Relevant bibliographies by topics / Photographers – United States – Exhibitions

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

Academic literature on the topic 'Photographers – United States – Exhibitions'

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

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Journal articles on the topic "Photographers – United States – Exhibitions"

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BLINDER, CAROLINE, and CHRISTOPHER LLOYD. "US Topographics: Imaging National Landscapes." Journal of American Studies 54, no. 3 (February 12, 2020): 461–69. http://dx.doi.org/10.1017/s0021875819000987.

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In 1975, the New Topographics: Photographs of a Man-Altered Landscape exhibition, organized by William Jenkins, at George Eastman House, changed the scope and aesthetics of American landscape photography. Ostensibly pared-back and banal, these black-and-white images formally presented the United States as a series of streets, suburban new builds, industrial sites and warehouses. None bigger than eleven inches by four or thirteen by thirteen, the photographs were also small and unassuming, refusing the grandness and potential sublimity of previous evocations of the US landscape. Rather than present the United States as a series of locations marked by regional and economic differences, photographers such as Robert Adams, Frank Gohlke, Lewis Baltz and Bernd and Hilla Becher now focussed on an increasing homogeneity across terrains, terrains often indeterminable in terms of actual locations, and, more often than not, eerily devoid of human presence. In Neil Campbell's words, the images were “unemotional, flat and appeared everyday, aspiring to ‘neutrality’ with a ‘disembodied eye.’” The New Topographics – according to such readings – differed from earlier depictions of the United States, moving away from the documentary focus on agrarian poverty and urban slums as seen during the Depression, as well as the humanist vision of postwar photographers such as Robert Frank. As William Jenkins put it in the original introduction to the exhibition, New Topographics was a study more “anthropological than critical,” one that would recentre everyday lived experience – not as a collection of individualized narratives, but as a cultural landscape marked by commercial interests above all.
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Ben-Choreen, Tal-Or K. "Emergence of Fine Art Photography in Israel in the 1970s to the 1990s Through Pedagogical and Social Links with the United States." Contemporary Review of the Middle East 6, no. 3-4 (September 2019): 252–65. http://dx.doi.org/10.1177/2347798919872588.

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The flourishing of photography as a tool for expressive reportage and artistic practice transformed photographic education during the mid-twentieth century. American-based academic institutions quickly established reputations in the emerging fine art field as leaders in photographic education drawing international students from diverse locations, including Israel. Many Israelis who studied photography in American institutions returned to Israel bringing with them the knowledge they had gained while abroad. This article considers the impact of American pedagogical models and social networks on the development of the Israeli photographic field. Included in this discussion is an exploration of the emergence of Israeli photography programs in institutions of higher education, photography galleries, museum collections, and exhibitions. By approaching the study through a network methodological approach, this article traces the transnational movements of individuals: photographers, program graduates, and curators in order to demonstrate the significant impact American photographic education had on the emerging Israeli photographic field.
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Sarmiento, Sergio Munoz, and Lauren van Haaften-Schick. "Cariou v. Prince." 2013 Fall Intellectual Property Symposium Articles 1, no. 4 (March 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 (April 1986): 2–7. http://dx.doi.org/10.1086/sou.5.3.23202393.

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Montes Serrano, Carlos, and David Durántez Stolle. "The Mies van der Rohe exhibition at the MoMA in 1947: a 3D reconstruction model." EGE-Expresión Gráfica en la Edificación, no. 11 (December 30, 2019): 64. http://dx.doi.org/10.4995/ege.2019.12870.

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<div>Between 16 September 1947 and 25 January 1948 the Museum of Modern Art of New York hosted a Mies van der Rohe exhibition. This exhibition was made up of photo-murals, collages, drawings and photographs of his buildings. In addition; five scale models of commissions received in the United States and some of his pieces of furniture were on display. This article will study the graphical works selected by Mies and how they were laid out in the exhibition area, so as to enable the reproduction in the form of computer recreations of the spatial impressions received by visitors going around the site.</div>
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REDMAN, SAMUEL. "Remembering Exhibitions on Race in the 20th-century United States." American Anthropologist 111, no. 4 (November 17, 2009): 517–18. http://dx.doi.org/10.1111/j.1548-1433.2009.01160_1.x.

