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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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Ortiz-Torres, Rubén. "Mexicos and Americas." Latin American and Latinx Visual Culture 3, no. 1 (January 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 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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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 (January 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 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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Richter, Kim N. "Golden Kingdoms at Getty." Latin American and Latinx Visual Culture 3, no. 1 (January 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 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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Josten, Jennifer. "Dialogues." Latin American and Latinx Visual Culture 3, no. 1 (January 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 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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Goff, Sheila, Betsy Chapoose, Elizabeth Cook, and Shannon Voirol. "Collaborating Beyond Collections: Engaging Tribes in Museum Exhibits." Advances in Archaeological Practice 7, no. 3 (May 28, 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 many as a best practice. Exhibitions developed in collaboration with Native peoples, with shared curatorial authority, decidedly help ease the historic tension between the two, and they are much more vibrant and accurate than when collaboration is lacking. This article will provide three examples of collaboration, defined with our tribal partners, to develop exhibitions at History Colorado, the state history museum, concluding with lessons learned.
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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 arte.
Palabras clave: Arte Latinoamericano, coleccionismo, exposiciones, XX, Estados Unidos.
AbstractThis text considers the presence of Latin American art in the United States from 1920 to 1990 with the so called Latin American art market boom. Our goal is to present in a synthetic way different moments that marked the artistic links between Latin America and the United States, especially the presence, in this country, of artists from Latin America. We will analyze individual and collective exhibitions, public and private collecting, institutional action, the role of art galleries and the incidence of art criticism.
Keywords: Latin American Art. collecting. exhibitions. XX. United States.
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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 (October 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 popular understanding of the United States, and promoted popular goodwill toward Americans. The low-key interactions between the guides and the visitors shed valuable light on the mindset and experiences of ordinary citizens in the USSR, who were a major target audience of these exhibitions, and also, more broadly, on U.S. public diplomacy during the Cold War.
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Altman, Dana. "Contemporary Romanian Art in the United States." American, British and Canadian Studies Journal 22, no. 1 (August 15, 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 entry of post 1989 Romanian art in the global arena as a manifestation of market forces in the field. The analysis follows its grass roots local emergence through non-profit institutions, individual artists, small publications, low budget galleries, as well as the lack of contribution (with few notable exceptions) of state institutions, while pointing out the national context of increasing deregulation of social support systems resulting in lack of focus on cultural manifestations. The conclusion is that the recent ascent of contemporary Romanian art (and coincidentally, the award winning contemporary Romanian cinematography) is a fortuitous convergence of various factors, among which, increased international mobility and sharing. At the same time, it is also the result of the evolution of various individual artists that pursued a form of art rooted in Romanian artistic tradition but with a focus on the symbolic figurative. The result is a personal semiotics of raising the mundane to extraordinary levels that reconfigured the anxiety of entering a new system into an unmistakable and lasting visual language.
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Anderson, Fay. "Chasing the Pictures: Press and Magazine Photography." Media International Australia 150, no. 1 (February 2014): 47–55. http://dx.doi.org/10.1177/1329878x1415000112.
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For over a century, press and magazine photography has influenced how Australians have viewed society, and played a critical role in Australia's evolving national identity. Despite its importance and longevity, the historiography of Australian news photography is surprising limited. This article examines the history of press and magazine photography and considers its genesis, the transformative technological innovations, debates about images of violence, the industrial attitudes towards photographers and their treatment, the use of photographs and the seismic recent changes. The article argues that while the United States and United Kingdom influenced the trajectory of press and news photography in Australia, there are significant and illuminating differences.
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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 (June 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 derive implications for science popularization and education, concerning the ideological undertones of scientific knowledge.
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Buchloh, Benjamin H. D. "Photography's Exiles: from Painting, Patriarchy, and Patria." October 173 (September 2020): 3–6. http://dx.doi.org/10.1162/octo_a_00401.
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This issue is the second part of a two-part October project dealing with the photographic practices of women in Weimar culture and in exile from it. Focusing on seven crucial figures (Ellen Auerbach, Ilse Bing, Anne Fischer, Gisèle Freund, Lotte Jacobi, Germaine Krull, and Grete Stern), the essays collected here address a wide range of productive changes and destructive conflicts challenging traditional models of the photographers' social, artistic, and professional identities. Some of these changes resulted from the impact of emerging technologies (both in the infrastructural organization of everyday life and in photography's own newly evolving technologies of cameras and color) and some from the dismantling of the liberal democratic nation state either by the rise of state socialism in the Soviet Union or of fascism in Germany. When these Weimar photographers had to find refuge in France, in the United States, in South Africa, or in Argentina, they found themselves not only confronted with the demands of a rapidly advancing and controlling culture industry but also with the caesura of cultural discontinuity and the disillusioning effects of living in exile.
