Relevant bibliographies by topics / Smithsonian Archives of American Art

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Academic literature on the topic 'Smithsonian Archives of American Art'

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Published: 4 June 2021
Last updated: 12 February 2022

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Journal articles on the topic "Smithsonian Archives of American Art"

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Kendall, Sue Ann. "ARCHIVES OF AMERICAN ART/SMITHSONIAN INSTITUTION." Art Documentation: Journal of the Art Libraries Society of North America 5, no. 3 (1986): 106–8. http://dx.doi.org/10.1086/adx.5.3.27947611.

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Chiango, Rose. "Podcasts: The Archives of American Art Oral History Collection. Archives of American Art, Smithsonian Institution. https://www.aaa.si.edu/resources/podcasts." Oral History Review 46, no. 2 (2019): 421–22. http://dx.doi.org/10.1093/ohr/ohz023.

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Kirwin, Liza. "Fabulous at 50: the Smithsonian’s Archives of American Art celebrates a Golden Anniversary." Art Libraries Journal 31, no. 1 (2006): 28–32. http://dx.doi.org/10.1017/s0307472200014358.

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Founded in 1954, the Smithsonian’s Archives of American Art collects, preserves and makes available primary sources documenting the history of the visual arts in the United States. More than 16 million items strong, its collections comprise the world’s largest single source for letters, diaries, financial records, unpublished writings, sketchbooks, scrapbooks and photographs created by artists, critics, collectors, art dealers and art societies – the raw material for scholarship in American art.
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Bohn, Anna. "„Innerlich frischer und wachstumsfähiger Nachwuchs“." Bibliothek Forschung und Praxis 44, no. 2 (2020): 250–71. http://dx.doi.org/10.1515/bfp-2020-0026.

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ZusammenfassungEdgar Breitenbach war von 1953 bis 1955 als Vertreter der Library of Congress beratend für den Bau der Amerika-Gedenkbibliothek in Berlin tätig. Als einer der Volontäre des ersten Jahrgangs des neu begründeten bibliothekswissenschaftlichen Ausbildungswegs an der Friedrich-Wilhelms-Universität und der Preußischen Staatsbibliothek zu Berlin im Studienjahr 1928/1929 gelangte er auf einen Berufsweg, auf dem er zu einem Wegbereiter neuer Entwicklungen wurde. Der Beitrag untersucht, welche Rolle sein engagierter Förderer Aby Warburg sowie Netzwerke und Empfehlungsschreiben von Bibliotheksdirektoren für den Beginn der Bibliothekskarriere Edgar Breitenbachs in der ausgehenden Weimarer Republik spielten. Zur Rekonstruktion der bibliothekarischen Entwicklungen dienen Erinnerungen, Korrespondenzen und Personalakten aus der Staatsbibliothek zu Berlin, dem Institut für Stadtgeschichte Frankfurt, der Staats- und Universitätsbibliothek Göttingen, der New York Public Library, der Smithsonian Institution, Archives of American Art, Washington D.C. und dem Warburg Institute London. Am Rande gestreift werden die Karrieren zweier Volontärinnen, Katharina Meyer und Gisela von Busse, die gemeinsam mit Breitenbach 1929 an der Preußischen Staatsbibliothek zu Berlin ihre Prüfung absolvierten.
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Sharov, Konstantin S. "The Problem of Transcribing and Hermeneutic Interpreting Isaac Newton’s Archival Manuscripts." Tekst. Kniga. Knigoizdanie, no. 24 (2020): 134–55. http://dx.doi.org/10.17223/23062061/24/7.