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Sirotinskaya, Mariya M. "UNITED STATES HOLOCAUST MEMORIAL MUSEUM (WASHINGTON, D.C.)." RSUH/RGGU Bulletin. Series Political Sciences. History. International Relations, no. 2 (2021): 127–39. http://dx.doi.org/10.28995/2073-6339-2021-2-127-139.

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The article is aimed at examining how the United States Memori- al Museum in Washington, D.C., preserves the memory of the Holocaust, what educational technologies are recommended for teachers. Transmission of the Holocaust memory is still very important, as even nowadays attempts are made to deny the fact of systematic persecution and destruction of Jews or underrate its scale. The museum communicates, in the historical context, traditional nar- rative – Hitler’s rise to power, Nazi Jewish policy. Emphasis is put on German ideology and propaganda. Great attention is paid to the historical sources, not only official ones, – to the diaries, letters, memoirs, photographs, interviews with the camp prisoners who have survived, as well as to the artifacts, audio- and video materials. The online exhibition “Americans and the Holocaust” reveals events in Germany as seen through the lens of different U.S. periodi- cals. Concrete recommendations are made to the educators – to avoid simple answers to complex questions and the comparison of suffering, to show that the Holocaust was not inevitable, to take into consideration an age-appropriate approach, etc. The author shares the views of the researchers who come to the conclusion: the reconstruction of the Holocaust in the museum determines our perception of the past and, therefore, deepens our understanding of the present.
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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 exhibitions and research of the important artistic contribution of AAPI artists to American art.
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Flores-Marcial, Xóchitl M. "Getting Community Engagement Right." Latin American and Latinx Visual Culture 3, no. 1 (January 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 his unique perspective as a Mexico City–based artist who began exhibiting in the United States in the late 1980s, and as a curator of recent exhibitions that highlight the existence of multiple Mexicos and Americas. Clara Bargellini reflects on a paradigm-shifting cross-border exhibition of the viceregal arts of the missions of northern New Spain. Kim N. Richter considers how the arts of ancient Mesoamerica and the Americas writ large figured within the Getty Foundation’s 2017 Pacific Standard Time: LA/LA initiative. Xóchitl M. Flores-Marcial offers insights into productive institutional collaborations with transnational Indigenous stakeholders, focusing on two recent Southern California exhibitions of the Oaxaca-based Tlacolulokos collective. Luis Vargas-Santiago discusses how Chicana/o/x art entered Mexico City’s Palacio de Bellas Artes in 2019 as a crucial component of an exhibition about how Mexican revolutionary Emiliano Zapata’s image has migrated through visual culture. Together, these texts demonstrate how exhibitions can act in the service of advancing more nuanced understandings of cultural and political interactions across greater Mexico.
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Vargas-Santiago, Luis. "Emiliano." Latin American and Latinx Visual Culture 3, no. 1 (January 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 his unique perspective as a Mexico City–based artist who began exhibiting in the United States in the late 1980s, and as a curator of recent exhibitions that highlight the existence of multiple Mexicos and Americas. Clara Bargellini reflects on a paradigm-shifting cross-border exhibition of the viceregal arts of the missions of northern New Spain. Kim N. Richter considers how the arts of ancient Mesoamerica and the Americas writ large figured within the Getty Foundation’s 2017 Pacific Standard Time: LA/LA initiative. Xóchitl M. Flores-Marcial offers insights into productive institutional collaborations with transnational Indigenous stakeholders, focusing on two recent Southern California exhibitions of the Oaxaca-based Tlacolulokos collective. Luis Vargas-Santiago discusses how Chicana/o/x art entered Mexico City’s Palacio de Bellas Artes in 2019 as a crucial component of an exhibition about how Mexican revolutionary Emiliano Zapata’s image has migrated through visual culture. Together, these texts demonstrate how exhibitions can act in the service of advancing more nuanced understandings of cultural and political interactions across greater Mexico.
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Dissertations / Theses on the topic "Photographers – United States – Exhibitions"

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Cordier, Astrid. "The influence of 1950s fashion photographers, Richard Avedon and Irving Penn, on photographers Matthew Rolston and Steven Meisel." Thesis, Nelson Mandela Metropolitan University, 2011. http://hdl.handle.net/10948/d1008112.