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Frenger, Carolyn. "Twentieth Century United States Photographers: A Student's Guide200988Kristin G. Congdon and Kara Kelley Hallmark. Twentieth Century United States Photographers: A Student's Guide. Westport, CT and London: Greenwood Press 2008. xx+384 pp., ISBN: 978 0 313 33561 7 £57.95 $99.95." Reference Reviews 23, no. 2 (February 13, 2009): 46–47. http://dx.doi.org/10.1108/09504120910935417.
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Pavlova, T. "The First Public Exhibition of the “Vremya” Group in Kharkiv: a New Art Medium Manifesto." Vìsnik Harkìvsʹkoi deržavnoi akademìi dizajnu ì mistectv 2020, no. 3 (December 2020): 54–61. http://dx.doi.org/10.33625/visnik2020.03.054.
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A certain liberalization of life accompanied the period known as Khrushchev’s thaw. It contributed to the formation of the new directions in artistic culture of Ukraine. Although they were not supported by the authorities, these directions were more in line with reality. Their viability depended entirely on the corresponding alternative groupings which appeared at that period. Such program was presented by the avant-garde Kharkiv “seven”, the photographers who united in the group “Vremya” in 1971. The group included Yu. Rupin and Ye. Pavlov (the founders), B. Mikhailov, O. Maliovany, H. Tubalev, O. Suprun, and O. Sytnychenko, and A. Makienko, who joined later. That was the time of apartment exhibitions and slide shows. In 1983, this group organized a show at Kharkiv House of Scientists, relying on its liberal exhibition policy and intelligent viewers. Despite the crowd, which gathered for the opening of the exhibition, the show was closed at the end of the first day. The opening included the press line‑up where the group entrusted Yuri Rupin to present the concept of the group, in particular, the “impact theory”. The exhibition became a serious mistake in the policy of such a centralized institution as Kharkiv House of Scientists. Photography appeared as a powerful art medium, not as a mere verification service. Therefore, it was very important that the background of the exhibition included a museum‑level cultural location, which was the next step after Vagrich Bakhchanyan’s nonconformist actions and street exhibitions in Kharkiv in the mid‑1960s. The “Vremya” group manifested photography as a new force of influence, which could no longer be ignored. An important historical fact was recorded because the group entered the zone of public conflict. At the same time, they consolidated the achieved positions such as the right to individuality, freedom of artistic gesture, and intervention in the field of photographic mimesis.
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Vamanu, Iulian. "Indigenous Museum Curatorship in the United States and Canada: Roles and Responsibilities." Libri 70, no. 1 (March 26, 2020): 65–79. http://dx.doi.org/10.1515/libri-2018-0155.
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AbstractIndigenous curatorship has become an increasingly visible presence in the public sphere as part of the long process of North American Native people’s efforts to regain control over the representations and uses of their cultures in Western societies. Even though scholars consider this profession fundamental to Native American struggles for sovereignty, many do not have a clear understanding of what it involves. In the context of scarce scholarship on Indigenous curatorship, this qualitative study relies on interview and textual data to articulate Indigenous curators’ understandings of their work of preserving and promoting Indigenous knowledge. It emphasizes the uniqueness of Indigenous curatorship by mapping out this profession’s specific roles and responsibilities within the broader arena of museum curatorship. The study identifies two main directions Indigenous curators take in their work, namely activism and engagement of the public. Activism consists in Indigenous curators’ efforts to critique oppressive knowledge structures, raise awareness of controversial topics of public interest related to Indigeneity, and support Native artists and tribal communities. Engagement of the public refers to Indigenous curators’ strategies of involving source communities in the design of exhibits and diverse audiences in the interpretation of exhibitions.
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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 was actively promoted by its makers, who had immigrated to the United States. Poland's modern art did not benefit from a similar presence, its modernists having mostly elected to remain in their native land. The paucity of Polish artists in 1930s America compromised their chance to exercise an influential role just as the United States was consolidating an international canon of modern art.
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Cass, Philip. "REVIEW: History of Vietnam War places correspondent roles in broader setting." Pacific Journalism Review : Te Koakoa 25, no. 1&2 (July 31, 2019): 293–94. http://dx.doi.org/10.24135/pjr.v25i1and2.496.
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Vietnam: An epic tragedy 1945-1975, by Max Hastings. London: William Collins. 2018. 722 pages. ISBN 978-0-00-813298-9WHEN SAIGON fell, 44 years ago on 30 April 1975, a number of journalists, photographers and cameramen were there to witness the final humiliation of the United States. Journalist John Pilger and cameraman Neil Davis, both Australians, were there to see the North Vietnamese Army take the city, as was New Zealander Peter Arnett, among others. Pilger’s slim volume about those events, The Last Day, is a classic. Davis survived Saigon, but filmed his own death while covering an attempted coup in Bangkok in 1987.
