Relevant bibliographies by topics / Smithsonian American Art Museum

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

Academic literature on the topic 'Smithsonian American Art Museum'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 August 2024

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Journal articles on the topic "Smithsonian American Art Museum"

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Hughston, Milan R. "NATIONAL MUSEUM OF AMERICAN ART, SMITHSONIAN INSTITUTION. National Museum of American Art." Art Documentation: Journal of the Art Libraries Society of North America 16, no. 2 (1997): 53–54. http://dx.doi.org/10.1086/adx.16.2.27948904.

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Szekely, Pedro, Craig A. Knoblock, Fengyu Yang, et al. "Publishing the Data of the Smithsonian American Art Museum to the Linked Data Cloud." International Journal of Humanities and Arts Computing 8, supplement (2014): 152–66. http://dx.doi.org/10.3366/ijhac.2014.0104.

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Museums around the world have built databases with metadata about millions of objects, their history, the people who created them, and the entities they represent. This data is stored in proprietary databases and is not readily available for use. Recently, museums embraced the Semantic Web as a means to make this data available to the world, but the experience so far shows that publishing museum data to the linked data cloud is difficult: the databases are large and complex, the information is richly structured and varies from museum to museum, and it is difficult to link the data to other datasets. This paper describes the process of publishing the data of the Smithsonian American Art Museum (SAAM). We describe the database-to-RDF mapping process, discuss our experience linking the SAAM dataset to hub datasets such as DBpedia and the Getty Vocabularies, and present our experience in allowing SAAM personnel to review the information to verify that it meets the high standards of the Smithsonian. Using our tools, we helped SAAM publish high-quality linked data of their complete holdings: 41,000 objects and 8,000 artists.
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Martinez, Katharine. "The Art Libraries and Research Resources of the Smithsonian Institution." Art Libraries Journal 13, no. 1 (1988): 9–13. http://dx.doi.org/10.1017/s0307472200005484.

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The Smithsonian Institution, a public organisation established in 1846 “for the increase and diffusion of knowledge”, includes ten museums and several research bureaux. Most but not all of the associated libraries are linked through the Smithsonian Institution Libraries; they include several art libraries which contribute significantly to the overall provision of art library service to the American people but do not of themselves constitute a “national art library”. Most of the Smithsonian’s libraries enter their records in a database (SIBIS) which is accessible online via OCLC. Co-ordinated collection development has been pursued since 1984. In two areas in particular, American and African art, Smithsonian libraries aim to provide a national service.
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Garrett, Jason T. "Smithsonian Celebrates the American Musical." Theatre Survey 37, no. 2 (1996): 137–39. http://dx.doi.org/10.1017/s0040557400001654.

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Two of the Smithsonian museums in Washington, D.C., the National Portrait Gallery and the National Museum of American History, are celebrating Broadway and Hollywood with their collaborative exhibit “Red, Hot, and Blue: A Salute to American Musicals,” which runs 25 October 1996 to 6 July 1997, at the National Portrait Gallery.
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Katic, Stefan. "Jacob Lawrence: The Library (1960)." Revy 44, no. 3 (2021): 24. http://dx.doi.org/10.22439/revy.v44i3.6379.

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Billedet "The Library" (1960) af den afroamerikanske maler Jacob Lawrence hænger på Smithsonian American Art Museum (SAAM) i USA. Billedet er bragt i REVY med tilladelse fra SAAM og Scala Archives, Firenze.
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Ribeiro Bombonato, Rebeca. "Duas leis, um museu." Revista de Arqueologia 33, no. 3 (2020): 242–56. http://dx.doi.org/10.24885/sab.v33i3.855.

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A legislação patrimonial norte-americana possui diversas especificidades. Uma lei de grande importância e relevância no cenário nacional tratou, em 1989, da instalação de um museu voltado para a divulgação e pesquisa da história de comunidades nativo-americanas, o National Museum of the American Indian, que faz parte da Smithsonian Institution. A sua lei de criação também estabelece os critérios para a repatriação de remanescentes humanos e objetos funerários presentes nas coleções adquiridas para a formação do museu. Com base no NMAIA (National Museum of the American Indian Act), uma segunda lei, foi aprovada no ano seguinte, o NAGPRA (Native American Graves Protection and Repatriation Act). De abrangência nacional, o NAGPRA tornou-se uma das legislações patrimoniais mais importantes e conhecidas do mundo.
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Smith, Claire. "Decolonising the museum: the National Museum of the American Indian in Washington, DC." Antiquity 79, no. 304 (2005): 424–39. http://dx.doi.org/10.1017/s0003598x00114206.

