati
Published: 29 July 2024
Last updated: 31 July 2025

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Journal articles on the topic "New Mexico Museum of Art"

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Fagerström, Linda, and Elisabet Haglund. "Mexican Art in Lund’s Museum of Sketches, Sweden." Art and Architecture, no. 42 (2010): 34–43. http://dx.doi.org/10.52200/42.a.2j2whvgo.

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The Mexican collection at Lund’s Museum of Sketches in is an unusual and valuable collection both from a Mexican and from an international perspective: the collection was built by Gunnar Bråhammar in the late 1960s, and counts works by David Alfaro Siqueiros, Diego Rivera, José Clemente Orozco and Juan O’Gorman but also Francisco Eppens, Rufino Tamayo, González Camarena, Raul Angiano, Leopoldo Méndez and Desiderio Xochitiotzin. The article discusses especially “the New Deal” by Rivera, “the Image of Mexico” at the Museo Nacional de Antropología e Historia in Mexico City by Morado Chavez, and “
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Hertz, Carrie. "This is Not a Costume." Museum Anthropology Review 16, no. 1-2 (2022): 62–114. http://dx.doi.org/10.14434/mar.v16i1.31694.

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This reflective essay describes the research design for Dressing with Purpose: Belonging and Resistance in Scandinavia, an exhibition and publication for the Museum of International Folk Art in Santa Fe, New Mexico. This essay outlines the theoretical, conceptual, and collaborative foundations supporting the project and explores their implications for the future of collecting, categorizing, and representing dress in museum contexts.
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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 co
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Mewburn, Charity. "Oil, Art, And Politics. The Feminization of Mexico." Anales del Instituto de Investigaciones Estéticas 20, no. 72 (1998): 73. http://dx.doi.org/10.22201/iie.18703062e.1998.72.1804.

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World War II and the new pan-American discourse of the United States, the New Deal and the political-cultural interests of the Rockefellers are sorne of the factors that explain how and why the 1940 Muscum Of Modern Art exhibition, Twenty Centuries of Mexican Art, offered an exotic and "ernasculated" image of Mexican art and, by extesion, of the Mexico of President Lázaro Cárdenas. The design of the catalogue, which is one of the central focuses of this article, permits a reconstruction of this political and cultural history.
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Burganova, Maria A. "THE UNDERWATER MUSEUM BY JASON DECAIRES TAYLOR. FROM ENVIRONMENTAL ISSUES TO DIALOGUES ABOUT ART." Scientific and analytical journal Burganov House. The space of culture 19, no. 4 (2023): 10–22. http://dx.doi.org/10.36340/2071-6818-2023-19-4-10-22.

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The article highlights topical issues in the development of new museums on the example of the work of Jason deCaires Taylor — the creator of a variety of underwater expositions: Museo Atlántico — a sculpture museum at the bottom of the ocean off the coast of Lanzarote, which is part of the Canary Islands; the MUSA Underwater Museum in Cancun off the coast of Mexico; a museum off the coast of Cannes on the French Riviera, and others. New underwater park-museums immediately attract a lot of attention from specialists and the general public around the world; however, the largest number of comment
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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 the
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James, N. "Maya milestone." Antiquity 85, no. 327 (2011): 281–83. http://dx.doi.org/10.1017/s0003598x00067624.

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Fiery pool: the Maya and the mythic sea is a travelling exhibition of nearly 100 finds that, together, imply a specific concept of the environment, physical and spiritual, for the Maya of Mesoamerica. As usual, the majority are from ‘public’ contexts, more or less aristocratic; but the exhibition generalises about Maya culture. Most of the exhibits are of the Classic period (c. AD 250–900), predominantly Late Classic, but there are some earlier pieces and several of the Postclassic (to the Spanish Conquest). Some are well known and there are striking new finds too. Curated by Daniel Finamore &
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Gálvez Mancilla, Sara María. "Xochimilco Virtual Museum: art and community in the face of environmental challenges." Gamification and Augmented Reality 3 (January 31, 2025): 94. https://doi.org/10.56294/gr202594.