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Gardner, James B. "Trust, Risk and Public History: A View from the United States." Public History Review 17 (December 22, 2010): 52–61. http://dx.doi.org/10.5130/phrj.v17i0.1852.
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In the public history and museum communities today there is much difference of opinion over the concept of ‘radical trust,’ which basically argues for us to give up control and trust the public to develop content for our websites and exhibitions and provide direction for our work. Most public historians and curators are happy to share authority with the public, but are we now expected to yield all authority? Are we now taking historian Carl Becker’s well-known phrase ‘everyman his own historian’ and updating it to ‘every person his or her own curator’? What is the role of historical knowledge in a world of opinion? Unfortunately, at the same time that many of us are embracing risk online, in a world we have little control or even influence over, we seem to be stepping back from risk taking in our museums, on our own turf. We’ve become risk averse—afraid to make mistakes, afraid of trying new approaches and tackling the historically controversial or the ambiguous. Rather than the ‘safe place for unsafe ideas’ that Elaine Gurian proposed, we have become no more than safe places for safe ideas. We need to push back on both fronts. Public historians should be thought leaders, not followers—not wait to see what the future holds for us but rather try to shape that future.
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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 (February 13, 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 his own photographs, and had a large set of slides. Żygulski created many exhibitions both at home and abroad presenting Polish art in which armour and oriental elements played an important role. He spent his youth in Lvov, and was expatriated to Cracow in 1945 together with his wife, the pottery artist and painter Eva Voelpel. He studied English philology and history of art at the Jagiellonian University (UJ), and was a student under Adam Bochnak and Vojeslav Molè. He was linked to the Czartoryski Museum in Cracow for his whole life; he worked there from 1949 until 2010, for the great majority of time as curator of the Arms and Armour Section. He devoted his whole life to the world of this museum, and wrote about its history and collections. Together with Prof. Zbigniew Bocheński, he set up the Association of Lovers of Old Armour and Flags, over which he presided from 1972 to 1998. He set up the Polish school of the study of militaria. He was a renowned and charismatic member of the circle of international researchers and lovers of militaria. He wrote the key texts in this field: Broń w dawnej Polsce na tle uzbrojenia Europy i Bliskiego Wschodu [Weapons in old Poland compared to armaments in Europe and the Near East], Stara broń w polskich zbiorach [Old weapons in Polish armouries], Polski mundur wojskowy [Polish military uniforms] (together with H. Wielecki). He was an outstanding researcher on Oriental art to which he dedicated several books: Sztuka turecka [Turkish art], Sztuka perska [Persian art], Sztuka mauretańska i jej echa w Polsce [Moorish art and its echoes in Poland]. Prof. Zdzisław Żygulski Jr. was a prominent educator who enjoyed great respect. He taught costume design and the history of art and interiors at the Academy of Fine Arts in Cracow, as well as Mediterranean culture at the Mediterranean Studies Department and at the Postgraduate Museum Studies at the UJ. His lectures attracted crowds of students, for whose needs he wrote a book Muzea na świecie. Wstęp do muzealnictwa [Museums in the world. Introduction to museum studies]. He also lectured at the Florence Academy of Art and at the New York University. He was active in numerous Polish scientific organisations such as PAU, PAN and SHS, and in international associations such as ICOMAM and ICOM. He represented Polish art history at general ICOM congresses many times. He was also active on diverse museum councils all over Poland.
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Castañeda, Luis M. "Kubler's Sarcophagus: Cold War Archaeologies of the Olmec Periphery." ARTMargins 4, no. 1 (February 2015): 3–26. http://dx.doi.org/10.1162/artm_a_00103.
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This article examines conflicting racial, archaeological and art historical interpretations of Olmec art produced in the United States in the early 1960s. It inscribes shifting approaches to the study of monumental Olmec art by figures like George Kubler within the contexts of violent modernization of the Olmec ‘heartland’ of Veracruz and Tabasco, the politicized display of this artistic tradition in museums and traveling exhibitions, and the unstable horizons of U.S.-Mexico diplomatic relations during that period.
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de Ceglia, Francesco Paolo. "The Importance of Being Florentine: A Journey around the World for Wax Anatomical Venuses." Nuncius 26, no. 1 (2011): 83–108. http://dx.doi.org/10.1163/182539111x569775.
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AbstractThis article reconstructs the 19th century history of events regarding a few female wax anatomical models made in Florence. More or less faithful copies of those housed in Florence's Museum of Physics and Natural History, these models were destined for display in temporary exhibitions. In their travels through Europe and the United States, they transformed the expression "Florentine Venus" into a sort of brand name used to label and offer respectability to pieces of widely varying quality.
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Sun, Christina J., Jennifer L. Nall, and Scott D. Rhodes. "Perceptions of Needs, Assets, and Priorities Among Black Men Who Have Sex With Men With HIV: Community-Driven Actions and Impacts of a Participatory Photovoice Process." American Journal of Men's Health 13, no. 1 (October 8, 2018): 155798831880490. http://dx.doi.org/10.1177/1557988318804901.