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Photography has been used to record and document periods in time, which Wells (2001:19) acknowledges by stating that, “…photographs are records and documents which pin down the changing world of appearance”. Richard Avedon and Irving Penn made a significant contribution to fashion photography during the 1950s but this has seldom been explored in a scholarly way. By defining the characteristics of Avedon and Penn’s work, a possible understanding of their influence on contemporary fashion photographers, Matthew Rolston and Steven Meisel may be determined and so expand on the understanding of the contribution of Avedon and Penn to contemporary fashion photography. Avedon, Penn, Rolston and Meisel’s fashion photographs will be visually analysed to show the similarities and the relevance of 1950s fashion photography to contemporary fashion photography. Paul Martin Lester’s (2003) method of visual analysis will be used as the basis for this analysis. The reason for choosing Lester’s methods of visual analysis is that it can be applied to all fields of visual art and design. Contemporary fashion photography draws on many different stylistic devices and periods in history for its re-invention, so it is important to understand what constitutes the defining characteristics of a stylistic period in history to be able to revisit it in contemporary photography.
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Ashley, Daniel. "Civil War Photographs Considered." Fogler Library, University of Maine, 2004. http://www.library.umaine.edu/theses/pdf/AshleyD2004.pdf.

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Pitts, Terence. "WILLIAM BELL: PHILADELPHIA PHOTOGRAPHER (PENNSYLVANIA)." Thesis, The University of Arizona, 1987. http://hdl.handle.net/10150/292050.

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William Bell was an active photographer for more than a half century, successfully making the technical and commercial transitions from the daguerreotype process of the 1840s and 1850s to the collodion processes of the 1860s, 1870s, and 1880s, and finally to the dry plate processes that dominated the medium from the mid-1880s until the time of Bell's death in 1910. The purpose of this thesis is to provide a biography of Bell (1830-1910), to assess his contributions to photography, and to suggest something of the growth of professionalism in nineteenth century photography using Bell as "typical."
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Grunenberg, Christoph. "The politics of presentation : museums, galleries and exhibitions in New York, 1929-1947." Thesis, Courtauld Institute of Art (University of London), 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.283893.

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Uchill, Rebecca 1978. "Developing experience : Alexander Dorner's Exhibitions, from Weimar Republic Germany to the Cold War United States." Thesis, Massachusetts Institute of Technology, 2015. http://hdl.handle.net/1721.1/100327.

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Thesis: Ph. D. in History and Theory of Art, Massachusetts Institute of Technology, Department of Architecture, 2015.
CD-ROM contains PDF of Addenda section, quarterly report and 5 PDFs of images for thesis.
Cataloged from PDF version of thesis. Pages 237 to 428 of original thesis for Addenda section are removed and copied onto CD-ROM.
Includes bibliographical references (pages 429-446).
Following the work of German-American curator Alexander Dorner (1893-1957) from his early curatorial career in Niedersachsen to professorships in New England, this dissertation explores the intersections of Euro-American modernism and developing ideations of experience within aesthetic philosophy. Dorner's work was formulated in deep engagement with (and often intentional contradiction to) the art theory being incubated in contemporaneous art institutions, pedagogies, and practices. His written texts and museum praxis responded to emerging notions of subjectivity, restoration, and perception in the aesthetic theory of Alois Riegl and Erwin Panofsky, art restoration mandates advocated by German museum leaders such as Max Sauerlandt and Kurt Karl Eberlein, and the artistic productions of El Lissitzky and Herbert Bayer. Against shifting expressions of democracy in Weimar Germany and the mid-century United States, Dorner's polemical focus on museum experience was, in effect, an attempt to train citizens for collective but heterogeneous social life.
by Rebecca K. Uchill.
Ph. D. in History and Theory of Art
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McMahon, Cliff Getty. "The sublime in Rothko, Newman and Still." Thesis, University of St Andrews, 1998. http://hdl.handle.net/10023/11002.

