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

Author: Grafiati

Published: 29 July 2024

Last updated: 31 July 2025

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1

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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2

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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6

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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9

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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10

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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Kabylinskii, Boris Vasilievich. "Totem symbols in decorative traditions of the peoples of pre-Columbian America: conflict or harmony?" Культура и искусство, no. 7 (July 2020): 1–12. http://dx.doi.org/10.7256/2454-0625.2020.7.32827.

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The object of this research is a totem symbol in decorative tradition of the peoples of pre-Columbian America. The subject of this research is the images of jaguar in the art of the Aztecs of Mesoamerica. The images of a human and jaguar are captured on the metal, stone and clay artifacts of pre-Columbian civilizations that are available to the public in Mexico City National Museum of Anthropology, Peruvian Museum of the Nation in Lima, Metropolitan Museum of Art in New York, and Smithsonian National Museum of Natural History in Washington, D. C. The research methodology is based on compilatio

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Leimer, Ann Marie. "La Conquistadora: A Conquering Virgin Meets Her Match." Religion and the Arts 18, no. 1-2 (2014): 245–68. http://dx.doi.org/10.1163/15685292-01801013.

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‭The Mexican Museum in San Francisco commissioned Delilah Montoya to produce a contemporary codex for the 1992 exhibition “The Chicano Codices: Encountering Art of the Americas,” which sought to critique Quincentennial observances erasing indigenous presence. The artist created a seven-page book, Codex Delilah, Six-Deer: Journey from Mexicatl to Chicana, that depicted the consequences of the initial American-European encounter, and she used the heroine Six-Deer to visually record women’s contributions to this 500-year history. In the codex’s fourth panel, Six-Deer comes across Adora-la-Conquis

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Miramontes Olivas, Adriana, Juan De Dios Mora, and Deborah Caplow. "Exodus to the “Promised Land:” Of the Devil and Other Monsters in Juan de Dios Mora’s Artworks." Contemporaneity: Historical Presence in Visual Culture 6 (November 30, 2017): 58–72. http://dx.doi.org/10.5195/contemp.2017.222.

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Juan de Dios Mora is a printmaker and a senior lecturer at The University of Texas at San Antonio, where he began teaching painting, drawing, and printmaking in 2010. Mora is a prolific artist whose prints have been published in numerous venues including the catalogs New Arte Nuevo: San Antonio 2010 and New Art/Arte Nuevo San Antonio 2012. In 2017, his work was exhibited at several venues, including the McNay Art Museum in San Antonio, Texas in Juan Mora: Culture Clash (June 8–August 13, 2017) and at The Cole Art Center, Reavley Gallery in Nacogdoches, Texas, in Juan de Dios Mora (organized by

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Omar, Cerrillo Garnica. "La Estela de Luz: Cultural Policies for National Identity through a Monument." Art Style, Art & Culture International Magazine 8, no. 8.1 (2021): 11–21. https://doi.org/10.5281/zenodo.5497846.

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Art Style | Art & Culture International Magazine Abstract In 2010, Mexico celebrated 200 years of the beginning of the Independence War and a Centenary of the beginning of the Mexican Revolution. As part of the commemoration of both festivities, the Mexican government promoted certain cultural activities, like public photographic expositions, music festivals, museum exhibitions, and the lifting of a commemorative monument, which passed through many proposals and finally became a kind of monolith called “La Estela de Luz” (The Light Stele). Since the inauguration, this sculpture

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Kieffer, C. L., Julia Clifton, and Lisa Mendoza. "Moving and Transforming Care of One of the Largest Southwest Archaeological Collections: The Museum of Indian Arts and Culture's Move to the Center for New Mexico Archaeology." Collection Forum 31, no. 1-2 (2017): 34–52. http://dx.doi.org/10.14351/0831-4985-31.1.34.