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The aim of this work is to explore the potential of art as a strategy for the dissemination and conservation of the Xochimilco territorial demarcation, which is located to the south of Mexico City and which, since pre-Hispanic times, has been of utmost environmental and cultural importance for the development of the Valley of Mexico. The starting point is the self-managed and transdisciplinary initiative Museo Virtual Xochimilco (MUVIXO) whose main objective is to contribute to the conservation of the area. In this context, it is essential to outline some of the socio-environmental problems of
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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
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Barlow, CK. "Thomas DeLio: amounts. to. John Donald Robb Composers' Symposium/University Art Museum, University of New Mexico, Albuquerque, New Mexico, USA, 30 March–2 April 2003." Computer Music Journal 27, no. 4 (2003): 91–93. http://dx.doi.org/10.1162/comj.2003.27.4.91.

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Dissertations / Theses on the topic "New Mexico Museum of Art"

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Rose, Rebecca. "The evolution of the private art museum in Mexico." Thesis, University of Essex, 2016. http://repository.essex.ac.uk/19384/.

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Over the last thirty years there has been a proliferation in the number and diversity of privately- funded exhibition spaces for contemporary art in Mexico. Driving this development is a new generation of art collectors and my research project is concerned with how collector-led models of patronage have influenced the recognition, impact and public display of contemporary art in Mexico. My thesis begins by exploring what constitutes an art collection, the significance of a museum, and what motivates a collector. I then present an overview of the historical relationship between state and privat
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Truxillo, Katherine. "The New Orleans Museum of Art." ScholarWorks@UNO, 2010. http://scholarworks.uno.edu/aa_rpts/110.

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The New Orleans Museum of Art is New Orleans' oldest art institute and is the premier art institute of the Gulf South. From September through December 2009, I served as an intern in the Development Department at NOMA and then went on to fill the role of Interim Grants Officer from December through the time this document was written. I also have covered for the Special Events Coordinator during her leave of absence beginning January 4, 2010 through the present. NOMA has strengths and weakness internally, and opportunities and threats to functioning exist as well. Through a thorough examination
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Ng, Victor, and 伍達文. "Art ropolis: redefining the museum of (new) art, TST." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2002. http://hub.hku.hk/bib/B31986717.

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Ng, Victor. "Art ropolis : redefining the museum of (new) art, TST /." Hong Kong : University of Hong Kong, 2002. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25946080.

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Gonzalez, Desi (Desiree Marie). "Museum making : creating with new technologies in art museums." Thesis, Massachusetts Institute of Technology, 2015. http://hdl.handle.net/1721.1/97995.

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Thesis: S.M., Massachusetts Institute of Technology, Department of Comparative Media Studies, 2015.<br>Cataloged from PDF version of thesis.<br>Includes bibliographical references (pages 151-155).<br>Hackathons, maker spaces, R&D labs: these terms are common to the world of technology, but have only recently seeped into museums. The last few years have witnessed a wave of art museum initiatives that invite audiences-from casual visitors to professional artists and technologists-to take the reins of creative production using emerging technologies. The goals of this thesis are threefold. First,
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Pleva, Leigh P. "The New Orleans Museum of Art: An Internship Report." ScholarWorks@UNO, 2011. http://scholarworks.uno.edu/aa_rpts/121.

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From January through April 2011, I served as an intern at the New Orleans Museum of Art. The New Orleans Museum of Art, which celebrates its 100-year anniversary this year, ranks in the top 100 art museums nationally. I worked in the Marketing Department, focusing on programming and museum communications. The following report includes a profile of the organization, a description of my position as an intern within the Marketing Department, my analysis of internal and external administrative issues, and my recommendations and contributions to the organization based on best practices and re
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Solomon, Elise Lianne King. "An internship report: the New Orleans Museum of Art." ScholarWorks@UNO, 2010. http://scholarworks.uno.edu/aa_rpts/107.