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Black men who have sex with men (MSM) with HIV experience significant health inequities and poorer health outcomes compared with other persons with HIV. The primary aims of this study were to describe the needs, assets, and priorities of Black MSM with HIV who live in the Southern United States and identify actions to improve their health using photovoice. Photovoice, a participatory, collaborative research methodology that combines documentary photography with group discussion, was conducted with six Black MSM with HIV. From the photographs and discussions, primary themes of discrimination and rejection, lack of mental health services, coping strategies to reduce stress, sources of acceptance and support, and future aspirations emerged. After the photographs were taken and discussed, the participants hosted a photo exhibition and community forum for the public. Here, 37 community attendees and influential advocates collaborated with the participants to identify 12 actions to address the men’s identified needs, assets, and priorities. These included making structural changes in the legal and medical systems, encouraging dialogue to eliminate multiple forms of stigma and racism, and advocating for comprehensive care for persons with HIV. As a secondary aim, the impacts of photovoice were assessed. Participants reported enjoying photovoice and found it meaningful. Results suggest that in addition to cultivating rich community-based knowledge, photovoice may result in positive changes for Black MSM with HIV.
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Rafiei Vardanjani, Ahmad. "United States Economic Sanctions on Iran and Their Impacts on the Middle Eastern Art Market." Arts 9, no. 4 (December 18, 2020): 132. http://dx.doi.org/10.3390/arts9040132.
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The United States’ sanctions on Iran have limited the Iranian art market’s connections with the international art network. Galleries try to compensate for such limitations through online marketing and exhibition. Thus, the sanctions not only impact the form of marketing exerted by dealers but also directly influence the type of artistic production. Such changes also reshape the art market in the Arab states. The transition from tangible to intangible has become a strategy for the regional market to bypass the sanctions and develop business with the global collectors and institutions. A quantitative analysis was used to demonstrate the impact of the sanctions on the art market in Iran and the United Arab Emirates. This analysis examined all exhibitions in 12 commercial galleries in Tehran and Dubai from 2009 to 2019, statistically assessing the index of changes over this period and calculating the variations, particularly during the years of intensified sanctions. The study indicates how the propensity of galleries for a digitally networked economy is becoming a solution to reduce the impacts of the sanctions in order for the galleries to maintain their clientele of international collectors and dealers.
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Mount, Sigrid Docken. "Evolutions in exhibition catalogues of African art." Art Libraries Journal 13, no. 3 (1988): 14–19. http://dx.doi.org/10.1017/s0307472200005769.
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Since their appearance in the early 20th century, catalogues prepared for exhibitions of African art have undergone a gradual transformation. Beginning as mere checklists many of these publications have, in the 1970s and 80s, evolved into major scholarly works whose significance transcends their original purpose as guides to the exhibitions. Changes occurring over the years are traced through examination of the form and content of representative catalogues and by review of the reception by art historians of many of these works into the corpus of literature of African art. The growing importance of exhibition catalogues as important art historical documents is also demonstrated by a chronological analysis of bibliographic citations in the major scholarly journal of African art in the United States. Finally, scrutiny of sources and annotations included in an important bibliographic guide to the literature of African art indicates how firmly established the exhibition catalogue has become as one of the most important publication forms for the dissemination of scholarly writing on African art.[This paper won the ARLIS/NA Gerd Muehsam Award for 1986. We hope to publish a sequel in a future issue, on exhibitions of African art in Africa and the development of catalogues written by Africans. Editor].
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Dergacheva, V. E., and Yu G. Chernyshov. "The Caribbean Crisis in the Memory Politics of the USSR (Russia) and the United States: Comparative Characteristics." Izvestiya of Altai State University, no. 6(116) (December 18, 2020): 22–28. http://dx.doi.org/10.14258/izvasu(2020)6-03.
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This paper discusses and compares two national versions of memory politics (Soviet/Russian and American versions) in the context of the Caribbean crisis, one of the most resonant events of the Cold war. The paper describes how each country interprets the Caribbean crisis in the context of the changes that took place in the international arena and in domestic political life. The main methods of memory politics implementation that are typical for each of the parties to the conflict are analyzed. An attempt is made to identify common approaches to memory politics implementation and distinctive features specific to each of the parties. The authors pay special attention to the coverage of the Caribbean crisis in schoolbook, in declassified archival documents, in museum exhibitions and memorials dedicated to the history of geopolitical and ideological confrontation between the two superpowers. The paper describes the areas where the policy in question is most often applied. The issue of how the memory politics was related to the evolution of the identities of the two states during the Cold war and after its end is also touched upon.