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The National Museum of the American Indian (NMAI), the Smithsonian Institution’s new facility on the National Mall in Washington DC, challenges the very notion of what constitutes a museum. Probably the most theoretically informed museum in North America, this is no shrine to the past: it is a museum that claims both past and present to shape a decolonised future for Indigenous populations.
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Way, Jennifer. "Narrative Failures." Anthropos 114, no. 2 (2019): 547–62. http://dx.doi.org/10.5771/0257-9774-2019-2-547.

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This article considers what an unstudied collection of Vietnamese handicraft owned by the Smithsonian National Museum of Natural History reveals about its collecting culture and, conversely, what the collecting culture discloses about the collection. I show how the collecting culture’s activities intersected with American State Department efforts to bring postcolonial South Vietnam into the Free World during the Cold War. Attention to the Smithsonian National Collection of Fine Arts’ exhibition, “Art and Archaeology of Vietnam. Asian Crossroad of Cultures,” also reveals narratives of power and knowledge associated with the collecting culture. Ultimately, these failed the collection by leaving it disregarded.
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Rojas, Marcela. "Our America: The Latino Presence in American Art. Smithsonian American Art Museum ed. by E. Carmen Ramos." Hispania 98, no. 4 (2015): 835–36. http://dx.doi.org/10.1353/hpn.2015.0133.

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Doherty, Tiarna, Helen Ingalls, Amber Kerr, Catherine Maynor, and Leslie Umberger. "Conserving the self-taught artists collection at the Smithsonian American Art Museum." Studies in Conservation 61, sup2 (2016): 38–43. http://dx.doi.org/10.1080/00393630.2016.1188616.

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Dissertations / Theses on the topic "Smithsonian American Art Museum"

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Macaluso, Rose E. "The Smithsonian Institute Smithsonian American Art Museum registration internship." ScholarWorks@UNO, 2003. http://scholarworks.uno.edu/aa_rpts/88.

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This detailed report of a registration internship at the Smithsonian American Art Museum includes an organizational profile of the Smithsonian Institute, the Smithsonian Institute Affiliate Program, and the Smithsonian American Art Museum, a description of the activities performed during the internship, an analysis of a volunteer management challenge, a proposed resolution to the volunteer management challenge, and a discussion of the short and long term effects of the internship. The duties and expectations of volunteers, the staff preparation for volunteers, and the empowerment of volunteers are important aspects of the analysis and resolution of the volunteer management challenge.
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Einreinhofer, Nancy. "The paradox of the American art museum." Thesis, University of Leicester, 1994. http://hdl.handle.net/2381/35302.

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Balcerek, Katherine Emma. "The Whitney Museum of American Art gender, museum display, and modernism /." NCSU, 2010. http://www.lib.ncsu.edu/theses/available/etd-04012010-131832/.

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The Whitney Museum of American Art founded in 1931 by Gertrude Vanderbilt Whitney offers insight into the role of women patrons in the American art world. Furthermore, the Museumâs contemporary identification with the Museum of Modern Art obscures its unique history and different founding principles. This paper explores the foundation of the Whitney Museum in roughly the first two decades of its existence from 1931 to 1953 to examine how Whitney and the Museumâs first director, Juliana Force, negotiated gender and class ideology and the Modernist discourse to found the first museum solely devoted to American art. Gertrude Vanderbilt Whitney and Juliana Force operated the Whitney Museum based on three main principles: the primacy of the individual artist, the promotion of American art, and the importance of an informal museum space. The Whitney Museum of American Art, staked Whitney and Forceâs claim in a male dominated art world. The Museum was a complex space, representing a modern feminine viewpoint that embraced inclusivity and elitism, masculine and feminine, Modernism and conservatism. Whitney and Force wanted the Whitney Museum to be less formal and more inclusive, so they designed it like a middle class home with intimate galleries, furniture, carpets, and curtains. However, the decor hindered the Whitney Museumâs influence on the modern art canon because critics perceived the Museum as feminine and personal, Modernismâs rejection of the feminine and realism that ultimately led to the exclusion of the Whitney Museumâs collection of realist art from the modern art historical canon.
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Galliher, Allison. "Early American Silver at the Currier Museum of Art." Thesis, Harvard University, 2015. http://nrs.harvard.edu/urn-3:HUL.InstRepos:24078350.