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Experience obtained from an internship at the New Orleans Museum of Art leads to a discussion of the Museum's strengths, weaknesses, opportunities, and threats. Strengths identified are the Museum's location, temporary exhibitions, expansive collection, recognition of New Orleans cultural heritage and diversity, ability to attract different audience segments, and educational outreach to schools. Weaknesses include the Museum's resistance to change, neglect of technology, poor internal and external communication, lack of coherent and shared purpose, and adequate space for programming. Opportuni
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Ford, Rachel Kaufman. "Collections Management at the New Orleans Museum of Art." ScholarWorks@UNO, 2011. http://scholarworks.uno.edu/aa_rpts/127.

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This internship report is the result of my time working with the registration and collections departments at the New Orleans Museum of Art. My work consisted of receiving, inventorying and moving objects in the collection, answering inquiries related to the collection, assisting with installations and breakdowns of exhibitions, and projects related to the collection files. Working from this vantage point, and with numerous other arts community working experience under my belt, I have compiled in this paper a discussion of the museum itself, the internship and my contributions to the organizati
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Baker, Laura. "The New Orleans Museum of Art: Managing the Collection." ScholarWorks@UNO, 2014. http://scholarworks.uno.edu/aa_rpts/173.

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An internship experience in the Office of the Registrar and Collections Management at the New Orleans Museum of Art is reviewed alongside discussion of the Museum’s history, structure, and permanent collection, in addition to analyses of the organization’s finances and its institutional strengths, weaknesses, opportunities and threats. Discussion topics also include the intern’s experience, best practices in similar institutions, and a conclusion with recommendations made by the intern.
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Isaac, Gwyneira. "The museum as mediator : a case study of the A:shiwi A:wan Museum and Heritage Center, Zuni, New Mexico." Thesis, University of Oxford, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.395469.

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Books on the topic "New Mexico Museum of Art"

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Betty, Gold, and Museum of Fine Arts (Museum of New Mexico), eds. SoQ: Contemporary art in southern New Mexico. Museum of Fine Arts, 2004.

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Museum of Fine Arts (Museum of New Mexico). Artists of 20th-century New Mexico: The Museum of Fine Arts Collection. Museum of Fine Arts, 1992.

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Association, San Antonio Museum, and San Antonio Museum of Art, eds. Mexico, the new generations: [exhibition] San Antonio Museum of Art. San Antonio Museum Association, 1985.

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University of New Mexico. Art Museum. Nineteenth-century photographs at the University of New Mexico Art Museum. University of New Mexico Art Museum, 1989.

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Hall, Douglas Kent. The thread of New Mexico: The Albuquerque Museum, Albuquerque, New Mexico, May 13 through September 2, 2001. Albuquerque Museum, 2001.

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Antreasian, Garo Z. Garo Z. Antreasian: A retrospective, 1942-1987, the Albuquerque Museum, University Art Museum, University of New Mexico, Roswell Museum and Art Center. Albuquerque Museum, 1988.

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University of New Mexico. Art Museum. Highlights of the collections. University of New Mexico Art Museum, 2001.

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Addison, Laura M. Flux: Reflections on contemporary glass. New Mexico Museum of Art, 2008.

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Museum of International Folk Art (N.M.), ed. New Mexican Madonnas: January 24, 1999-July 2, 2000. Museum of New Mexico, Museum of International Folk Art, 1999.

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Galleries, inc Swann. Old master through contemporary prints. Swann Galleries, 2003.

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Book chapters on the topic "New Mexico Museum of Art"

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Holten, Katie. "Nothing from Nothing." In Making the Geologic Now. punctum books, 2012. https://doi.org/10.21983/p3.0014.1.33.

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These images are from Drawn to the Edge, my solo exhibition at the New Orleans Museum of Art (June 15 to September 9, 2012). In many ways the work is an attempt to capture time—to ex-plore how today’s New Orleans is profoundly connected to its past and to consider how quickly we seem to be running out of time.During a six-week residency this spring at A Studio in the Woods (ASITW), which is located on a bend of the Mississippi River just east of the city center, I looked atthe history of the place, focusing my research on the city and its relationship with the river, through both the slow proc
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Abt, Jeffrey. "New Starts, Then Detroit’s Bankruptcy." In Valuing Detroit’s Art Museum. Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-45219-7_5.