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Link, Alessandra. "Editing for Expansion: Railroad Photography, Native Peoples, and the American West, 1860–1880." Western Historical Quarterly 50, no. 3 (2019): 281–313. http://dx.doi.org/10.1093/whq/whz043.
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Abstract In the nineteenth century, both railroad expansion and photography influenced relations between the United States and Native peoples in powerful ways. Scholars have often dealt with these two technological developments separately, but photographs and railroads have a shared history. Throughout the mid-to-late nineteenth century railroad companies engaged with photographs and photographers to promote travel on their lines. This article evaluates the production and circulation of transcontinental railroad photographs, and it concludes that the so-called golden age of landscape photography was built on the suppression of peopled scenes in the West. Images of Indians and trains that reached broad audiences placed Indigenous peoples in opposition to the modern forces cast in steel and running on steam. Picturing an unpeopled West and anti-modern Indians brightened business prospects for those investing in the promise of U.S. expansion beyond the 100th meridian.
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Buchloh, Benjamin H. D. "Ilse Bing: A Frankfurt School Photographer in Paris and New York." October 173 (September 2020): 176–206. http://dx.doi.org/10.1162/octo_a_00407.
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Ilse Bing was one of those Weimar photographers whose work was recognized or rediscovered later than that of many of her more famous female peers. Her photographic project sprang largely from her persistent subversion of the stylistic oppositions of New Vision photography and New Objectivity. Just as complex was the work she produced after moving to Paris, defined as it was by her cross-cutting of Weimar socialist and French Surrealist photographic mentalities. Comparable in her precise socio-political analysis to the Frankfurt School's critiques of emerging mass-cultural and political formations, Bing's work in the United States, where, barred from publishing in magazines, she was able to pay witness to photography's functioning as a new ideological- and cultural-industrial medium—acquired the melancholic features of a mordant critique of traditional photographic genres such as the portrait.
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Dzhafarova, Svetlana. "WORKS BY MIKHAIL MATIUSHIN AND HIS DISCIPLES AT MAJOR CULTUROLOGICAL EXHIBITIONS IN EUROPE, JAPAN AND THE UNITED STATES, 1979-96." Experiment 6, no. 1 (January 1, 2000): 5–11. http://dx.doi.org/10.1163/2211730x-90000003.
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DZHAFAROVA, SVETLANA. "WORKS BY MIKHAIL MATIUSHIN AND HIS DISCIPLES AT MAJOR CULTUROLOGICAL EXHIBITIONS IN EUROPE, JAPAN AND THE UNITED STATES, 1979-96." Experiment 6, no. 1 (January 1, 2000): 5–11. http://dx.doi.org/10.1163/2211730x00x00040.
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Mehring, Frank. "Advancing American Art and Intercultural Confrontations in Germany, 1945–1948." International Journal for History, Culture and Modernity 7, no. 1 (November 2, 2019): 971–90. http://dx.doi.org/10.18352/hcm.594.
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This article critically addresses the multivalent function of American art exhibitions in the period of de-Nazification and re-democratization. What kind of cultural and political parameters shaped the perception of American Art in Germany during the early post-war years? I investigate intercultural confrontations surrounding the project of advancing American art and the critical response of German audiences by first looking at the exhibition Advancing American Art from 1947. I then analyze the role of the transatlantic cultural mediator Hilla von Rebay to understand developments in the German perspective on American art. The German-born artist von Rebay emigrated in 1927 to the United States and organized the German tour of Zeitgenössische Kunst und Kunstpflege in U.S.A. (Contemporary Art and the Promotion of Arts in the U.S.A.) authorized by the Office of Military Government, United States (OMGUS) in 1948. The project of ‘advancing American art’ resembles a struggle with many setbacks due to lack of official support and finding a larger public in the early years after World War II.
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Crowe, Katherine, Robert Gilmor, and Rebecca Macey. "Writing, archives and exhibits: Piloting partnerships between special collections and writing classes." Alexandria: The Journal of National and International Library and Information Issues 29, no. 1-2 (April 2019): 145–73. http://dx.doi.org/10.1177/0955749019877084.
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The University of Denver (DU) Libraries has been producing exhibitions for close to a decade and has recently increased its efforts to partner with classes, campus units and community organizations to integrate exhibit practices and resources into curricular and co-curricular opportunities. Student- and class-curated exhibitions feature prominently in the DU Libraries’ strategic plan, and the long-term partnerships between the Libraries and the DU Writing Program are central to the library’s agenda. Through an interdisciplinary lens of critical information literacy, archival theory, museology and Writing Studies, this article explores the 5-year collaboration and exhibition project between DU Special Collections and Archives and a faculty member of the DU Writing Program. The authors cover the background of the partnership, the evolution of the instructive and creative elements of the course, with a particular focus on the integration of archival research and exhibition practice, and examples of various iterations of the student-curated exhibits produced as part of the coursework. The article concludes with a discussion of the cross-disciplinary outcomes and challenges of initiating and managing a collaborative university writing and research course incorporating archives and exhibition in an academic library in the United States.