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An important body of literature has accumulated (both primary and secondary sources) which necessitates that Rothko, Newman and Still be placed in the tradition of the sublime. In attempting this task, a background is established by a detailed summary of classical theory of the sublime in Longinus, Burke, Kant, and Nietzsche, followed by detailed summaries of major recent sublimist theory by Weiskel, Crowther, Lyotard, and Ferguson. Also, key ideas of Sartre and Jung are treated in order to round out the proper ideational context for a sublimicist analysis of these three painters. From this foundation, a working theory of the sublime is developed. Next, the painters' crucial theoretic statement are analysed for their relevance to the sublime, and their programs and specific works are characterized in relation to theory of the sublime, and in relation to their treatments in criticism. The last two chapters treat two crucial contexts in which Rothko, Newman and Still are situated: The historically accumulated American tradition of the sublime in art and literature; and the general European context of modernism and postmodernism. Throughout the study, it is argued that various kinds of transcendence validate a set of various major modes of the sublime: The ideational, religious, moral, Burkean-Gothic, Kantian, Nietzschean, romantic, existential, Jungian-mythic, ontological, noble, and the sublime of light/color, along with negatives modes such as the comic, the ironic, the counter, the mock, and the merely rhetorical. It is argued, finally, that sublimicism will continue to be attractive for conservative, moderate, and radical points of view, that theory of the sublime has on-going power and validity into the future, and that between positive and negative modes, the positive will probably continue to dominate.
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Holland, Nicole Murphy. "Worlds on view visual art exhibitions and state identity in the late Cold War /." Diss., [La Jolla] : University of California, San Diego, 2010. http://wwwlib.umi.com/cr/ucsd/fullcit?p3397171.

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Thesis (Ph. D.)--University of California, San Diego, 2010.
Title from first page of PDF file (viewed March 30, 2010). Available via ProQuest Digital Dissertations. Vita. Includes bibliographical references.
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Cooks, Bridget Rochelle. "Seen and not seen : a history of Black representation and self-representation in art exhibitions in the United States, 1893-1998." Ann Arbor, Mich. : ProQuest Information and Learning, 2005. http://gateway.proquest.com/openurl?res_dat=xri:ssbe&url_ver=Z39.88-2004&rft_dat=xri:ssbe:ft:keyresource:Coll_Diss_02.

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Lincoln, Margaret L. "The Online and the Onsite Holocaust Museum Exhibition as an Informational Resource." Thesis, University of North Texas, 2006. https://digital.library.unt.edu/ark:/67531/metadc5407/.

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Museums today provide learning-rich experiences and quality informational resources through both physical and virtual environments. This study examined a Holocaust Museum traveling exhibition, Life in Shadows: Hidden Children and the Holocaust that was on display at the Art Center of Battle Creek, Michigan in fall 2005. The purpose of this mixed methods study was to assess the informational value of a Holocaust Museum exhibition in its onsite vs. online format by converging quantitative and qualitative data. Participants in the study included six eighth grade language arts classes who viewed various combinations or scenarios of the onsite and online Life in Shadows. Using student responses to questions in an online exhibition survey, an analysis of variance was performed to determine which scenario visit promotes the greatest content learning. Using student responses to additional questions on the same survey, data were analyzed qualitatively to discover the impact on students of each scenario visit. By means of an emotional empathy test, data were analyzed to determine differences among student response according to scenario visit. A principal finding of the study (supporting Falk and Dierking's contextual model of learning) was that the use of the online exhibition provided a source of prior orientation and functioned as an advanced organizer for students who subsequently viewed the onsite exhibition. Students who viewed the online exhibition received higher topic assessment scores. Students in each scenario visit gave positive exhibition feedback and evidence of emotional empathy. Further longitudinal studies in museum informatics and Holocaust education involving a more diverse population are needed. Of particular importance would be research focusing on using museum exhibitions and Web-based technology in a compelling manner so that students can continue to hear the words of survivors who themselves bear witness and give voice to silenced victims. When perpetuity of access to informational resources is assured, future generations will continue to be connected to the primary documents of history and cultural heritage.
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Lindley, Anne Hollinger. "Relating to relational aesthetics." Pomona College, 2009. http://ccdl.libraries.claremont.edu/u?/stc,74.

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This thesis will examine the practice of relational aesthetics as it involves the viewer, as well as the way in which it plays out within and outside of the institutional setting of the museum. I will focus primarily on two unique projects: that of The Machine Project Field Guide at Los Angeles County Museum of Art on November 15, 2008, produced by Machine Project, a social project operated out of a storefront gallery in Echo Park; and David Michalek's Slow Dancing at the Lincoln Center Festival in New York City, July 12-29 2007.
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Books on the topic "Photographers – United States – Exhibitions"

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John, Gutmann, Rule Amy, and University of Arizona. Center for Creative Photography., eds. John Gutmann: The photographer at work. Tucson: Center for Creative Photography, the University of Arizona, 2009.

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S, Weiss Jeffrey, and Fraenkel Gallery, eds. Mel Bochner: Photographs and not photographs. San Francisco: Fraenkel Gallery, 2010.