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This project-based thesis has added five stops and an introduction to American Silver to the Currier Museum of Art’s mobile tour. The Museum has an extensive silver collection but has very little information readily available for its visitors in the galleries. This thesis provides those visitors with information about the Currier’s American silver collection. It uses the Currier’s current mobile application as a template while incorporating museum education teaching methods to create an engaging tour. The thesis begins with a history of silver in America from Colonial times to the start of the nineteenth century. This time period is best represented in the Currier’s American silver collection. The thesis discusses the role and development of the silversmith as a craftsman as well as the social history of silver in America during this period. It also discusses the use and advantages of using mobile technology in the museum setting. Many visitors already own mobile devices. Museums can take advantage of visitors’ familiarity with these tools by creating programs specifically for this technology. The tour itself is based on teaching methods outlined by the museum educator George E. Hein in his book: Learning in the Museum (1998). These methods are used to build upon the standards set by the Currier Museum of Art’s “Audience Engagement and Interpretation Philosophy” in order to make the tour more engaging for visitors. Articles by museum technology professionals Robert Stein and Nancy Proctor were also consulted when researching the best practices for mobile tours. Their work lays out many key elements for successful mobile applications including the use of media assets, stops where these assets are experienced and the connections used to move between the stops. The accessibility benefits of mobile technology for visitors, especially the use of audio recordings for visitors with disabilities, are also discussed and were taken into account when creating the tour.
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Howe, Laura Paulsen. "Navajo Baskets and the American Indian Voice: Searching for the Contemporary Native American in the Trading Post, the Natural History Museum, and the Fine Art Museum." Diss., CLICK HERE for online access, 2007. http://contentdm.lib.byu.edu/ETD/image/etd2015.pdf.

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McFelter, Gypsy. "Is the price right? : Admission fees and free admission in American art museums /." [Pleasant Hill, Calif. : John F. Kennedy University Library], 2006. http://library2.jfku.edu/Museum_Studies/Is_the_Price_Right.pdf.

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Decker, Jillian. "The Restitution of World War II-Era Looted Art: Case Studies in Transitional Justice for American Museum Professionals." Walsh University Honors Theses / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=walshhonors155561854704584.

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Bryan, Amanda. "New Museum Theory in Practice: A Case Study of the American Visionary Art Museum and the Representation of Disability." VCU Scholars Compass, 2008. http://scholarscompass.vcu.edu/etd/1627.

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Since the inception of new museum theory, and the emphasis it places on the social purpose of museums within society, museum professionals and museum studies theorists have struggled to define what role museums must take in combating prejudices and fostering better understating of difference. Richard Sandell is one such theorist who writes about the importance of, and need for, greater inclusion of disabled artists and works of art containing themes of disability into exhibitions and display. This thesis examines Sandell’s scholarship, noting its foundation in new museum theory and disability studies, and then, employing a case study of the American Visionary Art Museum, illustrates the issues illuminated in Sandell’s writing. Finally, utilizing the case study, this thesis will offer aims for further research within museum studies not yet considered by Sandell, especially within educational goals and activities of the museum.
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Picknell, Amy Lynn. "The American Art Museum and the Internet: Public Digital Collections and Their Intersections of Discourse." The Ohio State University, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=osu1374224652.

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McMaster, Ann Michelle M. "The Butler Institute of American Art: Pro Bono Publico." Kent State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=kent1437661274.

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Books on the topic "Smithsonian American Art Museum"

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Museum, Smithsonian American Art. America's art, Smithsonian American Art Museum. Smithsonian American Art Museum, 2005.

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J, Slowik Theresa, ed. America's art, Smithsonian American Art Museum. Abrams, 2006.

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Manson & Woods International Inc Christie's. Latin American sale. Christie's, 2001.

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Elizabeth, Prelinger, ed. American impressionism: Treasures from the Smithsonian American Art Museum. Watson-Guptill, 2000.

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Fink, Lois Marie. A history of the Smithsonian American Art Museum: The intersection of art, science, and bureaucracy. University of Massachusetts Press, 2007.

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Museum, Smithsonian American Art, ed. Graphic masters: Highlights from the Smithsonian American Art Museum. Smithsonian American Art Museum, 2003.

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GOVERNMENT, US. An Act to Rename the National Museum of American Art. U.S. G.P.O., 2000.

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Elizabeth, Prelinger, ed. The Gilded Age: Treasures from the Smithsonian American Art Museum. Watson-Guptill Publications, 2000.