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Hanks, Laura Hourston. "China Academy of Art's Folk Art Museum, Hangzhou, China." In New Museum Design. Routledge, 2021. http://dx.doi.org/10.4324/9780429435591-3.

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Hanks, Laura Hourston. "The Ashmolean Museum of Art and Archaeology, Oxford, United Kingdom." In New Museum Design. Routledge, 2021. http://dx.doi.org/10.4324/9780429435591-10.

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Abt, Jeffrey. "Failed Plans, Fresh Crises, a New Relationship." In Valuing Detroit’s Art Museum. Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-45219-7_4.

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Schubbach, Arno. "AI and Art." In Edition Museum. transcript Verlag, 2023. http://dx.doi.org/10.14361/9783839467107-005.

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Recent advances in the computer generation of pictures using methods and programs from artificial intelligence research, or, more precisely, machine learning, have once again raised the question of whether computers can make art. Based on Michael Noll's early experiments with computer art from the 1960s, I argue by contrast that even the latest tools cannot make do without human work and can only be part of an artistic practice thanks to this work. Rather than asking whether machines can make art, we should therefore develop creative practices in which it is possible to leverage the potential
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Borea, Giuliana. "Reinforcement of the museum." In Configuring the New Lima Art Scene. Routledge, 2021. http://dx.doi.org/10.4324/9781003085003-8.

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Sabbaghi, Vida. "Collaborating Organizations Help Interns Light Up the Panorama of the City of New York." In Museum-based Art Therapy. Routledge, 2021. http://dx.doi.org/10.4324/9781003014386-6.

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Tarasov, Oleg. "3. The New Museum of Medieval Icons." In How Divine Images Became Art, translated by Stella Rock. Open Book Publishers, 2024. http://dx.doi.org/10.11647/obp.0378.03.

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This chapter is devoted to the creation of private museums of medieval icons and ‘primitives’ in Russia and Western Europe at the start of the twentieth century. One of these museums belonged to a famous Russian collector and artist, Ilya Ostroukhov (1858–1929). Ostroukhov shared a similar appreciation for ‘primitives on a gold background’ with the American art historian, art dealer and collector Bernard Berenson (1865–1959), a taste that Berenson had started to cultivate by the end of the nineteenth century. Taking as examples Russian, Italian and American collections of ancient icons, this c
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Warner, W. Wood. "Alternative Voices and Images of Ecotourism from La Ventanilla, Mexico." In Pragmatic Imagination and the New Museum Anthropology. Routledge, 2024. http://dx.doi.org/10.4324/9781003123354-5.

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Conference papers on the topic "New Mexico Museum of Art"

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Choate, Leonard C. "Developing and Advancing the State-of-the-Art Technology of the in situ Internal Cleaning and Coating of Oil & Gas Pipelines." In CORROSION 2001. NACE International, 2001. https://doi.org/10.5006/c2001-01612.

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Abstract Presently, one of the most critical problems for offshore oil and gas pipelines is that of internal corrosion. Continuous rapidly changing offshore operating parameters pose new challenges for internal corrosion technology. Recent publications indicate that most companies operating in the Gulf of Mexico have experienced some types of internal corrosion in their pipelines. This paper addresses many of the causes of the problem. It also discusses in detail actual operating experiences of a major offshore oil and gas company. In addition, it explains the results of research studies initi
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Ramírez Rivera, Jessica Beatriz. "Prácticas Feministas en Museos y sus Redes Sociales en México: una respuesta ante la pandemia. Feminist Practices in Museums and their Social Networks in Mexico: a response to the pandemic." In Congreso CIMED - I Congreso Internacional de Museos y Estrategias Digitales. Universitat Politècnica de València, 2021. http://dx.doi.org/10.4995/cimed21.2021.12631.