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Frank, Robert. Hold still, keep going: Museum Folkwang, Essen, Museo Nacional Centro de Arte Reina Sofia, Madrid. Zurich: Scalo, 2001.

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Frank, Robert. Hold still, keep going. Zurich: Scalo, 2001.

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Sherrie, Levine, Sussman Elisabeth 1939-, Crow Thomas E. 1948-, and Whitney Museum of American Art, eds. Sherrie Levine: Mayhem. New York: Whitney Museum of American Art, 2012.

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Demand, Thomas. Thomas Demand: Report : 6. Juni-2. September 2001, Sprengel Museum Hannover. Hannover: Sprengel Museum Hannover, 2001.

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Demand, Thomas. Thomas Demand. München: Schirmer/Mosel, 2006.

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Marcella, Beccaria, and Castello di Rivoli (Museum : Rivoli, Italy), eds. Thomas Demand. Milano: Skira, 2002.

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Demand, Thomas. Thomas Demand: Lenbachhaus München : Louisiana Museum of Modern Art, Humblebaek. München: Schirmer/Mosel, 2002.

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Demand, Thomas. Thomas Demand. Arles: Actes Sud, 2000.

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Book chapters on the topic "Photographers – United States – Exhibitions"

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Shandler, Jeffrey. "‘The Time of Vishniac’: Photographs of Pre-War East European Jewry in Post-War Contexts." In Polin: Studies in Polish Jewry Volume 16, 313–34. Liverpool University Press, 2003. http://dx.doi.org/10.3828/liverpool/9781874774730.003.0017.

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This chapter investigates how pictures taken by photographers from outside the east European Jewish community became widely familiar throughout the post-war period, none more so than the work of one photographer, Roman Vishniac. Taken during a series of trips he made to Poland, Czechoslovakia, and Romania from the mid-1930s until the start of the Second World War, some of these photographs have been republished frequently, including in five books devoted solely to the photographer's work. Vishniac's images figured prominently in the first exhibitions and books of photographs of pre-war east European Jewish life to appear in the United States after the Second World War, and not a decade has passed since without some of these photographs being published or exhibited there, as well as abroad. Although these pictures are the product of a limited phase in Vishniac's career, they are his best-known accomplishment. For many post-war Americans, in particular, some of his images have served as key visual points of entry into the culture of pre-war east European Jewry.
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Bachrach, Susan. "“Bystanders” in Exhibitions at the United States Holocaust Memorial Museum." In Probing the Limits of Categorization, 309–35. Berghahn Books, 2018. http://dx.doi.org/10.2307/j.ctvw04hm8.20.

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Munson, Kim A. "The Evolution of Comics Art Exhibitions in the United States, 1930–1951." In Comic Art in Museums, 66–87. University Press of Mississippi, 2020. http://dx.doi.org/10.2307/j.ctv128fpwk.11.

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Munson, Kim A. "The Evolution of Comics Art Exhibitions in the United States, 1930–1951." In Comic Art in Museums, 66–87. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496828118.003.0007.

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This 2018 essay by art historian Kim A. Munson shares the details of her research on exhibits of original comic art in U.S. museums and galleries from 1930-1954. This chapter discusses several shows of the 1930’s from Thomas Nast at the Whitney (1932) to the display of the first Walt Disney animation cel purchased by the Metropolitan Museum of Art (1939). This chapter discusses World War II exhibits at the Metropolitan. This chapter discusses The Comic Strip: Its Ancient and Honorable Lineage and Present Significance, organized for the American Institute of Graphic Arts by Jessie Gillespie Willing (AIGA, 1942), which is a touring exhibit with historical works, comics, and comic books. Milton Caniff was a pioneer and advocate of comics exhibits representing himself (The Art of Terry and the Pirates 1939-1946) and later with the newly formed National Cartoonist Society organizing many shows including 20,000 Years of Comics (1949 Savings Bond Tour), and American Cartooning (Met Museum, 1951).
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BRITTAIN, D. "Magazines: The Photographers' Press in the United States and Great Britain During the Transition Decade of the 1960s." In The Focal Encyclopedia of Photography, 222–27. Elsevier, 2007. http://dx.doi.org/10.1016/b978-0-240-80740-9.50024-6.

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BRITTAIN, D. "Magazines: The Photographers' Press in the United States and Great Britain During the Transition Decade of the 1960s." In The Concise Focal Encyclopedia of Photography, 116–23. Elsevier, 2007. http://dx.doi.org/10.1016/b978-0-240-80998-4.50018-9.