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Museum, Smithsonian American Art, ed. Studio furniture of the Renwick Gallery, Smithsonian American Art Museum. Fox Chapel Pub., 2008.

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Helen, Driggs, ed. Start exploring masterpieces of American art from the National Museum of American Art, Smithsonian Institution. Running Press, 1990.

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Book chapters on the topic "Smithsonian American Art Museum"

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Szekely, Pedro, Craig A. Knoblock, Fengyu Yang, et al. "Connecting the Smithsonian American Art Museum to the Linked Data Cloud." In The Semantic Web: Semantics and Big Data. Springer Berlin Heidelberg, 2013. http://dx.doi.org/10.1007/978-3-642-38288-8_40.

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Ezeluomba, Ndubuisi C. "The development of the exhibition of African art in American art museums." In Museum Innovation. Routledge, 2021. http://dx.doi.org/10.4324/9781003038184-4.

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Wallach, Alan. "The Birth of the American Art Museum." In The American Bourgeoisie. Palgrave Macmillan US, 2010. http://dx.doi.org/10.1057/9780230115569_15.

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Watrelot, Michaela. "Museum at Home." In Wilhelm von Bode and the American Art Market. Routledge, 2023. http://dx.doi.org/10.4324/9781003385394-4.

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Ko, Queena. "Models for Inclusive Teaching in Museum Education." In Counternarratives from Asian American Art Educators. Routledge, 2022. http://dx.doi.org/10.4324/9781003222293-5.

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Mednicov, Melissa L. "The Jewish Museum in the Sixties." In Jewish American Identity and Erasure in Pop Art. Routledge, 2024. http://dx.doi.org/10.4324/9781003311423-3.

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

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This chapter is devoted to the creation of private museums of medieval icons and ‘primitives’ in Russia and Western Europe at the start of the twentieth century. One of these museums belonged to a famous Russian collector and artist, Ilya Ostroukhov (1858–1929). Ostroukhov shared a similar appreciation for ‘primitives on a gold background’ with the American art historian, art dealer and collector Bernard Berenson (1865–1959), a taste that Berenson had started to cultivate by the end of the nineteenth century. Taking as examples Russian, Italian and American collections of ancient icons, this chapter demonstrates common tendencies in the discovery, study and collecting of medieval icons and Italian ‘primitives’, as well as new trends in the European art market.
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Breuer, Marcel. "Whitney Museum of American Art (Currently Frick Madison), 1964–1966." In Great Windows in Modern Architecture. Routledge, 2024. http://dx.doi.org/10.4324/9780429341977-18.

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Tarigo-Bonizzoni, Liliana. "Study of the Open-Air Museum of Ibero-American Art of San Gregorio de Polanco, Uruguay." In Cultural and Creative Mural Spaces. Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-53106-5_7.

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Chudzicka, Dorota. "The Dealer and the Museum: C. T. Loo (1880–1957), the Freer Gallery of Art, and the American Asian Art Market in the 1930s and 1940s." In Kunst sammeln, Kunst handeln. Böhlau Verlag, 2012. http://dx.doi.org/10.7767/boehlau.9783205791997.243.

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Conference papers on the topic "Smithsonian American Art Museum"

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Franco, Jorge. "Um humor descolonizado de criação de um espaço digital tridimensional baseado na integração do conhecimento transdisciplinar." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.66.g55.

