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Journal articles on the topic 'Painting – United States – Exhibitions'

Author: Grafiati

Published: 26 July 2024

Last updated: 31 July 2025

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1

Matallana, Andrea. "BUILDING ART DIPLOMACY: THE CASE OF CONTEMPORARY AMERICAN ART EXHIBITION IN LATIN AMERICA, 1941." ShodhKosh: Journal of Visual and Performing Arts 3, no. 2 (2022): 272–86. http://dx.doi.org/10.29121/shodhkosh.v3.i2.2022.172.

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This article analyzes the construction of the visual narrative expressed in the exhibition Contemporary North American Painting in 1941. During the II World War, the U.S. government recovered the initiative to build a strong tight with Latin American countries by relaunching the Good Neighbor Policy. Cultural diplomacy was an important branch of this policy. With the purpose of winning friends in the continent, the government created the Office of Inter-American Affairs, led by Nelson Rockefeller, and he sent artists, intellectuals, and exhibitions to make North America known in the other Amer

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Kulakova, Olga Yu. "Dutch Flower Still Life of 17th Century: Interest and Oblivion through the Centuries." Observatory of Culture 18, no. 5 (2021): 496–505. http://dx.doi.org/10.25281/2072-3156-2021-18-5-496-505.

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Over three and a half centuries, the genre of flower still life created by Dutch artists experienced ups of interest and oblivion. There were the maximum assessment of society in the form of high fees of the 17th century artists; the criticism of connoisseurs and art theorists; the neglect in the 19th century and the rise of auction prices and close attention of art critics, manifested from the middle of the 20th century to the present day. In the middle of the 17th century, there was already a hierarchy of genres, based on both the subject and the size of the paintings, which was reflected in

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Iswahyudi. "Towards Remediation of Indonesian New Fine Arts." Britain International of Linguistics Arts and Education (BIoLAE) Journal 2, no. 3 (2020): 797–809. http://dx.doi.org/10.33258/biolae.v2i3.332.

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Modern Indonesian painting mainly developed from the situation of the Dutch East Indies and Mooi-Indie art that was dominant at that time. The independence of the Republic of Indonesia became a very important milestone in the development of modern Indonesian painting. This is inseparable from the occurrence of a high dynamics and change through various political regimes in power starting from the leadership of Sukarno, Suharto and subsequent presidents. Each of these political regimes also played an important role in the development of modern art that occurred so as to bring out its own charac

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Dr., Meenakshi Thakur. "MITHILA- A GLOBALIZED ART FORM." International Journal of Research -GRANTHAALAYAH 5, no. 2 (2017): 208–12. https://doi.org/10.5281/zenodo.345668.

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India has long been a focal point of art. From the traditional to the contemporary, India is fast developing itself as a key destination for those who love art. India is marked by its rich traditional heritage of Tribal/Folk Arts and Culture. Since the days of remote past, the diversified art and cultural forms generated by the tribal and rural people of India have continued to evince their creative magnificence. Apart from their outstanding brilliance from the perspective of aesthetics, the tribal/folk art and culture forms have played an instrumental role in reinforcing national integrity, c

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Thakur, Meenakshi. "MITHILA- A GLOBALIZED ART FORM." International Journal of Research -GRANTHAALAYAH 5, no. 2 (2017): 208–12. http://dx.doi.org/10.29121/granthaalayah.v5.i2.2017.1725.

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India has long been a focal point of art. From the traditional to the contemporary, India is fast developing itself as a key destination for those who love art. India is marked by its rich traditional heritage of Tribal/Folk Arts and Culture. Since the days of remote past, the diversified art and cultural forms generated by the tribal and rural people of India have continued to evince their creative magnificence. Apart from their outstanding brilliance from the perspective of aesthetics, the tribal/folk art and culture forms have played an instrumental role in reinforcing national integrity, c

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Romanenkova, Julia V. "Archetypes of Boris Smotrov`s works as a tool for national self-identification of the individual in chaotic conditions of the turn of the 21st century." Vestnik slavianskikh kul’tur [Bulletin of Slavic Cultures] 60 (2021): 237–48. http://dx.doi.org/10.37816/2073-9567-2021-60-237-248.