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Abstract After over two decades of planning and five years of conserving, packing, and moving, the Museum of Indian Arts and Culture has finished the first two phases of the largest move of archaeological artifacts in the museum's history and quite possibly in the American Southwest. Framed within the historical background of evolving collection storage over many decades, the Archaeological Research Collections were moved from the Laboratory of Anthropology and another off-site storage location to a new state of the art off-site facility at the Center for New Mexico Archaeology (CNMA). Decisio

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Ludovici, Ginevra. "Expanding the public space through art. A conversation with Pablo Helguera." Annales Universitatis Paedagogicae Cracoviensis. Studia de Arte et Educatione 17, no. 375 (2023): 117–27. http://dx.doi.org/10.24917/20813325.17.9.

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Pablo Helguera (Mexico City, 1971) is a New York based artist working with installation, sculpture, photography, drawing, socially engaged art and performance. Helguera’s work focuses in a variety of topics ranging from history, pedagogy, sociolinguistics, ethnography, memory and the absurd, in formats that are widely varied including the lecture, museum display strategies, musical performances and written fiction. His work as an educator has usually intersected his interest as an artist. This intersection is best exemplified in his project, The School of Panamerican Unrest (2003–2006), a noma

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Bahn, Paul G. "Pleistocene Images outside Europe." Proceedings of the Prehistoric Society 57, no. 01 (1991): 91–102. http://dx.doi.org/10.1017/s0079497x00004904.

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At first sight it may seem a pointless exercise to produce a survey of late Pleistocene ‘artistic activity’ around the world, but there are two specific aims involved here: first, to show that human beings in different parts of the world were producing ‘art’ at roughly the same time, i.e. from about 40,000 BC onward, and particularly at the end of the Pleistocene, from about 12,0000 BC, and second, to show that the well known Ice Age art of Europe is no longer unique, but part of a far more widespread phenomenon (Bahn 1987; Bahn and Vertut 1988, 26–32). The European art remains supreme in its

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Krieger, Peter. "Geo-Aesthetics, a concept of interdisciplinary research and artistic practice: the exposition STRATUM in Mexico City, in 2022." Quaderni Culturali IILA 4, no. 4 (2023): 53–63. http://dx.doi.org/10.36253/qciila-2062.

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This article presents ideas about the function of the image, particularly in the fine arts, in the discourses on the current environmental crisis, determined by geological factors, which have a fundamental importance for the definition of the new epoch of the Anthropocene. Exemplified by an art installation in the University Museum of Sciences and Arts (MUCA, at the National Autonomous University of Mexico, UNAM), the visual strategies will be revised of how to present an alternative access to the understanding of the geomorphological destruction via the hyper-urbanization in the basin of Mexi

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BURNS, CHELSEA. "Reiterating Hierarchy and the Failed Promise of the Global." Twentieth-Century Music 20, no. 3 (2023): 378–401. http://dx.doi.org/10.1017/s147857222300018x.

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AbstractThe idea of global modernisms rests upon freighted power relationships. Far from decolonizing, this concept reinscribes values of Euro- and US-centric discourses. This article addresses the inherent friction of global musical modernisms through Carlos Chávez's 1940 composition La paloma azul, written for concerts at New York's Museum of Modern Art. Tasked with appealing to a US audience, Chávez created work that participates in modernism's hierarchical frame, where Mexico provides exotic fantasy for bourgeois New Yorkers.Chávez was not alone in having been positioned as ‘modernism's sh

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Roberts, Jodi. "Diego Rivera: Moscow Sketchbook." October 145 (July 2013): 85–114. http://dx.doi.org/10.1162/octo_a_00149.

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Diego Rivera made the following sketches during a seven-to-eight-month stay in the Soviet Union between 1927 and 1928. A prominent member of the Partido Comunista de México (Communist Party of Mexico), Rivera traveled to Moscow to participate in the tenth-anniversary celebrations of the 1917 Revolution. Word of Rivera's dedication to muralism as a politically potent art form preceded his arrival, and he quickly became embroiled in debates about Soviet art's ideological aims and physical characteristics. He lectured on monumental painting at the Komakademiia (Communist Academy) and joined the O

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Cummins, Thomas B. F. "Pre-Columbia: Wherefore Art Thou Art?" Latin American and Latinx Visual Culture 1, no. 1 (2019): 94–99. http://dx.doi.org/10.1525/lavc.2019.000007a.