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In the article, the current situation and future prospects of transcribing, editing, interpreting, and preparing Isaac Newton’s manuscripts for publication are studied. The author investigates manuscripts from the following Newton’s archives: (1) Portsmouth’s archive (Cambridge University Library, Cambridge, UK); (2) Yahuda collection (National Library of Israel, Jerusalem, Israel); (3) Keynes collection (King’s College Library, Cambridge University, Cambridge, UK); (4) Trinity College archive (Trinity College Library, Cambridge University, Cambridge, UK); (5) Oxford archive (New’s College Library, Oxford University, Oxford, UK); (6) Mint, economic and financial papers (National Archives in Kew Gardens, Richmond, Surrey, UK); (7) Bodmer’s collection (Martin Bodmer Society Library, Cologny, Switzerland); (8) Sotheby’s Auction House archive (London, UK); (9) James White collection (James White Library, Andrews University, Berrien Springs, Michigan, US); (10) St Andrews collection (University of St Andrews Library, St Andrews, UK); (11) Bodleian collection (Bodleian Library, Oxford University, Oxford, UK); (12) Grace K. Babson collection (Huntington Library, San Marino, California, US); (13) Stanford collection (Stanford University Library, Palo Alto, California, US); (14) Massachusetts collection (Massachusetts Technological Institute Library, Boston, Massachusetts, US); (15) Texas archive (Harry Ransom Humanities Research Centre, University of Texas Library, Austin, Texas, US); (16) Morgan archive (Pierpont Morgan Library, New York, US); (17) Fitzwilliam collection (Fitzwilliam Museum, Cambridge University, Cambridge, UK); (18) Royal Society collection (Royal Society Library, London, UK): (19) Dibner collection (Dibner Library, Smithsonian Institution, Washington D.C., US); (20) Philadelphia archive (Library of the American Philosophical Society, Philadelphia, Pennsylvania, US). There is a great discrepancy between what Newton wrote (approx. 350 volumes) and what was published thus far (five works). It is accounted for by a number of reasons: (a) ongoing inheritance litigations involving Newton’s archives; (b) dispersing Newton’s manuscripts in countries with different legal systems, consequently, dissimilar copyright and ownership branches of civil law; (c) disappearance of nearly 15 per cent of Newton works; (d) lack of accordance of views among Newton’s researchers; (e) problems with arranging Newton’s ideas in his possible Collected Works to be published; (f) Newton’s incompliance with the official Anglican doctrine; (g) Newton’s unwillingness to disclose his compositions to the broad public. The problems of transcribing, editing, interpreting, and pre-print preparing Newton’s works, are as follows: (a) Newton’s complicated handwriting, negligence in spelling, frequent misspellings and errors; (b) constant deletion, crossing out, and palimpsest; (c) careless insertion of figures, tables in formulas in the text, with many of them being intersected; (d) the presence of glosses situated at different angles to the main text and even over it; (e) encrypting his meanings, Newton’s strict adherence to prisca sapientia tradition. Despite the obstacles described, transcribing Newton’s manuscripts allows us to understand Sir Newton’s thought better in the unity of his mathematical, philosophical, physical, historical, theological and social ideas.
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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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Russell, Marilyn, and Thomas E. Young. "Selected resources on Native American art." Art Libraries Journal 33, no. 2 (2008): 34–38. http://dx.doi.org/10.1017/s0307472200015339.

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This review of selected paper and electronic resources on Native American art describes what is available at the Haskell Indian Nations University Library and Archives in Lawrence, Kansas; the Institute of American Indian Arts Library and Archives in Santa Fe, New Mexico; the H.A. & Mary K. Chapman Library and Archives at the Philbrook Museum of Art in Tulsa, Oklahoma; and the Billie Jane Baguley Library and Archives at the Heard Museum Library in Phoenix, Arizona. These four institutions develop and maintain resources and collections on Native American art and make the information they contain about indigenous groups available not only to their users and other scholars but also to the wider world.
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Crew, Spencer R., and John A. Fleckner. "Archival Sources for Business History at the National Museum of American History." Business History Review 60, no. 3 (1986): 474–86. http://dx.doi.org/10.2307/3115887.

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The Smithsonian Institution's National Museum of American History offers rich opportunities for business historians. In this essay, Mr. Fleckner and Mr. Crew describe the holdings and facilities of the recently established Archives Center and examine in detail the museum's extensive and extremely valuable holdings in advertising history.
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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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Richardson, Edgar P. "Archives of American Art: Purposes and Objectives." Archives of American Art Journal 30, no. 1/4 (1990): 1—x. http://dx.doi.org/10.1086/aaa.30.1_4.1557632.

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Dissertations / Theses on the topic "Smithsonian Archives of American Art"

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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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Flach, Katherine E. ""Eliot Elisofon: Bringing African Art to LIFE"." Case Western Reserve University School of Graduate Studies / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=case1427999641.