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The paper discusses the works of Moscow artist Boris Smotrov. It provides a general analysis of the tools of his artistic style as well as the data on his main vectors of creative activity (painting, poster graphics). The author dwells on the master’s works in the field of painting, focusing on national themes. The study distinguishes dominant blocks of the painter's works (landscape, thematic painting), detects specifics of the artistic language, methods of working with color, his mastering of the line and pays attention to the interaction of painting and graphics in B. Smotrov’s creative bag

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Lesničenoka, Agnija. "Student Fraternity of the Art Academy of Latvia “Dzintarzeme”: Latvian National Art Conservation Policy in Exile (1958–1987)." Art History & Criticism 15, no. 1 (2019): 57–70. http://dx.doi.org/10.2478/mik-2019-0004.

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Summary After the proclamation of the Republic of Latvia in 1918, Latvia experienced a rapid influx of youth into its capital city of Riga, looking to obtain education in universities. Students began to build their academic lives and student societies. In 1923, students of the Art Academy of Latvia founded the “Dzintarzeme” (“Amberland”) fraternity. The aim of “Dzintarzeme” was to unite nationally minded students of the Art Academy of Latvia and to promote the development of national art and self-education. Most “Dzintarzeme” members were faithful to the old masters and Latvian art. This pheno

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Rosellini, Anna. "Principi della didattica di Mies nei progetti di Brenner, Jansone e Lippert per un museo d’arte." Opus Incertum 9 (December 13, 2023): 86–99. http://dx.doi.org/10.36253/opus-14843.

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When Mies began teaching at the Armour Institute, he defined a programme that would make technical and industrial developments in the United States problematic and theoretical. Some of the exercises concerned the relationship between painting, sculpture and architecture, and were transformed into museum projects. In the paper, the projects for exhibition spaces drawn up by Brenner, Jansone and Lippert for the Master of Science in Architecture are analysed from archive documents. The spatial, structural and material characteristics of these projects are reconstructed, as are their relationships

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9

Neglinskaya, Marina Aleksandrovna. "“Gunpowder painting” of Cai Guo-Qiang: Chinese artistic tradition in the era of postmodernism." Культура и искусство, no. 2 (February 2020): 44–50. http://dx.doi.org/10.7256/2454-0625.2020.2.29690.

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The subject of this research is the art of Cai Guo-Qiang (born in 1957) &ndash; the modern Chinese painter who lives and works in China and the United States (New York). The object of this research is the storyline fireworks of Cai and his innovative technique of &ldquo;gunpowder painting&rdquo;. The first works of the painter were canvasses in oil painting, and by 1980&rsquo;s he invented a new &ldquo;gunpowder&rdquo; technique, which was first applied in combination with oil on the canvas, and since 1990&rsquo;s &ndash; with ink on the paper, as a version of m

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Milligan, Barry. "LUKE FILDES'STHE DOCTOR, NARRATIVE PAINTING, AND THE SELFLESS PROFESSIONAL IDEAL." Victorian Literature and Culture 44, no. 3 (2016): 641–68. http://dx.doi.org/10.1017/s1060150316000097.

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Since its introductionat the Royal Academy exhibition of 1891, Luke Fildes's paintingThe Doctorhas earned that often hyperbolic adjective “iconic.” Immediately hailed as “the picture of the year” (“The Royal Academy,” “The Doctor,” “Fine Arts”), it soon toured the nation as part of a travelling exhibition, in which it “attracted most attention” (“Liverpool Autumn Exhibition”) and so affected spectators that one was even struck dead on the spot (“Sudden Death”). Over the following decades it spawned a school of imitations, supposed companion pictures, poems, parodies, tableaux vivants, an early

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Romero, Ramón Espejo. "When Young Playwrights Are Kept Awake Because of History: Cultural Memory and Amnesia in Recent American Plays." Journal of Contemporary Drama in English 9, no. 2 (2021): 263–80. http://dx.doi.org/10.1515/jcde-2021-0023.

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Abstract Borrowing from both a painting and the retrospective exhibition of David Wojnarowicz, History Keeps Me Awake at Night, this paper targets two recent American plays: Annie Baker’s The Flick (2013) and Matthew Lopez’s The Inheritance (2018). In both, the playwrights point to the neglect of history, or rather cultural memory, as I will insist on calling it, as one of the ills affecting a “historicidal” society such as that of the United States. An immersion into the present and concurrent obliteration of one’s cultural inheritance results in a populace easily manipulated in the interests

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Rudanko, Juhani. "“[T]his most unnecessary, unjust, and disgraceful war”." Understanding Historical (Im)Politeness 12, no. 1-2 (2011): 82–103. http://dx.doi.org/10.1075/jhp.12.1-2.04rud.