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Following an introductory essay, six short contributions by academics and museum curators in the United States (US) and Europe tackle the current state and future of Pre-Columbian visual culture studies. They explore the field’s impressive growth in this century, as well as some of the dangers it currently faces as a result of that growth. Several trace its present state to its origins and the part played by early Mexican and US nationalism, the popularity of world’s fairs, and the civil rights movement, among other factors. Also considered are problems inherent in the late nineteenth- and ear

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Caballero-Ochoa, Andrea Alejandra, Alejandra Martínez-Melo, Carlos Andrés Conejeros-Vargas, Francisco Alonso Solís-Marín, and Alfredo Laguarda-Figueras. "Diversidad, patrones de distribución y “hotspots” de los equinoideos irregulares (Echinoidea: Irregularia) de México." Revista de Biología Tropical 65, no. 1-1 (2017): 42. http://dx.doi.org/10.15517/rbt.v65i1-1.31666.

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Diversity, distribution patterns and hotspots of the irregular equinoids (Echinoidea: Irregularia) of Mexico.Irregular echinoids can be found in almost all marine habitats, from the polar to the equatorial regions, and from the intertidal zone to great depths; some species have a cosmopolitan distribution, but most are geographically restricted, and all live in very particular habitats to a greater or lesser degree in Mexico has 153 species distributed within the coastal limits. Geographic barriers (terrestrial barriers and large ocean basins) and ocean current patterns act as primary modulato

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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, Nati

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Liebmann, Matthew. "Cultural convergence in New Mexico: interactions in art, history & archaeology, honoring William Wroth Cultural convergence in New Mexico: interactions in art, history & archaeology, honoring William Wroth , edited by Robin Farwell Gavin and Donna Pierce. Santa Fe, Museum of New Mexico Press, 2021, 320 pp., including 18 color plates, color and black-and-white figures. (ISBN 9780890136638)." Colonial Latin American Review 32, no. 4 (2023): 603–4. http://dx.doi.org/10.1080/10609164.2023.2282881.

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Trever, Lisa. "Pre-Columbian Art History in the Age of the Wall." Latin American and Latinx Visual Culture 1, no. 1 (2019): 100–104. http://dx.doi.org/10.1525/lavc.2019.000007b.

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Following an introductory essay, six short contributions by academics and museum curators in the United States (US) and Europe tackle the current state and future of Pre-Columbian visual culture studies. They explore the field’s impressive growth in this century, as well as some of the dangers it currently faces as a result of that growth. Several trace its present state to its origins and the part played by early Mexican and US nationalism, the popularity of world’s fairs, and the civil rights movement, among other factors. Also considered are problems inherent in the late nineteenth- and ear

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Brandon, Sward. "Visions of Modernity: Architecture, Colonialism, and Indigeneity Across the Americas." Art Style, Art & Culture International Magazine 8, no. 8.1 (2021): 43–54. https://doi.org/10.5281/zenodo.5498383.

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Art Style | Art & Culture International Magazine Abstract In this essay, I use the “The Metropolis in Latin America, 1830–1930” exhibition at the Getty Center to think through how and why criollos, Latin Americans who are solely or mostly of Spanish descent, adopted the aesthetics and techniques of Mesoamerican construction methods. I then introduce the Walt Disney Concert Hall and the Broad Museum in downtown Los Angeles to explore the resonances between Euro-American postmodernism and colonial urban planning, especially with regard to the clean lines and rational g

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Robb, Matthew H. "Lords of the Underworld—and of Sipán: Comments on the University Museum and the Study of Ancient American Art and Archaeology." Latin American and Latinx Visual Culture 1, no. 1 (2019): 115–20. http://dx.doi.org/10.1525/lavc.2019.000007e.