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Esta arte experimental tentou produzir um clima descolonizado de pesquisa e criação de um espaço digital tridimensional (3D) de Realidade Virtual (RV), baseado na integração de conhecimento transdisciplinar. Aplicou o conceito de Transformação Digital (DX) (O’Brien e Reinitz, 2021), dentro de processos de prática computacional educativa (Tissenbaum et al. 2019) para capacitar pessoas (Freire, 2016), por meio da concepção e execução de um espaço 3DRV, utilizando técnicas de programação de computação gráfica 3D para o desenvolvimento de comunicação visual (Cunningham, 2007) com suporte do emprego de tecnologias baseadas em Web3D (Web3D Consortium, 2021) como Recursos Educacionais Abertos (REA) (UNESCO, 2019). As tecnologias Web3D acessíveis e de baixo custo permitiram praticar, analisar e estender uma investigação de longo prazo nos níveis de educação K-12, referente ao compartilhamento de conhecimento, com o objetivo de inspirar o envolvimento dos indivíduos em práticas de computação que abrangem habilidades de codificação e alfabetização visual (Franco e Lopes, 2012; Franco, 2020), incluindo a arte e suas oportunidades de aprendizagem e expressão na era digital (Wand, 2007). Com o apoio de tecnologias Web3D e experiências de aprendizagem e ensino ao longo da vida, por meio da participação no curso “Projeto Espetáculo em Realidade Aumentada”, na Fábrica de Cultura Diadema, o desenvolvimento contínuo desta obra ampliou nosso processo de pesquisa através da produção de um material descolonizado, ao interconectar o conhecimento conceitual relacionado à arte visual da mistura de culturas afro-brasileiras, ameríndias e europeias de Rubem Valentim (Mendes Wood DM, 2021) e a representação simbólica da cultura afro-americana de Jacob Lawrence (Smithsonian American Art Museum, 2021). Ambos os artistas têm uma trajetória de aprendizagem ao longo da vida e usam geometria e formas coloridas em sua composição artística. Suas obras expressaram conhecimentos relacionados às culturas afro-brasileira e afro-americana, contribuindo para diminuir uma lacuna de invisibilidade na educação oficial (Fernandes, 2016), no ensino das contribuições da cultura negra para o mundo das artes, das ciências e da tecnologia. A interação com a trajetória e trabalho destes artistas tem levado a pesquisar, aplicar e compartilhar conhecimentos relacionados à África antiga, tendo como referência o uso da matemática, da geometria pela civilização egípcia, em certa medida (geometria sagrada, Calter, 1998) conhecimentos de formas e cores para construção e decoração de pirâmides e outros monumentos. Tal confluência de conhecimento transdisciplinar fez parte da pesquisa e formação de bibliotecas e técnicas de computação gráfica, permitindo, por meio de práticas educativas de programação de computadores 3D, integrar nesta realidade virtual 3D (RV) - (3DRV) recursos de arte de escultura digital, instalação e net art (Wands , 2007), de forma autônoma e/ou por meio de uma interface baseada em blog. Assim, esta confluência de conhecimentos tem gerado, conforme investigado e materializado por meio da computação gráfica 3D em (T’ÒSÚN, 2014), a construção e visualização de representações simbólicas de adornos e instrumentos sagrados de Seres Encantados Afro-Brasileiros, Europeus e Ameríndios, incluindo o aprimoramento das habilidades cognitivas e técnicas das pessoas.
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Franco, Jorge. "Un modo descolonizado de crear un espacio digital tridimensional basado en la integración del conocimiento transdisciplinario." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.66.g54.

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Esta obra de arte experimental ha intentado producir un estado de ánimo descolonizado de investigación y creación de un espacio digital de Realidad Virtual (VR) tridimensional (3D), basado en la integración del conocimiento transdisciplinario. Ha aplicado el concepto de Transformación Digital (DX) (O’Brien y Reinitz, 2021) dentro de los procesos de práctica computacional educativa (Tissenbaum et al.2019) para el empoderamiento de las personas (Freire, 2016), mediante el diseño y la realización de un espacio 3DVR, utilizando técnicas de programación de gráficos por computadora en 3D para desarrollar la comunicación visual (Cunningham, 2007), con el apoyo del empleo de tecnologías basadas en Web3D (Web3d Consortium, 2021) como Recursos Educativos Abiertos (REA) (UNESCO, 2019). Las tecnologías Web3D accesibles y de bajo costo han permitido practicar, analizar y extender una investigación a largo plazo en los niveles de educación K-12 referente al intercambio de conocimientos, con el objetivo de inspirar la participación de las personas en las prácticas informáticas que abarcan las habilidades de codificación y alfabetización visual (Franco y Lopes, 2012; Franco , 2020), incluyendo el arte y sus oportunidades de aprendizaje y expresión en la era digital (Wand, 2007). Con el apoyo de las tecnologías Web3D y las experiencias de aprendizaje y enseñanza a lo largo de la vida, a través de la participación en un curso llamado “Proyecto Espetáculo em Realidade Aumentada”, en Fabrica de Cultura Diadema, el diseño e implementación continuos de esta obra de arte ha extendido nuestro proceso de investigación mediante la producción de un contenido mediante la interconexión del conocimiento conceptual relacionado con la obra de arte visual de la mezcla de culturas afrobrasileña, amerindia y europea de Rubem Valentim (Mendes Wood DM, 2021) y la representación simbólica de la cultura afroamericana de Jacob Lawrence (Smithsonian American Art Museum, 2021). Ambos artistas tienen una trayectoria de aprendizaje permanente y utilizan la geometría y las formas coloridas en su composición artística. Sus obras de arte han expresado conocimientos relacionados con las culturas afrobrasileña y afroamericana, contribuyendo a reducir la brecha en la invisibilidad en la educación oficial (Fernandes, 2016) y en la enseñanza de las contribuciones de la cultura negra al mundo de las artes, las ciencias y la tecnología. La interacción con la trayectoria y la obra de estos artistas ha llevado a investigar, aplicar y compartir conocimientos relacionados con África antigua, teniendo como referencia el uso de la civilización egipcia de las matemáticas, la geometría en cierta medida (geometría sagrada, Calter, 1998), y el conocimiento de formas y colores para construcción y decoración de pirámides y otros monumentos. Tal confluencia de conocimiento transdisciplinario ha hecho parte de la investigación y formación de bibliotecas y técnicas de gráficos por computadora, lo que permite, a través de prácticas educativas de programación de computadoras en 3D, integrar en esta realidad virtual 3D (VR) - (3DVR) las características de las obras de arte de la escultura digital, la instalación y el net art (Wands , 2007) de forma independiente y/o mediante una interfaz basada en blog. Por lo tanto, esta confluencia de conocimientos ha provocado, como se investigó y materializó a través del uso de gráficos por computadora en 3D en T’ÒSÚN, (2014), la construcción y visualización de la representación simbólica de los adornos e instrumentos sagrados de los Seres Encantados afrobrasileños, europeos y amerindios, incluida la posibilidad de mejorar las habilidades cognitivas y técnicas de las personas.
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Fries-Briggs, Gabriel. "Device-Media-Architecture: Julia Child’s Kitchens." In 111th ACSA Annual Meeting Proceedings. ACSA Press, 2023. http://dx.doi.org/10.35483/acsa.am.111.32.