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This article focuses on face-threatening attacks on the Madison Administration during the War of 1812. The discussion is framed by the First Amendment to the United States Constitution, with the language of the Amendment protecting freedom of speech, and also by the Sedition Act of 1798, which, if it had been made permanent, would have seriously curtailed freedom of speech. The War of 1812 was intensely unpopular among members of the Federalist Party, and their newspapers did not shy away from criticising it. This article investigates writings published in the Boston Gazette and the Connecticu

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Soliarska-Komarchuk, Iryna. "Of the Transavant-Garde in Ukrainian and Polish Artistic Traditions." Pomiędzy Polonistyczno-Ukrainoznawcze Studia Naukowe 8, no. 1 (2023): 57–62. https://doi.org/10.15804/ppusi.2023.01.05.

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The article analyzes the artistic processes that emerged in the world in the second half of the twentieth century, after the Second World War. One of the most striking phenomena of that period was the transavant-garde, and the reasons for its emergence in many European countries and the United States are determined - Arte Cifra or la transavanguardia in Italy, Figuration Libre in France, New Image Painting in the United States, Neue Wilde in Germany, Nowa Expression in Poland. This diversity of transavant-garde manifestations in the context of national artistic systems is explained by the pecu

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Bondarenko, Halyna. "Stand with Ukraine: Ukrainians of Carolina." Materìali do ukraïnsʹkoï etnologìï, no. 22 (December 30, 2023): 43–50. http://dx.doi.org/10.15407/mue2023.22.043.

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The activities of Ukrainians from South and North Carolinas, connected with the preservation of Ukrainian cultural heritage and support of Ukraine during the war time are described in the study. Ukrainian community of both states makes up for more than 10 thousand people and consists mainly of immigrants, moving to the USA since the early 2000s. This number has increased significantly after Russia’s full-scale invasion. Community organizations work in many cities. They unite and encourage the cultural activities of the Ukrainian population of the region. The Ukrainian Association of North Caro

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Maza, Carlos. "Ccopacatty: perfil de un creador relámpago." Illapa Mana Tukukuq, no. 16 (December 28, 2019): 98–111. http://dx.doi.org/10.31381/illapa.v0i16.2588.

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ResumenPeruko Ccopacatty es un escultor egresado de la Escuela Nacional Superior Autónoma de Bellas Artes del Perú (Ensabap) a principios de la década de 1980 emigró a los Estados Unidos, donde ha realizado una incansable labor de producción escultórica y mural especialmente en espacios públicos. Reconocida por instituciones públicas y privadas de su país de residencia, e incluso por la misma Organización de las Naciones Unidas, su obra ha pasado injustamente inadvertida en el Perú. Este artículo describe su proceso a la luz de las escasas fuentes disponibles y a partir de la exposición homena

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Grzybkowska, Teresa. "PROFESSOR ZDZISŁAW ŻYGULSKI JR.: AN OUTSTANDING PERSON, A GREAT PERSONALITY, A MUSEUM PROFESSIONAL, A RESEARCHER ON ANTIQUE WEAPONS, ORIENTAL ART AND EUROPEAN PAINTING (1921–2015)." Muzealnictwo 58, no. 1 (2017): 2–13. http://dx.doi.org/10.5604/01.3001.0009.5602.

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Professor Zdzisław Żygulski Jr. (1921–2015) was one of the most prominent Polish art historians of the second half of the 20th century. He treated the history of art as a broadly understood science of mankind and his artistic achievements. His name was recognised in global research on antique weapons, and among experts on Rembrandt and Leonardo da Vinci. He studied museums and Oriental art. He wrote 35 books, about 200 articles, and numerous essays on art; he wrote for the daily press about his artistic journeys through Europe, Japan and the United States. He illustrated his publications with

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Myzgina, V. "Memories in memoirs: Mykhailo (Moisey) Fradkin." Vìsnik Harkìvsʹkoi deržavnoi akademìi dizajnu ì mistectv 2021, no. 02 (2021): 306–28. http://dx.doi.org/10.33625/visnik2021.02.306.