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Following an introductory essay, six short contributions by academics and museum curators in the United States (US) and Europe tackle the current state and future of Pre-Columbian visual culture studies. They explore the field’s impressive growth in this century, as well as some of the dangers it currently faces as a result of that growth. Several trace its present state to its origins and the part played by early Mexican and US nationalism, the popularity of world’s fairs, and the civil rights movement, among other factors. Also considered are problems inherent in the late nineteenth- and ear

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Lail, Warren K., David Sammeth, Shannon Mahan, and Jason Nevins. "A Non-Destructive Method for Dating Human Remains." Advances in Archaeological Practice 1, no. 2 (2013): 91–103. http://dx.doi.org/10.7183/2326-3768.1.2.91.

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AbstractThe skeletal remains of several Native Americans were recovered in an eroded state from a creek bank in northeastern New Mexico. Subsequently stored in a nearby museum, the remains became lost for almost 36 years. In a recent effort to repatriate the remains, it was necessary to fit them into a cultural chronology in order to determine the appropriate tribe(s) for consultation pursuant to the Native American Grave Protection and Repatriation Act (NAGPRA). Because the remains were found in an eroded context with no artifacts or funerary objects, their age was unknown. Having been asked

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Head, Genevieve N. "Before Pecos: Settlement Aggregation at Rowe, New Mexico. Linda S. Cordell. 1999. Anthropological Papers, No. 6, Maxwell Museum of Anthropology, University of New Mexico, Albuquerque, ix + 219 pp., 56 figures, 26 tables, references cited, index. $28.00 (paper). ISBN 0-912535-12-1." American Antiquity 65, no. 3 (2000): 595–96. http://dx.doi.org/10.2307/2694554.

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Prażmowska-Marcinowska, Karolina. "Repatriation of Indigenous Peoples’ Cultural Property: Could Alternative Dispute Resolution Be a Solution? Lessons Learned from the G’psgolox Totem Pole and the Maaso Kova Case." Santander Art and Culture Law Review 8, no. 2 (2022): 115–38. http://dx.doi.org/10.4467/2450050xsnr.22.015.17028.

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Considering that the vast majority of the objects constituting Indigenous Peoples’ cultural heritage are now located outside their source communities, the restitution of cultural property has become a pressing issue among Indigenous Peoples worldwide and should be understood as part of Indigenous Peoples’ historical (as well as current) encounter with colonization and its consequences. As such, this article investigates whether international cultural heritage law offers any possibilities for successful repatriation and to what extent the shortcomings of the framework in place could be compleme

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Cannon, William J. "Rock Art in New Mexico. Polly Schaafsma. Museum of New Mexico Press, Santa Fe, 1992. vii + 175 pp., photographs, maps, works cited, index. ’29.95 (paper). - A Field Guide to Rock Art Symbols of the Greater Southwest. Alex Patterson. Johnson Books, Boulder, Colorado, 1992. xv + 256 pp., illustrations, indexes, bilblography. ’15.95 (paper). - Indian Rock Art of the Columbia Plateau. James D. Keyser. University of Washington Press, Seattle, 1992. 139 pp., photographs, maps, figures, glossary, bibliography, index. ’35.00 (cloth); ’17.50 (paper)." American Antiquity 59, no. 2 (1994): 379–80. http://dx.doi.org/10.2307/281943.

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Katzew, Ilona, and Rachel Kaplan. "“Like the Flame of Fire”." Latin American and Latinx Visual Culture 3, no. 1 (2021): 4–29. http://dx.doi.org/10.1525/lavc.2021.3.1.4.

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The so-called Hearst Chalice at the Los Angeles County Museum of Art (LACMA) is widely regarded as one the most significant works of Mexican silversmithing from the sixteenth century. Its style, technique, and above all its unique combination of materials—including precious metals, feathers, wood carvings, and rock crystal—have led scholars to describe it as the perfect fusion of European and Ancient American (or pre-Columbian) traditions. Surprisingly, despite the consensus about the chalice’s importance, the cultural and artistic conditions that led to the creation of this singular object ha

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Freter, AnnCorinne. "MULTISCALAR MODEL OF RURAL HOUSEHOLDS AND COMMUNITIES IN LATE CLASSIC COPAN MAYA SOCIETY." Ancient Mesoamerica 15, no. 1 (2004): 93–106. http://dx.doi.org/10.1017/s0956536104151109.