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This paper traces a lineage of device-as-architecture through the mediatization of Julia Child’s kitchens. A historical survey of the changes to her kitchen and its relationship to interior design during the latter half of the 20th century suggest a reading of interior architecture not as a means to house new technology but rather as composed by technology and devices. Counter to Ryener Banham’s projection of a future where interior technologies give shape to an architectural exterior, Child’s kitchen reflects a growing trend in the second half of the 20th century in which tool-based clutter and the interior’s autonomy from the exterior, best characterized by the storage-accumulation aesthetics of lofts and garages, dominated. Rather than necessarily limiting the role of the architect to exterior form, the elevation of gadgets, gizmos, and devices to the status of architecture opened up the possibility for a functional user-driven design agency. Analysis of the kitchen backdrops that served as sets for her various cooking shows as well as the cataloging and installation of her kitchen in the Smithsonian Museum of American History reveal an evolution of architectural interiors that shifted with her own identity and paralleled shifting domestic aesthetics away from minimalism, modernism, and post-World War II home automation. This examination of Julia Child’s kitchens frame a narrative of domestic design beginning in the 1960s when tools and technology were increasingly seen as the backbone of a new ecological or environmental society. Julia Child’s display of functional clutter took part in popularizing a new craft aesthetic where tools were prominently displayed and often collectively used. The images of her kitchen, spanning four decades, provide a context for changing cultural and architectural discourse in relation to the aesthetics of function, devices, media, and attitudes toward preservation.
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Kaprielian, Gabriel. "Lima 2100: Collective Resilience Through Adaptive Urbanism." In 110th ACSA Annual Meeting Paper Proceedings. ACSA Press, 2022. http://dx.doi.org/10.35483/acsa.am.110.80.

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Lima 2100: Collective Resilience through Adaptive Urbanism is a transdisciplinary project addressing issues of climate change, social equity, and urban health in Lima, Peru. The project was funded by the U.S. Department of State’s Bureau of Educational and Cultural Affairs as part of their American Arts Incubator, an international creative exchange program. Assistant Professor of Architecture Gabriel Kaprielian was selected as the Lead Artist and tasked with developing a month-long program through international collaboration and partnership of the ZERO1, the U.S. Embassy in Peru, the Contemporary Art Museum (MAC Lima), the University of Engineering and Technology (UTEC), along with 25 participating artist, architects, and activists. Focusing on the challenge of urban development in Lima, the primary goal was to empower local residents with new skills and a framework to understand and respond to their built environment past, present, and future. This was expressed through personal works of adaptive urbanism to create collective resilience, drawing inspiration from global movements such as Black Lives Matter to a history of Peruvian activism rooted in indigenous culture and female leadership. The project describes a method of utilizing art and technology as platforms for discourse to envision speculative futures of urban environments that are inclusive, healthy, and sustainable.
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Dan Paich, Slobodan. "Conciliation: Culture Making Byproduct." In 8th Peace and Conflict Resolution Conference [PCRC2021]. Tomorrow People Organization, 2021. http://dx.doi.org/10.52987/pcrc.2021.002.