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The artist Moisey Fradkin (1904–1974) was a bright talented person in a brilliant galaxy of Ukrainian artists of the late 1920s – mid 1930s. He was a direct participant in the process of forming a special national “face” of graphic art. His works, which were exhibited at numerous foreign exhibitions in Europe and the United States, were noted as “strong and magical.” However, the further Fradkin’s creative destiny was not triumphant – after a very bright surge of original talent, his art was muted in the Procrustean bed of the Stalinist ideology, from about the end of the 1930s to the 1960s. H

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Crevier, Martin. "The Group of Seven, American Philanthropy, and the Cultural and Racial Politics of the Interwar Commonwealth." Canadian Historical Review 105, no. 3 (2024): 339–66. http://dx.doi.org/10.3138/chr-2023-0040.

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From 1936 to 1939, a travelling art exhibition consisting mainly of paintings by members of the Group of Seven toured South Africa, Australia, and New Zealand. All costs were covered by the Carnegie Corporation of New York, a phenomenally wealthy and powerful American philanthropical organization. Canadian art entrepreneurs and Carnegie Corporation officials intended this exhibition as a means to foster nationalist and modernist artistic practices in the other dominions of the British Empire. The model to be emulated, the organizers believed, was that of the critically acclaimed and nationally

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Little, Stephen. "Art and Science in LACMA’s Cosmologies Exhibition." Culture and Cosmos 27, no. 0102 (2023): 159–71. http://dx.doi.org/10.46472/cc.01227.0219.

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This paper presents an overview of the Cosmologies exhibition that will be presented by the Los Angeles County Museum of Art (LACMA) in late 2024 – early 2025. Created in collaboration with scientists at the Carnegie Observatories and the Griffith Observatory, and a global array of consulting scholars, Cosmologies presents a group of one hundred twenty rare artworks, stone, ceramic, and metal sculptures; paintings; works on paper; manuscripts; astronomical instruments; and computer visualizations. The exhibition’s goal is to explore the variety of human attempts to explain the universe’s origi

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Тsymbal, Tetiana. "UKRAINIANS IN St. PETERSBURG IN SCIENTIFIC AND PUBLIC ACTIVITY OF TETIANA LEBEDYNSKA." Almanac of Ukrainian Studies, no. 28 (2021): 114–20. http://dx.doi.org/10.17721/2520-2626/2021.28.18.

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The article presents the results of a study of scientific, educational and ascetic activities of one of the brightest representatives of the modern Ukrainian diaspora in Russia - Tetiana Lebedynska, a daughter of Ukrainian writer Mykola Shpak. T.M. Lebedynska is PhD in Philosophy, translator, writer, member of the Ukrainian Union of Writers, author of exhibitions dedicated to Ukrainian St. Petersburg, holder of the Order of Princess Olga III degree. The multifaceted scientific and educational activity of Tetiana Mykolajivna is considered. It is emphasized that she initiated and organized the I

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Sarmiento, Sergio Munoz, and Lauren van Haaften-Schick. "Cariou v. Prince." 2013 Fall Intellectual Property Symposium Articles 1, no. 4 (2014): 941–57. http://dx.doi.org/10.37419/lr.v1.i4.6.

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In the winter of 2008, Richard Prince had a major exhibition of new and controversial paintings at Gagosian Gallery in New York titled Canal Zone. For the exhibition, Prince, an early member of the appropriationist art group known as The Pictures Generation, presented a body of artworks that incorporated reproductions of published photographs protected by the United States Copyright Act of 1976 The original published photographs were taken by the artist Patrick Cariou for his book, Yes Rasta, which consisted of a series of portraits of Rastafarians in Jamaica.

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Beck, James. "RECENT DONATELLO EXHIBITIONS IN ITALY AND THE UNITED STATES." Source: Notes in the History of Art 5, no. 3 (1986): 2–7. http://dx.doi.org/10.1086/sou.5.3.23202393.

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Wee, C. J. W. L. "Tropical Modernism(s), Miscegenated Art and Modernity." Southeast of Now: Directions in Contemporary and Modern Art in Asia 8, no. 1 (2024): 127–39. http://dx.doi.org/10.56159/sen.2024.a924619.