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A variety of models contribute to our understanding of Classic Maya sociopolitical structure. Few, however, consider the variability that existed within Maya systems, and the temporal and spatial scales of analysis have often been limited, especially with respect to the commoner segment of society. One model that has focused attention on this component of the Maya is thesian otot, described by Charles Wisdom (1940The Chorti Indians of Guatemala. University of Chicago Press) and introduced for the Copan Maya by William Fash (1983 Deducing Social Organization from Classic Maya Settlement Pattern

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Feder, Toni. "Nuclear museum reopens in New Mexico." Physics Today 62, no. 6 (2009): 25. http://dx.doi.org/10.1063/1.3156327.

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Slawson, Laurie V. "A Sixteenth-Century Spanish Campsite in the Tiguex Province. Bradley J. Vierra. Laboratory of Anthropology Notes No. 475. Museum of New Mexico, Santa Fe, 1989. xiii + 264 pp., figures, tables, references, appendix. ’26.00 (paper)." American Antiquity 56, no. 4 (1991): 752–53. http://dx.doi.org/10.2307/281582.

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

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

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Museum merupakan bangunan yang diperuntukkan sebagai tempat untuk pameran benda-benda karya seni yang memiliki nilai sejarah, seni dan ilmu. Namun pada kenyataannya, museum tidak lagi dianggap tempat penting karena kondisi beberapa museum di Indonesia kurang diperhatikan. Sehingga tingkat kunjungan masyarakat ke museum semakin menurun. Berdasarkan latar belakang tersebut maka perlu penerapan arsitektur kontemporer agar tempat yang tadinya dianggap demikian menjadi tempat yang menarik untuk dikunjungi masyarakat tanpa mengenal umur dan kalangan. Penelitian ini bertujuan untuk memahami penerapan

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Euler, Robert C. "The Galaz Ruin: A Prehistoric Mimbres Village in Southwestern New Mexico. Roger An Yon and Steven Leblanc with contributions by P. Minnis, M. Nelson, and J. Lancaster, and edited by P. Sabloff. Maxwell Museum of Anthropology Publication Series, The University of New Mexico Press, Albuquerque, 1984. xi + 612 pp., figures, tables, references, appendices, plates. $35.00 (paper)." American Antiquity 51, no. 4 (1986): 879–80. http://dx.doi.org/10.2307/280881.

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Shelley, Phillip H. "Economy and Interaction along the Lower Chaco River: The Navajo Mine Archeological Program, Mining Area III, San Juan County, New Mexico. Patrick Hogan and Joseph C. Winter, editors, Juneel Piper, associate editor. Office of Contract Archeology and the Maxwell Museum of Anthropology, University of New Mexico, Albuquerque, 1983. xxiii + 616 pp., references, appendices, illustrations, tables. $25.00 (paper)." American Antiquity 53, no. 2 (1988): 439. http://dx.doi.org/10.2307/281046.

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Lueth, Virgil W. "New Mexico Mineral Museum moves to new quarters." New Mexico Geology 18, no. 2 (1996): 37. http://dx.doi.org/10.58799/nmg-v18n2.37.

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Creel, Darrell. "Life on the Periphery: Economic Change in Late Prehistoric Southeastern New Mexico. John Speth, editor. 2004. Museum of Anthropology, University of Michigan Michigan, Ann Arbor, xvii + 429 pp. $44.00 (paper), ISBN 0-915703-54-8." American Antiquity 70, no. 2 (2005): 395–96. http://dx.doi.org/10.2307/40035715.

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Gilpin, Dennis, and Polly Schaafsma. "Rock Art in New Mexico." American Indian Quarterly 18, no. 3 (1994): 424. http://dx.doi.org/10.2307/1184759.

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VALENTICH-SCOTT, PAUL, and EUGENE V. COAN. "A new species of Chama (Bivalvia, Chamidae) from Mexico." Zootaxa 2446, no. 1 (2010): 65. http://dx.doi.org/10.11646/zootaxa.2446.1.3.