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Abstract Reclaiming public space at Oakland's Arroyo Public Park, a nexus of crime and illegal activities. A coalition of neighbors invited local performing artists to help animate city agencies, inspire repair of the amphitheater and create daytime performances in the summer, mostly by children. It gave voice to and represented many people. Reclaiming space for community was the impetus, structured curriculum activates were means. Safe public space and learning were two inseparable goals. Conciliation learning through specific responses, example: Crisis Of Perseverance acute among children and youth lacking role models or witnessing success through perseverance. Artists of all types are the embodiment of achievable mastery and completion. Taking place on redefined historic 1940 passenger-cargo/military ship for public peacetime use and as a cultural space. Mixt generations after and outside school programs: Children and Architecture project’s intention was to integrate children’s internal wisdom of playing with learning about the world of architecture (environment and co-habitability) as starting point was an intergenerational setting: 5-12 olds + parents and volunteers, twice weekly from 1989 to 1995 at the Museum of Children’s Art in Oakland, California. Concluding Examples Public celebration and engagements as inadvertent conciliations if prepared for before hand. Biographical sketch: Slobodan Dan Paich native of former Yugoslavia was born 1945. He lived in England from 1967 to 1985. Slobodan taught the History of Art and Ideas, Design and Art Studio from 1969 through 1985 at various institutions in London, including North-East London Polytechnic, Thames Polytechnic and Richmond College-American University in London. Between 1986 to1992, he taught at the University of California at Berkeley. With a number of scholars, artists, and community leaders, he founded the Artship Foundation in 1992, and has been its Executive Director ever since. He also served as a board member of the Society of Founders of the International Peace University in Berlin/Vienna from 1996 to 2002, where he lectured annually and chaired its Committee on Arts and Culture. community@artship.org
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Reports on the topic "Smithsonian American Art Museum"

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Miller, Naomi J., and Scott M. Rosenfeld. Demonstration of LED Retrofit Lamps at the Smithsonian American Art Museum, Washington, DC. Office of Scientific and Technical Information (OSTI), 2012. http://dx.doi.org/10.2172/1044507.

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Miller, N. J., and S. M. Rosenfeld. Demonstration of LED Retrofit Lamps at the Smithsonian Art Museum, Washington, DC. Office of Scientific and Technical Information (OSTI), 2012. http://dx.doi.org/10.2172/1220103.

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Yonemura, Ann. Art in Context: Aesthetics, Environment and Function in the Arts of Japan. Inter-American Development Bank, 1995. http://dx.doi.org/10.18235/0007915.

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Hodnett, John, Ralph Eshelman, Nicholas Gardner, and Vincent Santucci. Geology, Pleistocene paleontology, and research history of the Cumberland Bone Cave: Potomac Heritage National Scenic Trail. National Park Service, 2023. http://dx.doi.org/10.36967/2296839.

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The Cumberland Bone Cave is a public visitation stop along the Potomac Heritage National Scenic Trail renowned for its unique fossil resources that help reconstruct Appalachian middle Pleistocene life in the mid-Atlantic region of North America. This site is gated for safety and to prevent unwanted exploration and damage. Approximately 163 taxa of fossil plant and animals have been collected from Cumberland Bone Cave since 1912. Most of the fossils that have been published pertain to mammals, including many extinct or locally extirpated genera and species. Though the early excavations made by the Smithsonian Institution between 1912 and 1915 are the best known of the work at Cumberland Bone Cave, over many decades multiple institutions and paleontologists have collected and studied the fossil resources from this site up until 2012. Today, fossils from Cumberland Bone Cave are housed at various museum collections, including public displays at the National Museum of Natural History in Washington D.C. and the Allegany Museum in Cumberland, Maryland. This report summarizes the geology, fossil resources, and the history of excavation and research for Potomac Heritage Trail’s Cumberland Bone Cave.
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Moreno Mejía, Luis Alberto, and Iván Duque Márquez. Contemporary Uruguayan Artists: An Uruguayan Presence in the About Change Exhibition. Inter-American Development Bank, 2012. http://dx.doi.org/10.18235/0006209.