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Abstract: Tropical: Stories from Southeast Asia and Latin America opened on 18 November 2023 and ran at the National Gallery Singapore (NGS) until 24 March 2024. NGS’s website states that the exhibition is “the first large-scale museum exhibition to take a comparative approach across two regions united by their shared struggles against colonialism”, comprising over 200 paintings, sculptures, prints and installations. The exhibition proceeds not always via direct formal or informal engagements between artists but by “an alchemy of shared narratives” (Teo Hui Min). Tropical endeavours to complic

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Hein, Laura, and Akiko Takenaka. "Exhibiting World War II in Japan and the United States." Asia-Pacific Journal 10, S1 (2012): 68–92. https://doi.org/10.1017/s1557466012024497.

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This essay compares museum representations of WWII from Japan and the USA and discusses how museum curators responded to the changing international and domestic environment in their exhibits. The authors also identify challenges that museum curators in these countries have often faced. In Japan, for example, when the newly opened peace museums in Osaka, Kawasaki, Saitama, and Kanagawa began to depict Japan's role in the Asia-Pacific War from a critical angle by including photographs of the Nanking Massacre, they drew heated criticism from conservative nationalist groups. This in turn eventuall

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Wang, ShiPu. "The Challenges of Displaying “Asian American”: Curatorial Perspectives and Critical Approaches." AAPI Nexus Journal: Policy, Practice, and Community 5, no. 1 (2007): 12–32. http://dx.doi.org/10.36650/nexus5.1_12-32_wang.

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This essay delineates the issues concerning AAPI art exhibitions from a curator’s perspective, particularly in response to the changing racial demographics and economics of the past decades. A discussion of practical, curatorial problems offers the reader an overview of the obstacles and reasons behind the lack of exhibitions of AAPI works in the United States. It is the author’s hope that by understanding the challenges particular to AAPI exhibitions, community leaders, and patrons will direct future financial support to appropriate museum operations, which in turn will encourage more exhibit

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REDMAN, SAMUEL. "Remembering Exhibitions on Race in the 20th-century United States." American Anthropologist 111, no. 4 (2009): 517–18. http://dx.doi.org/10.1111/j.1548-1433.2009.01160_1.x.

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Bellido Gant, María Luisa. "El Arte Latinoamericano en los Estados Unidos durante el siglo XX. Exposiciones, coleccionismo, museología." Illapa Mana Tukukuq, no. 14 (February 18, 2019): 118–29. http://dx.doi.org/10.31381/illapa.v0i14.1885.

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Este texto reflexiona sobre la presencia del arte latinoamericano en Estados Unidos desde la década de los veinte hasta los años noventa, con el llamado boom del mercado de arte latinoamericano. Nuestro objetivo es presentar de una manera sintética diferentes momentos que jalonaron los vínculos artísticos entre Latinoamérica y Estados Unidos, en especial la presencia, en este país, de artistas de aquella región. Analizaremos las exposiciones individuales y colectivas, el coleccionismo público y privado, la acción institucional, el papel de las galerías de arte y la incidencia de la crítica de

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Flores-Marcial, Xóchitl M. "Getting Community Engagement Right." Latin American and Latinx Visual Culture 3, no. 1 (2021): 98–108. http://dx.doi.org/10.1525/lavc.2021.3.1.98.

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Greater Mexico refers both to the geographic region encompassing modern Mexico and its former territories in the United States, and to the Mexican cultural diaspora. Exhibitions of visual and material culture from greater Mexico have played an important role in articulating identities and affiliations that transcend limited definitions of citizenship. Following an introductory text by Jennifer Josten, five scholars offer firsthand insights into the intellectual, diplomatic, and logistical concerns underpinning key border-crossing exhibitions of the “NAFTA era.” Rubén Ortiz-Torres writes from h

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Vargas-Santiago, Luis. "Emiliano." Latin American and Latinx Visual Culture 3, no. 1 (2021): 109–19. http://dx.doi.org/10.1525/lavc.2021.3.1.109.

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Greater Mexico refers both to the geographic region encompassing modern Mexico and its former territories in the United States, and to the Mexican cultural diaspora. Exhibitions of visual and material culture from greater Mexico have played an important role in articulating identities and affiliations that transcend limited definitions of citizenship. Following an introductory text by Jennifer Josten, five scholars offer firsthand insights into the intellectual, diplomatic, and logistical concerns underpinning key border-crossing exhibitions of the “NAFTA era.” Rubén Ortiz-Torres writes from h

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Ortiz-Torres, Rubén. "Mexicos and Americas." Latin American and Latinx Visual Culture 3, no. 1 (2021): 70–79. http://dx.doi.org/10.1525/lavc.2021.3.1.70.