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Abstract:

While preparing a review of the bivalve mollusk fauna of the Panamic Province, we encountered a conspicuous, colorful species of the genus Chama Linnaeus, 1758, that could not be identified with any named species. After examining type specimens at The Natural History Museum, London (BMNH), the United States National Museum of Natural History (USNM), the Academy of Natural Sciences, Philadelphia (ANSP), the California Academy of Sciences (CAS), the Natural History Museum of Los Angeles County (LACM), and the Santa Barbara Museum of Natural History (SBMNH), we have concluded that this species is

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Kovács, Ágnes Zsófia. "Reinscribing Malinche in Contemporary Visual Art." Acta Hispanica 28 (December 19, 2023): 131–47. http://dx.doi.org/10.14232/actahisp.2023.28.131-147.

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Malinche was an indigenous slave woman who helped Cortés communicate with and understand native chiefs during the conquest of Mexico. This paper analyzes the way the Denver Art Museum represented cultural metaphors of Malinche in visual culture in its 2022 show titled “Traitor, Survivor, Icon: The Legacy of La Malinche.” The exhibition distinguishes five key metaphors in the reception of Malinche from the sixteenth century through today. The paper highlights the theme of Malinche as the mother of the nation and its diverse appearances in visual culture among the images displayed. The paper sur

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Sauer‐raussmüller, Christel. "A new art museum at Schaffhausen." Museum International 39, no. 2 (1987): 68–73. http://dx.doi.org/10.1111/j.1468-0033.1987.tb00670.x.

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Nielsen, Jesper. "Crossing Borders? A Cross-Disciplinary Perspective on the Study of Mesoamerican Visual Culture." Latin American and Latinx Visual Culture 1, no. 1 (2019): 105–10. http://dx.doi.org/10.1525/lavc.2019.000007c.

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Following an introductory essay, six short contributions by academics and museum curators in the United States (US) and Europe tackle the current state and future of Pre-Columbian visual culture studies. They explore the field’s impressive growth in this century, as well as some of the dangers it currently faces as a result of that growth. Several trace its present state to its origins and the part played by early Mexican and US nationalism, the popularity of world’s fairs, and the civil rights movement, among other factors. Also considered are problems inherent in the late nineteenth- and ear

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Baquedano, Elizabeth. "Visual Culture: Ancient Mexico’s Heritage." Latin American and Latinx Visual Culture 1, no. 1 (2019): 111–14. http://dx.doi.org/10.1525/lavc.2019.000007d.

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Following an introductory essay, six short contributions by academics and museum curators in the United States (US) and Europe tackle the current state and future of Pre-Columbian visual culture studies. They explore the field’s impressive growth in this century, as well as some of the dangers it currently faces as a result of that growth. Several trace its present state to its origins and the part played by early Mexican and US nationalism, the popularity of world’s fairs, and the civil rights movement, among other factors. Also considered are problems inherent in the late nineteenth- and ear

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Pillsbury, Joanne. "Pre-Columbian: Perspectives and Prospects." Latin American and Latinx Visual Culture 1, no. 1 (2019): 121–27. http://dx.doi.org/10.1525/lavc.2019.000007f.

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Following an introductory essay, six short contributions by academics and museum curators in the United States (US) and Europe tackle the current state and future of Pre-Columbian visual culture studies. They explore the field’s impressive growth in this century, as well as some of the dangers it currently faces as a result of that growth. Several trace its present state to its origins and the part played by early Mexican and US nationalism, the popularity of world’s fairs, and the civil rights movement, among other factors. Also considered are problems inherent in the late nineteenth- and ear

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Merkel, Jayne. "SANAA's New Museum of Contemporary Art, New York." Architectural Design 78, no. 3 (2008): 98–101. http://dx.doi.org/10.1002/ad.684.

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Montgomery, John. "Economy and Interaction along the Lower Chaco River. Patrick Hogan and Joseph Winter, editors. Office of Contract Archaeology and Maxwell Museum of Anthropology, University of New Mexico, Albuquerque, 1983. xxiii + 616 pp., illustrations, references cited, appendices. $25.00 (paper)." American Antiquity 53, no. 1 (1988): 200–201. http://dx.doi.org/10.2307/281172.

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