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Nash, Stephen E., and Frances Alley Kruger. "Silent Legacy: The Story of Vasily Konovalenko's Gem-Carving Sculptures." Collections: A Journal for Museum and Archives Professionals 13, no. 1 (March 2017): 7–32. http://dx.doi.org/10.1177/155019061701300102.
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During a career that spanned four decades, Russian artist Vasily Konovalenko (1929–1989) produced more than 70 sculptures carved from gems, minerals, and other raw materials. As unorthodox, compelling, and masterful as Konovalenko's sculptures are, they had been poorly published and poorly known. They are on permanent display at only two museums in the world: the small and obscure State Gems Museum (Samotsvety) in Moscow, Russia, and the Denver Museum of Nature & Science (DMNS), a major natural history museum in Colorado, the United States. This article examines Konovalenko's life and work, as well as the unusual circumstances that led to the two exhibitions, their role in Konovalenko's relative obscurity, and a recent resurgence of interest.
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Battani, Marshall. "Organizational fields, cultural fields and art worlds: the early effort to make photographs and make photographers in the 19th-century United States of America." Media, Culture & Society 21, no. 5 (September 1999): 601–26. http://dx.doi.org/10.1177/016344399021005002.
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Anstett, Catherine. "Artists in the Streets: Seattle Murals in the Time of COVID-19." Journal of Public Space, Vol. 5 n. 3 (November 30, 2020): 255–66. http://dx.doi.org/10.32891/jps.v5i3.1414.
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Seattle has become known in recent years as the city with the most construction cranes in the nation. But in March 2020, the city grew quiet. The Seattle area was one of the first in the United States to be hit with the coronavirus and on March 16 Governor Jay Inslee closed restaurant dining rooms statewide. On March 23, he issued a stay-at-home order. Stores and restaurants closed; streets and sidewalks became empty. Property crime went down in residential areas because people were at home, but businesses and storefronts became targets. In some areas, windows were covered with plywood as a security measure. Artists began to paint the shuttered storefronts and then one after another businesses requested the murals. Business groups in several communities sponsored murals and offered stipends to artists, prioritizing artists from the local neighborhood. These neighborhood streets became outdoor museums. By early May, there were nearly 200 murals. A virtual community formed as artists, photographers and friends shared videos and photos on social media. AP and Reuters photographers posted images that reached as far as Mumbai. The Seattle Office for Arts and Culture said, “Throughout this crisis, we have seen community come together and hold each other up like never before. We have watched organic movements take hold that are devoted to supporting those in need financially, emotionally, spiritually, and creatively.” The murals were an important part of this effort, for the artists, businesses, and the larger community. A book documenting the murals was published. As Seattle artist B Line Dot said, “Art marks moments... this is a moment.”
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Khan, B. Zorina. "Inventing Prizes: A Historical Perspective on Innovation Awards and Technology Policy." Business History Review 89, no. 4 (2015): 631–60. http://dx.doi.org/10.1017/s0007680515001014.
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Prizes for innovations are currently experiencing a renaissance, following their marked decline during the nineteenth century. Debates about such incentive mechanisms tend to employ canonical historical anecdotes to motivate and support the analysis and policy proposals. Daguerre's “patent buyout,” the Longitude Prize, inducement prizes for butter substitutes and billiard balls, the activities of the Royal Society of Arts and other “encouragement” institutions—all comprise potentially misleading case studies. The article surveys and summarizes extensive empirical research using samples drawn from Britain, France, and the United States, including “great inventors” and their ordinary counterparts, and prizes at industrial exhibitions. The results suggest that administered systems of rewards to innovators suffered from a number of disadvantages in design and practice, which might be inherent to their nonmarket orientation.
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Laiosa, Joyce, and Stephanie Bange. "From the Beautiful to the Bland: Amazing Treasures at the Library of Congress." Children and Libraries 18, no. 2 (June 19, 2020): 11. http://dx.doi.org/10.5860/cal.18.2.11.
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Organized by ALSC’s Special Collections and Bechtel Fellowship Committee, a group of eight guests were treated to a presentation of some of the rare wonders for children at the Library of Congress (LC) while in Washington, DC, for the 2019 American Library Association (ALA) Annual Conference.Our guide was Dr. Sybille A. Jagusch, chief, Children’s Literature Center in the Rare Book and Special Collections Division. She manages the collection of 600,000 children’s items, acquires and purchases items for the collection, arranges lectures, plans and executes exhibitions with printed guides in many cases, and is open to sharing (as she did for us) delightful items that were once handled by children from the United States as well as the rest of the world.
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Greenwold, Diana. "“The Great Palace of American Civilization”: Allen Eaton’s Arts and Crafts of the Homelands, 1919-1932." Contemporaneity: Historical Presence in Visual Culture 3 (June 5, 2014): 98–116. http://dx.doi.org/10.5195/contemp.2014.56.