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Greater Mexico refers both to the geographic region encompassing modern Mexico and its former territories in the United States, and to the Mexican cultural diaspora. Exhibitions of visual and material culture from greater Mexico have played an important role in articulating identities and affiliations that transcend limited definitions of citizenship. Following an introductory text by Jennifer Josten, five scholars offer firsthand insights into the intellectual, diplomatic, and logistical concerns underpinning key border-crossing exhibitions of the “NAFTA era.” Rubén Ortiz-Torres writes from h

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Bargellini, Clara. "Looking Back at The Arts of the Missions of Northern New Spain, 1600–1821." Latin American and Latinx Visual Culture 3, no. 1 (2021): 80–87. http://dx.doi.org/10.1525/lavc.2021.3.1.80.

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Greater Mexico refers both to the geographic region encompassing modern Mexico and its former territories in the United States, and to the Mexican cultural diaspora. Exhibitions of visual and material culture from greater Mexico have played an important role in articulating identities and affiliations that transcend limited definitions of citizenship. Following an introductory text by Jennifer Josten, five scholars offer firsthand insights into the intellectual, diplomatic, and logistical concerns underpinning key border-crossing exhibitions of the “NAFTA era.” Rubén Ortiz-Torres writes from h

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Richter, Kim N. "Golden Kingdoms at Getty." Latin American and Latinx Visual Culture 3, no. 1 (2021): 88–97. http://dx.doi.org/10.1525/lavc.2021.3.1.88.

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Greater Mexico refers both to the geographic region encompassing modern Mexico and its former territories in the United States, and to the Mexican cultural diaspora. Exhibitions of visual and material culture from greater Mexico have played an important role in articulating identities and affiliations that transcend limited definitions of citizenship. Following an introductory text by Jennifer Josten, five scholars offer firsthand insights into the intellectual, diplomatic, and logistical concerns underpinning key border-crossing exhibitions of the “NAFTA era.” Rubén Ortiz-Torres writes from h

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Josten, Jennifer. "Dialogues." Latin American and Latinx Visual Culture 3, no. 1 (2021): 60–69. http://dx.doi.org/10.1525/lavc.2021.3.1.60.

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Greater Mexico refers both to the geographic region encompassing modern Mexico and its former territories in the United States, and to the Mexican cultural diaspora. Exhibitions of visual and material culture from greater Mexico have played an important role in articulating identities and affiliations that transcend limited definitions of citizenship. Following an introductory text by Jennifer Josten, five scholars offer firsthand insights into the intellectual, diplomatic, and logistical concerns underpinning key border-crossing exhibitions of the “NAFTA era.” Rubén Ortiz-Torres writes from h

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Tolvaisas, Tomas. "Cold War “Bridge-Building”: U.S. Exchange Exhibits and Their Reception in the Soviet Union, 1959–1967." Journal of Cold War Studies 12, no. 4 (2010): 3–31. http://dx.doi.org/10.1162/jcws_a_00068.

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Following the presentation of the American National Exhibition in Moscow in 1959, nine exhibits organized by the United States Information Agency traveled in the Soviet Union from 1961 to 1967. This article discusses the aims, preparation, content, and reception of these exhibits, which attracted more than five million visitors and provoked diverse reactions. The exhibitions and their guides served as a unique form of communication with Soviet citizens, informing them about U.S. achievements and freedoms and the American way of life. The initiatives offset Soviet Communist propaganda, advanced

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Kestner, Joseph A. "Victorian Art History." Victorian Literature and Culture 26, no. 1 (1998): 207–19. http://dx.doi.org/10.1017/s1060150300002357.