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El objetivo de esta comunicación es presentar algunas prácticas feministas que han hecho uso de las tecnologías en los museos de México, así como reflexionar en torno a la soberanía digital, los derechos culturales que se ejercen en las redes sociales y si estos se inscriben en la “internet feminista” desde los museos.En los últimos años, los movimientos feministas en México han tomado relevancia política, en ámbitos públicos y de intervención social. Muchas de ellas, han sido juzgadas negativamente por hacer uso de bienes culturales, lo cual ha desencadenado opiniones polarizadas.Si bien, la
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Romero, Dr Miguel S. "The Romero Mineral Museum." In 16th Annual New Mexico Mineral Symposium. New Mexico Bureau of Geology and Mineral Resources, 1995. http://dx.doi.org/10.58799/nmms-1995.180.

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Domitrovic, Anna M. "The Care and Feeding of a Museum Mineral Collection: the permanent mineral collection at the Arizona-Sonora Desert Museum." In 12th Annual New Mexico Mineral Symposium. New Mexico Bureau of Geology and Mineral Resources, 1991. http://dx.doi.org/10.58799/nmms-1991.133.

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Jaszczak, John A. "120 years of the A.E. Seaman Mineral Museum of Michigan Tech." In 42nd New Mexico Mineral Symposium. New Mexico Bureau of Geology and Mineral Resources, 2022. http://dx.doi.org/10.58799/nmms-2022.619.

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Hurlbut, James F., and Jack Thompson. "Diamonds in the Denver Museum of Nature and Science." In 22nd Annual New Mexico Mineral Symposium. New Mexico Bureau of Geology and Mineral Resources, 2001. http://dx.doi.org/10.58799/nmms-2001.243.

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Hurlbut, Jim, and Jack Thompson. "Micromount minerals of the Denver Museum of Natural History." In 18th Annual New Mexico Mineral Symposium. New Mexico Bureau of Geology and Mineral Resources, 1997. http://dx.doi.org/10.58799/nmms-1997.201.

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Hunt, A. P., S. G. Lucas, and J. A. Spielman. "New Mexico Museum of Natural History and Science and vertebrate coprolite record from New Mexico." In 2011 New Mexico Geological Society Annual Spring Meeting. New Mexico Geological Society, 2011. http://dx.doi.org/10.56577/sm-2011.596.

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Stella, Stella, Eddy Supriyatna Marizar, and Maria Florencia. "Interactive Design Concept on Art: 1 New Museum and Art Space." In International Conference on Economics, Business, Social, and Humanities (ICEBSH 2021). Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210805.092.

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Hurbut, James, and Jack Thompson. "Diamonds of the Paul Seel micromount and the Denver Museum collections." In 26th Annual New Mexico Mineral Symposium. New Mexico Bureau of Geology and Mineral Resources, 2005. http://dx.doi.org/10.58799/nmms-2005.297.

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Reports on the topic "New Mexico Museum of Art"

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DMITRIENKO, B. Ch, O. A. KOVALEVA, and E. A. RUBETS. VR TECHNOLOGIES AS A MEANS OF VIRTUAL MUSEUM PEDAGOGY. Science and Innovation Center Publishing House, 2022. http://dx.doi.org/10.12731/2658-4034-2022-13-1-2-63-70.

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Currently, museum pedagogy is a very promising area, covering all types of interactions between the museum and its audience. Museum pedagogy is an interdisciplinary field of scientific knowledge, “formed at the intersection of pedagogy, psychology, museology and the relevant discipline of the museum and built on its basis specific practical activities focused on the transfer of cultural (artistic) experience in a museum environment”. The rapid development of technology has led to the so-called modification of this scientific field, we mean a new branch of pedagogical knowledge is emerging - vi
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Brison, Jeffrey, Sarah Smith, Elyse Bell, et al. The Global Engagement of Museums in Canada. University of Western Ontario, 2021. http://dx.doi.org/10.5206/vdjm2980.