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Allen Eaton’s Arts and Crafts of the Homelands exhibition premiered in Buffalo, New York in 1919, where it drew record crowds to the Albright Gallery. Iterations of the display soon opened in Albany, Rochester, and then in several other cities across the United States. Arts and Crafts of the Homelands showcased European craftwork of local immigrant groups to celebrate a model of early twentieth-century American pluralism. This article examines the aims of exhibit organizers, immigrant presenters, and native-born visitors to these exhibitions. The structure of the displays—which highlighted domestic tableaux of old-world objects—obfuscated the contemporary contributions of immigrant groups to American cultural and economic forums. I argue, however, that local groups took advantage of the exhibit’s performance spaces to assert their active presence in American public life.
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Brenni, Paolo. "Prizes, Medals and Honourable Mentions." Nuncius 34, no. 2 (June 12, 2019): 392–420. http://dx.doi.org/10.1163/18253911-03402010.
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Abstract Ever since antiquity, medals that were often also remarkable works of art were used to mark the achievements and testify to the glory of a person or his bravery on the battlefield, or to celebrate or commemorate a particular event. Sovereigns and nobles wore medals as symbols of their power, wealth and achievements or distributed them as exceptional gifts in order to maintain or garner support. In the 19th century the use of medals increased dramatically. In fact, with the machine age a new class of heroes was born. These were the engineers, the technicians and the manufacturers who were industrializing the Western world. And these pioneers of technological progress became the new recipients of a tide of medals, diplomas and awards which were primarily distributed at the national, international and universal exhibitions and fairs which abounded during the last decades of the 19th and the first decades of the 20th centuries. This essay will focus on instrument makers, whose activities bridged science and industry. Their products represented the high technology of their day in the sector of precision instruments, and the most outstanding ones, judged to be deserving of an award, were selected following examination by a jury composed of specialists. But what were the criteria adopted by the jurors? Did political considerations influence their judgments? What were the importance and the significance of these awards? Did they have an impact on the instrument maker’s trade or were they just attractive souvenirs to be taken home from the exhibitions? Based on an analysis of many documents (reports, lists of medallists, catalogues, specialized articles, etc.) relating to industrial exhibitions held in Europe and the United States during the 19th century, the present essay provides an answer to these questions.
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Wendt, Selene. "Bringing Afropolitanism to the Arctic Circle." Nka Journal of Contemporary African Art 2020, no. 46 (May 1, 2020): 136–50. http://dx.doi.org/10.1215/10757163-8308258.
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This article provides a brief overview of a few thematic exhibitions that the author has curated, highlighting the importance of contemporary African art within a wider international context. The author highlights African and African diaspora artists whose careers continue to thrive internationally. Some might argue that their success has been dependent on their representation in powerful galleries, and to some extent this is certainly true. Nevertheless, it is a small step in the right direction that relocating to major cities in Europe or the United States is no longer an absolute prerequisite for African artists who wish to gain international success and recognition. As the exhibitions and artists addressed in this article convey, cosmopolitanism as a metaphor for mobility, and the ideal of co-existence, diversity, and tolerance as its unifying and defining factors, translates beautifully into the language of contemporary art. Most important, if we strip cosmopolitanism completely bare and look beneath its seductive veneer, its real potential and beauty becomes visible, revealing a commitment to ethics and a genuine engagement with the plight of others. When contemporary artists use their success and privilege to address sharp social criticism that questions the global, social, and cultural inequities that exclude most from the cosmopolitan party, something magical happens that gives cosmopolitanism a necessary dimension of hope and possibility that is truly worth celebrating.
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Arce-Nazario, Javier A. "Geovisualizing space and time in a science-art exhibit." Abstracts of the ICA 1 (July 15, 2019): 1–2. http://dx.doi.org/10.5194/ica-abs-1-14-2019.