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There has been an intriguing range of material published concerning Victorian painting since Victorian Literature and Culture last offered an assessment of the field. These books, including exhibition catalogues, monographs, and collections of essays, represent new and important sources for research in Victorian art and its cultural contexts. Most striking of all during this interval has been the range of exhibitions, from focus on the Pre-Raphaelites to major installations of such Victorian High Olympians/High Renaissance painters as Frederic, Lord Leighton and Sir Lawrence Alma-Tadema. Inclu

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Goff, Sheila, Betsy Chapoose, Elizabeth Cook, and Shannon Voirol. "Collaborating Beyond Collections: Engaging Tribes in Museum Exhibits." Advances in Archaeological Practice 7, no. 3 (2019): 224–33. http://dx.doi.org/10.1017/aap.2019.11.

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AbstractThere has been—and continues to be—tension between Native peoples and museums in the United States due to past collecting practices and exhibitions that strive to interpret their culture and history without their involvement. Previously, many of these exhibitions stereotyped and lumped Native peoples together, depicting their cultures as static and interpreting them and their material culture from a Western scientific perspective. Changes are being made. Collaboration between Native peoples and museums in all areas of museum work, including exhibitions, is beginning to be considered by

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Stephens, Elizabeth. ""Artificial Mothers" on Display: How Public Exhibits Shaped the Development of Incubators." Technology and Culture 65, no. 4 (2024): 1109–34. http://dx.doi.org/10.1353/tech.2024.a940463.

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abstract: For the first four decades of the twentieth century, premature babies in the United States were primarily treated in infant incubators not in hospitals, but in a public setting—at the Coney Island amusement park. Although incubators are now an indispensable medical device, their origins lie in public exhibitions rather than a professional medical environment. This article uncovers the longer history behind this unusual episode in neonatal care and technology. Offering the first comprehensive account of the early history of the infant incubator, it traces how these devices were first

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Devji, Faisal, and Shahzia Sikander. "Anti-monument." Public Culture 36, no. 1 (2024): 5–16. http://dx.doi.org/10.1215/08992363-11121447.

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WooThak Chung. "Investigation Research on the Korean Buddhist Painting in the United States." Dongak Art History ll, no. 13 (2012): 33–63. http://dx.doi.org/10.17300/jodah.2012..13.002.

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Duran, Jane. "AngloModern: Painting and Modernity in Britain and the United States (review)." Journal of Aesthetic Education 39, no. 2 (2005): 118–20. http://dx.doi.org/10.1353/jae.2005.0016.

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Humm, Maggie. "AngloModern: Painting and Modernity in Britain and the United States (review)." Modernism/modernity 12, no. 1 (2005): 188–90. http://dx.doi.org/10.1353/mod.2005.0041.

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Li, Jinlin. "A Brief Analysis of Gothic Culture." Learning & Education 10, no. 3 (2021): 122. http://dx.doi.org/10.18282/l-e.v10i3.2412.

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The Statue of Liberty,Barbie doll,American Gothic,buffalo and nickel,and Uncle Sam are known as the five cultural symbols of the United States.Originally,American Gothic is a 76.2x63.5cm oil painting created by Grant Wood who graduated from Art Institute of Chicago. The painting consists of a house,a farmer and his sister,conveying the author’s deep understanding of Gothic art.However,in the late period,American Gothic gradually became a synonym of a thought,and also represented a group of people with common characteristics.This thesis mainly analyzes the definition,cultural connotation,existe

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Xu, Min. "Chinese art: A survey of collections and research materials in the United States." Art Libraries Journal 39, no. 2 (2014): 43–47. http://dx.doi.org/10.1017/s0307472200018319.

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During the 20th century a range of museums in the United States were engaged in acquiring Chinese art objects, developing major collections of painting and calligraphy, ancient bronze, Buddhist sculpture, ceramics and other decorative arts. Research materials on Chinese art have been collected by art libraries in major museums and the East Asian libraries of the main research universities. The author surveys significant Chinese art collections in museums and research libraries in the United States today.

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Sánchez Arteaga, Juanma, and Charbel Niño El-Hani. "Physical anthropology and the description of the 'savage' in the Brazilian Anthropological Exhibition of 1882." História, Ciências, Saúde-Manguinhos 17, no. 2 (2010): 399–414. http://dx.doi.org/10.1590/s0104-59702010000200008.