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Autry, Robyn. "The Curated Past." In Desegregating the Past, 66–106. Columbia University Press, 2017. http://dx.doi.org/10.7312/columbia/9780231177580.003.0003.

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In Chapter 2, I examine how violent histories are recounted through the lens of group identity formation in exhibitions. I discuss how relying on the conventions of collective storytelling—the rules and norms around both plot and structure—blunts the sharp edges of history. This chapter analyzes the visual and discursive turns used to construct a metanarrative of group identity forged through collective trauma. In South Africa, this collective experience is articulated as a national one, whereas in the United States interrogation of the society’s racist past is the purview of so-called ethnic or black museums.
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Ahlquist, Karen. "Balance of Power." In Rethinking American Music, 7–33. University of Illinois Press, 2019. http://dx.doi.org/10.5622/illinois/9780252042324.003.0002.

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This chapter discusses composers’ music—that is, music that demands a faithful adherence to detailed notation--in urban public settings in the late nineteenth century, among them formal performance series, music festivals, exhibitions, and outdoor “garden” concerts. Drawing examples from Boston, New York, Philadelphia, Washington, DC, Cincinnati, and Chicago, it shows Americans experimenting with strategies for musical dissemination that took audience response as an important consideration. Illustrating the relationship between social class and aesthetic perspectives in late-nineteenth-century American concert life, Ahlquist offers a potential model from the United States for the historical study of composers’ music throughout the Western world.
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Ansell, Joseph P. "In a Changing America." In Arthur Szyk, 217–32. Liverpool University Press, 2004. http://dx.doi.org/10.3828/liverpool/9781874774945.003.0015.

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This chapter encompasses Arthur Szyk's final years. It shows his continued dedication to freedom struggles around the world even as it contemplates on the dwindling number of exhibitions he held during this period. During this time, the United States was also turning inward after the Second World War. This attitude was one which Szyk did not share and which his work, with its liberal and international themes, did not support. Moreover, the chapter reveals his growing sympathy towards the Soviet Union, which was so evident in the political cartoons and related works from the years of alliance during the Second World War. It also shows that, by the early years of the Cold War, his health was somewhat precarious, forcing him to choose his activities carefully.
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Clendinning, Elizabeth A. "Early Encounters in Bimusicality." In American Gamelan and the Ethnomusicological Imagination, 23–46. University of Illinois Press, 2020. http://dx.doi.org/10.5622/illinois/9780252043383.003.0002.

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The chapter presents an overview of the introduction of gamelan to North America and examines how the ensembles assumed a key role within the philosophy and practice of American collegiate world music education. Musical and cultural exhibitions at world’s fairs, the dispersion of early recordings of gamelan music, transnational performance tours, and the work of Western composers and pedagogues led to the importation of instruments and founding of early academic gamelans. The world music ensemble programs modeled after those founded at UCLA by Mantle Hood embodied a new and important paradigm in ethnomusicology termed bimusicality, as well as sparking the collegiate world music ensemble movement. The chapter concludes with a brief overview of the current gamelan scene in the United States that reconnects the early development of academic gamelan ensembles to contemporary artistic and educational practices.
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Conference papers on the topic "Photographers – United States – Exhibitions"

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Koryagina, Irina O. "CREATIVE METHODOLOGIES FOR ENVIRONMENTAL GRAPHIC DESIGN PROJECTS BASED ON WORK BY IRINA KORYAGINA." In TWEET-FENTS. Новосибирский государственный университет архитектуры, дизайна и искусств им. А.Д. Крячкова, 2020. http://dx.doi.org/10.37909/978-5-89170-266-0-2020-1013.

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This article demonstrates examples of realized projects in the field of environmental graphic design developed by Irina Koryagina in collaboration with leading international design agencies, architects, and institutions.These projects, built in various locations across the United States, are open to public, and reveal how graphic design can enrich and open new opportunities for the design of public spaces, exhibitions, and signage.
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Malone, Robert, Jesus Castaneda, and Morris Kaufman. "Adapting a prototype zoom lens to work outside its zoom range." In SPIE Optics + Photonics Technical Conferences - San Diego Convention Center, San Diego, California, United States, 1 - 5 August 2021 - https://spie.org/conferences-and-exhibitions/optics-and-photonics/conferences. US DOE, 2020. http://dx.doi.org/10.2172/1718903.

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