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<p><strong>Abstract.</strong> The question of how to communicate with lay audiences about dynamic spatial processes is important in many disciplines. A diversity of paradigms for representing space and time have been developed in cartography, GIS science, and geovisualization, but these paradigms are unlikely to converge to a standard representation of spatiotemporal data (Goodchild 2013). Thus, finding the best visualization techniques to support the general public’s understanding of spatiotemporal analysis requires some exploration. In the following, I discuss how this exploration produced the novel approaches to representing time and landscape dynamics in <i>geo/visual/isla</i>, which was a science-art exhibit about social and ecological changes in the landscape of Puerto Rico over the past century.</p><p><i>geo/visual/isla</i> (Museo Casa Blanca, San Juan, 2017) was developed from static, large-format prints of aerial imagery of the Caribbean island nation of Puerto Rico, which were created by a collective of undergraduate students and a geographer at the University of Puerto Rico at Cayey. The data associated with times in the 1930s were derived from aerial photographs provided by the Puerto Rican Department of Transportation, and more recent data were derived from the United States Geological Survey and United States Army Corps of Engineers. The exhibit ultimately presented an 80-year history of changes in the natural and constructed landscape, during a period in which shifting global and local economies, migration, climate events and colonial policies were drivers of dramatic landscape transitions. The purpose of the exhibit was to capture the beauty and the dynamics of the landscape’s history, while helping visitors to envision and discuss past landscape change and future land use in Puerto Rico.</p><p>The problem of geovisualizing time and change is an old one that has been extensively reviewed – for example, by Yuan (2016) – but when the audience is a general public, there are additional challenges. Most notably, the limited period of interaction that a lay person will have with the geospatial data in question means that the scheme for representing space and time together must be either simple or familiar to be successful. Many creators of geographic exhibits for lay audiences do utilize well-established geovisualization paradigms such as the space-time cube (Bogucka and Jahnke 2017), the time-animated series of maps (Harner, Knapp, and Davis-Witherow 2017), and the annotated timeline (Caine 2017). However, these techniques must be adapted for the intended audience: the authors in each case highlight the specific techniques they use to help viewers by reducing the information burden and interpretation ambiguity of the representations they choose.</p><p> Like these other public geographic exhibits, <i>geo/visual/isla</i> extensively used an early cartographic representation of time, which was chosen for its simplicity and familiarity. Several of the works in the exhibit were “time-slice snapshots,” as described by Langran and Chrisman (1998). We took advantage of the rich vocabulary of the human experience of time to help viewers more easily navigate the temporal dimension of the data being displayed. For example, we encouraged viewers to associate neighboring time-slices by using the visual metaphor of the triptych, and used color schemes emphasizing the time coordinate (Figure 1). Spatial orientation between images was reinforced by choosing images with prominent, essentially consistent landscape features such as a coastline. The triptych format also reduced the temporal resolution to a manageable level, reducing the information burden noted above.</p><p> Perhaps the most important distinction between science-art exhibits and GIS representations or standalone geovisualizations is possibility to use the exhibit site as an additional dimension of experience. Harner, Knapp, and Davis-Witherow (2017) used this space for physical objects, and describe how their exhibit’s interactive maps replace interpretation of these objects by curators. In <i>geo/visual/isla</i>, we chose the inverse relationship: the space itself provided orientation that helped viewers interpret the maps. This was achieved by two techniques: first, the viewers’ path through the exhibit allowed them to learn the “vocabulary” of the space-time representation as they progressed. Timeslice snapshots gave way to more complex presentations where data with different space and time coordinates appeared in the same frame (Figure 2). By the end of the exhibit, viewers were easily able to read the spatial landscape enough to understand the story of change in these blended presentations. Second, the environment in different parts of the exhibit hall reinforced an understanding of timescales. Images in the exhibit depicting topological landscape features in the 1950s and 1960s were portrayed in red-blue anaglyph images and viewed with paper anaglyph glasses. In this corner of the exhibit, which was populated by other visitors in “retro” glasses and complemented by artworks referencing visual tropes of other dimensions and flashbacks, our intention was to make the actual ambiance provoke discussions of this particular period of Puerto Rico’s past (Figure 3).</p><p>The techniques explored in <i>geo/visual/isla</i> made the dimensions of space and time equally easy to navigate for users, and our observation of visitors and their responses on surveys demonstrated that we successfully produced a conducive environment for substantive discussions of landscape change. The demonstrated effectiveness of the format is consistent with our visitor survey results from prior exhibitions (Arce-Nazario 2016). Our choices were specifically designed for a physical, artistic exhibit and a non-expert audience, but the training and cueing used to make <i>geo/visual/isla</i> work so well could also be adapted to other geovisualization presentations and tools.</p>
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O'Connor, Maureen Sarah. "Education in Motion: The Virginia Museum of Fine Arts Artmobile, 1953 – 1994." Museum and Society 17, no. 1 (March 10, 2019): 19–36. http://dx.doi.org/10.29311/mas.v17i1.2780.
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This essay explores five exhibitions created for the Virginia Museum of Fine Arts Artmobile, the first mobile art museum in the United States. The mission of the Artmobile was to bring works of art directly to citizens throughout the state of Virginia from 1953 to 1994. In analyzing educational and exhibition materials, such as exhibition booklets, audio guide recordings, press releases, and speeches, this research examines the educational philosophies of each exhibition in relation to contemporaneous museum education literature. Applying Tony Bennett’s analysis of the impact of culture on the social to the creation of educational philosophies, this essay argues that while the mission of the Artmobile remained constant, there was a shift in the educational objective from the development of cultured citizens through art appreciation and the improvement of public taste to fostering individual visual literacy and encouraging visitors to make art historical and personal connections.