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This paper discusses attempts to popularize scientific knowledge about anthropology through exhibitions of natives in the United States and Brazil from the nineteenth century to the beginnings of the twentieth century. In the First Brazilian Anthropological Exposition (Rio de Janeiro, 1882), a group of Botocudos was characterized in a manner that can be related to the reification of the myth of the savage, an important part of the European culture that played a significant role in the construction of anthropological knowledge in the nineteenth century. From the analyses of such exhibitions, we

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Niemira, Konrad. "Much Ado About Nothing? Political Contexts of the 15 Polish Painters Exhibition (MoMA, 1961)." Ikonotheka 26 (June 26, 2017): 167–91. http://dx.doi.org/10.5604/01.3001.0010.1677.

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The essay concerns 15 Polish Painters, the now slightly forgotten, but once famous exhibition of Polish contemporary art that took place at the Museum of Modern Art in New York in 1961. Initially, the exhibition was conceived as an expression of a thaw in relations between the United States and Poland, and it was organised at the diplomatic level. Organisational works began during Vice President Richard Nixon’s visit to Warsaw in August of 1959. They were coordinated by Porter McCray (who was responsible for MoMA’s touring exhibition programme) and Peter Selz (an art historian of German origin

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Mansbach, Steven. "Delayed Discovery or Willful Forgetting? The Reception of Polish Classical Modernism in America." Slavic Review 71, no. 3 (2012): 489–515. http://dx.doi.org/10.5612/slavicreview.71.3.0489.

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Polish modern art was collected by leading figures within America's cultural vanguard. Most prized the art's stylistic innovation; they were likely unaware of the ideological charge that animated modernism's makers. By the end of the 1930s, numerous exhibitions of Polish art had been mounted in the United States; however, few concentrated on strikingly innovative works, preferring instead traditional themes, genres, and styles. Nonetheless, Poland's modernist efforts garnered popular success at the New York World's Fair of 1939. The modern art from other central and eastern European nations wa

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Altman, Dana. "Contemporary Romanian Art in the United States." American, British and Canadian Studies Journal 22, no. 1 (2014): 87–93. http://dx.doi.org/10.2478/abcsj-2014-0023.

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Abstract The article discusses the recent international interest in contemporary Romanian art and its growth in market share, with a focus on the United States. The theme is followed thorough in numerous museum exhibitions, increased collector following, art fair presence, gallery representation and auction activity initially in Europe and the United States. The phenomenon is discussed both in the context of the larger international movement conducive to the contemporary art price bubble, and in that of the local socio-economic changes. My chief interest lies in the factors leading up to the e

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Hartmann, Julia. "From gunshots to hashtags: Transcultural curating in the #MeToo era." Journal of Contemporary Chinese Art 9, no. 3 (2022): 333–51. http://dx.doi.org/10.1386/jcca_00070_1.

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After the #MeToo movement kicked off in the United States in 2018, it found its way to China and has triggered a number of exhibition projects around the country, organized by young activists, artists and curators, which have galvanized transnational feminist exchanges in the past few years. The article analyses exhibitions such as The Voiceless Rise Up: #MeToo in China, Her Story: Eliminating Gender Violence 2020, Above Ground: 40 Moments of Transformation and Stand by Her, which consisted of works documenting sexual assault and the #MeToo movement in China, as well as of artworks that are de

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Taylor, Samuel M. "AMERICAN SUBLIME: LANDSCAPE PAINTING IN THE UNITED STATES 1820-1880: Tate Britain." Curator: The Museum Journal 45, no. 2 (2002): 144–48. http://dx.doi.org/10.1111/j.2151-6952.2002.tb01188.x.

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Seibert, Elke. "KLEES KLEINE EXPERIMENTIER MASCHINE UND PRÄHISTORISCHE MALEREIEN IM MUSEUM OF MODERN ART (1937) IN NEW YORK." Zwitscher - Maschine. Journal on Paul Klee / Zeitschrift für internationale Klee - Studien, no. 2 (September 11, 2016): 44–54. https://doi.org/10.5281/zenodo.4043513.

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This essay is going to substantiate Seibert´s hypothesis that the MoMA-exhibition <em>Prehistoric Rock Pictures from Europe and Africa</em> curated by Alfred H. Barr in 1937, which showed 150 copies of prehistoric rock paintings, colored and partly in original size, legitimized new artistic forms to represent the past. In a visionary way, Barr complemented the exhibition concept by a separate section comprising artefacts by European avant-gardists, such as Paul Klee, and the surrealists André Masson, Joan Miró and Jean Arp. This made a visual conversation availabl

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