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The Global Engagement of Museums in Canada examines Canadian museum diplomacy, assessing the international activities of Canadian museums to consider the ways these institutions act as cultural diplomats on the global stage. The report presents the results of a multi-partner collaborative research project addressing the work of ten institutions, including the Art Gallery of Alberta; Aga Khan Museum; Canadian Museum of History; Canadian Museum of Immigration at Pier 21; Montreal Museum of Fine Arts; Museum of Anthropology at UBC; National Gallery of Canada; Ottawa Art Gallery; Pointe-à-Callière
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Hollon, Cory S. Operational Art in the Campaign of Stephen Watts Kearny to Conquer New Mexico and California, 1846-7. Defense Technical Information Center, 2013. http://dx.doi.org/10.21236/ada584190.

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Jackson, August S., Paris Coleman, and Lincoln R. Best. Master Melittologist Program on Pacific Region 1 National Wildlife Refuges: 2024 Season Report. Oregon State University, 2025. https://doi.org/10.5399/osu/1186.

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In 2024 we marked the first year in a five year cooperative agreement between the Master Melittologist Oregon Bee Atlas Program (OBA) and the United States Fish and Wildlife Service (USFWS) for the inventory and monitoring of bees on National Wildlife Refuges (NWRs) in Pacific Region 1 and other federal lands in the Pacific Northwest. The Master Melittologist program is an initiative of the Oregon State University Extension Service which is provided, in part, to train volunteer Master Melittologists to collect museum quality native bee specimens in service to the Oregon Bee Atlas. Since 2018,
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Ocampo-Gaviria, José Antonio, Roberto Steiner Sampedro, Mauricio Villamizar Villegas, et al. Report of the Board of Directors to the Congress of Colombia - March 2023. Banco de la República de Colombia, 2023. http://dx.doi.org/10.32468/inf-jun-dir-con-rep-eng.03-2023.

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Banco de la República is celebrating its 100th anniversary in 2023. This is a very significant anniversary and one that provides an opportunity to highlight the contribution the Bank has made to the country’s development. Its track record as guarantor of monetary stability has established it as the one independent state institution that generates the greatest confidence among Colombians due to its transparency, management capabilities, and effective compliance with the central banking and cultural responsibilities entrusted to it by the Constitution and the Law. On a date as important as this,
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Jewell's Crescent City Illustrated: New Orleans: 1874. Inter-American Development Bank, 2000. http://dx.doi.org/10.18235/0006419.

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Sixty objects and historic documents from the Historic New Orleans Collection, the Louisiana State Museum, and the New Orleans Museum of Art, including maps, photographs, lithographs, land deeds, silverware, earthenware, woodwork, msuic sheets, and even the trumpet of jazz great Dave Bartholomew. The "River and a City" section gave an overview of the history of New Orleans since discovery, and the "Unique Cultural Blend" section highlighted cultural expressions unique to the city itself. The exhibition was organized in honor of the City of New Orleans, site of the 41th Annual Meeting of the ID
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Guatemala: Past and Future. Inter-American Development Bank, 2007. http://dx.doi.org/10.18235/0006407.

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Abstract:
This exhibition, organized by the IDB Cultural Center in homage to Guatemala - site of the 48th Annual Meeting of the Board of Directors of the Inter-American Development Bank- has been conceived with an optimistic view toward the future while learning lessons from the past. It is likewise a propitious opportunity for the IDB to offer a tribute to the Maya Nation, recognizing its significant cultural legacy, for young Guatemalans who must now take up their country¿s hopes and goals, and meet their expectations. Guatemala: Past and Future comprises six modules organized in chronological order.T
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8

New Visions: 2008-2011: A Selection of the Latest Acquisitions from the IDB Art Collection. Inter-American Development Bank, 2011. http://dx.doi.org/10.18235/0005967.

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This catalog belongs to the exhibition that celebrates the 19th anniversary of the Inter-American Development Bank Cultural Center, originally inaugurated on May 15th, 1992 by the President of Chile, Patricio Aylwin. On this occasion the IDB Cultural Center is pleased to present an exhibit of the artworks that became part of the Collection through the acquisition fund, gifts and permanent loans. It features 25 art works by 17 artists featuring: Federico Martino, Sebastián Spreng, and Susana Sulic (Argentina); Gastón Orellana (Chile); Ana Isabel Díez Zuluaga and Omar Rayo (Colombia); Silvia Ele
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