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Contemporary Uruguayan Artists is part of About Change: Art from Latin America and the Caribbean, a project of the World Bank Art Program in cooperation with the Cultural Center of the Inter-American Development Bank and AMA | Art Museum of the Americas at the Organization of American States. The initiative comprises a series of exhibitions of art from Latin America and the Caribbean being offered in various venues in Washington during 2011-12. The exhibition is presented In honor of Uruguay and the City of Montevideo, site of the 53rd Annual Meeting of the Board of Governors of the IDB. The works selected for the exhibition offer a panorama of contemporary Uruguayan creativity. These pieces revisit history, explore memory, examine changes that have transformed culture and the environment, and rethink traditions. It includes painting, print, sculpture, mixed media, and photography, by 13 artists: Santiago Aldabalde, Ana Campanella, Muriel Cardoso, Gerardo Carella, Federico Meneses, Ernesto Rizzo, Jacqueline Lacasa, Gabriel Lema, Daniel Machado, Cecilia Mattos, Diego Velazco, Santiago Velazco, and Diego Villalba.
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Guatemala: Past and Future. Inter-American Development Bank, 2007. http://dx.doi.org/10.18235/0006407.

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This exhibition, organized by the IDB Cultural Center in homage to Guatemala - site of the 48th Annual Meeting of the Board of Directors of the Inter-American Development Bank- has been conceived with an optimistic view toward the future while learning lessons from the past. It is likewise a propitious opportunity for the IDB to offer a tribute to the Maya Nation, recognizing its significant cultural legacy, for young Guatemalans who must now take up their country¿s hopes and goals, and meet their expectations. Guatemala: Past and Future comprises six modules organized in chronological order.The first module focuses on the legacy of the Mayas, a people who lived in Mesoamerica for thousands of years and reached spectacular magnificence around 900 AD. The evidence of its culture and its greatness is reflected in many discovered cities, mainly in what is today Guatemala, Southern Mexico, Honduras and Belize, built at the pinnacle of their development; and in wonderful artifacts in the possession of many Guatemalan museums and institutions worldwide, including Washington¿s Smithsonian National Museum of the American Indian and Dumbarton Oaks.
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Latin American Artists in Washington Collections. Inter-American Development Bank, 1994. http://dx.doi.org/10.18235/0006223.

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Twenty-four artworks by major Latin American artists, from the Hirshhorn Museum and Sculpture Garden, the National Museum of Women in the Arts, the Art Museum of the Americas, the Samuel M. Greenbaum 1989 Trust, and the IDB Collection.
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Selected Paintings from the Art Museum of the Americas. Inter-American Development Bank, 1994. http://dx.doi.org/10.18235/0006429.

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Twenty paintings by major Latin American artists, presented on occasion of the IDB's publication of the book Art of Latin America l900-1980, written by the late Argentine-Colombian art historian and critic Marta Traba.
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3rd Inter-American Biennial of Video Art. Inter-American Development Bank, 2006. http://dx.doi.org/10.18235/0006410.

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The call for the Third Biennial included larger cash awards, an electronic registration system in four languages and, for the first time, the inclusion of Puerto Rico as a good will gesture to the United States, and artists from the Commonwealth who are indeed members of the Latin American and Caribbean family. Artist nationals from 20 countries, including Puerto Rico, submitted a total of 211 videos. The international jury with Irma Arestizábal, Cultural Secretary of the Istituto Italo-Latinoamericano in Rome and Curator of the Latin American Pavilion for the Venice Biennial, and José Roca, Chief of Temporary Exhibitions at the Museum of Colombia¿s Central Bank, Luis Angel Arango Library, selected 19 videos from 9 countries for the 2006-07 edition of the Biennial.
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Medellín: Art and Development. Inter-American Development Bank, 2009. http://dx.doi.org/10.18235/0006416.

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An exhibition exploring the development of the City of Medellín, Colombia, and the connections that may exist between art and development. Medellín is the city selected by the IDB for the 2009 Annual Meeting of IDB Governors in March of this year. The exhibit is one of the events celebrating the 50th Anniversary of the Inter-American Development Bank and was organized in close collaboration with the Antioquia Museum, Casa Museo Pedro Nel Gómez, Biblioteca Pública Piloto, and Embassy of Colombia in Washington, DC.
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