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Hensley, Charlsa Anne. "IN BLACK AND WHITE: RICHMOND’S MONUMENT AVENUE RECONTEXTUALIZED THROUGH THE PHOTOGRAPHIC ARCHIVE." UKnowledge, 2019. https://uknowledge.uky.edu/art_etds/18.

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The release of the Monument Avenue Commission Report in July, 2018 was the culmination of over one year of research and collaboration with community members of Richmond, Virginia on how the city should approach the contentious history of Monument Avenue’s five Confederate centerpieces. What the monuments have symbolized within the predominately rich, white neighborhood and outside of its confines has been a matter of debate ever since they were unveiled, but the recent publicity accorded to Confederate monuments has led to considerations by historians, city leaders, and the public regarding recontextualization of Confederate monuments. Recontextualization of the monuments should not only consider the city’s current constituency, but also the lives, testimonies, and representations of Richmond’s African- American residents as the monuments were built. A comparative case study of photographs from various institutional archives in Richmond, Virginia, depicting late- nineteenth and early twentieth-century scenes from the city’s history reveals that while Monument Avenue and its Confederate celebrations benefitted the city’s upper-class white constituency, its messages extended far beyond Richmond and its Confederate veterans. By bringing to light images and testimonies from the archive that highlight African-American presence, a counter-narrative emerges detailing the construction of power in post-Reconstruction Richmond through Monument Avenue.
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Görgen, Carolin. "Out here it is different - The California Camera Club and community imagination through collective photographic practices : toward a critical historiography, 1890-1915." Thesis, Sorbonne Paris Cité, 2018. http://www.theses.fr/2018USPCC010/document.

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Le California Camera Club, un collectif de photographes amateurs et professionnels actif à San Francisco notamment entre 1890 et 1915, est une organisation constamment marginalisée dans l’histoire de la photographie et de l’Ouest américain. En adoptant une double approche d’histoire culturelle et matérielle, cette thèse éclaire une gamme d’activités et de productions de ce club largement inconnu, qui ont contribué à forger l’identité d’une communauté éloignée de l’Ouest. Par son approche inclusive, réunissant plus de 400 membres en 1900, le club doit être considéré comme une organisation localement ancrée, qui se sert de la photographie pour produire un récit esthétiquement attirant et historiquement cohérent de la ville et de l’État. Malgré son chevauchement chronologique avec le pictorialisme et son ambition de faire reconnaître le médium parmi les beaux-arts, le corpus du club ne peut être inséré dans un canon d’histoire de l’art de la photographie. En se basant sur diverses stratégies de diffusion et d’exposition, les membres adoptent plutôt une approche collective qui transforme l’aspiration à la reconnaissance en un désir de légitimation régionale. À travers une analyse de pratiques photographiques, d’usages et d’itinéraires des objets, cette thèse retrace la construction d’une représentation idiosyncratique de la culture et de l’histoire californiennes par un club qui participe à la conquête d’une place légitime pour l’État sur la scène nationale. En mettant l’accent sur la dimension collective de la photographie, cette analyse montre comment sa pratique dans un territoire isolé mène à la construction imaginaire d’une communauté dotée d’une compréhension commune de ses valeurs esthétiques et de son histoire. L’enjeu de cette thèse est ainsi de réviser un schéma linéaire et étroit de l’histoire de la photographie en élargissant les perspectives géographiques, socioculturelles et archivistiques<br>The California Camera Club, a collective of amateur and professional photographers, most active in San Francisco between 1890 and 1915, represents a constantly marginalized organization in the history of photography and of the American West. By adopting a two-fold cultural-historical and material approach, this thesis sheds light on a largely unknown variety of Club activities and productions that served as meaningful elements to forge the identity of a remote Western community. Through its inclusive outlook, unifying more than 400 members in 1900, the Club must be considered a locally embedded organization that mobilized photography to produce an aesthetically pleasing and historically coherent narrative of the city and the state. Despite its chronological position in the period of Pictorialism and the striving for institutional recognition, the Club corpus cannot be inserted into an art-historical canon of photography. Rather, by drawing on diverse strategies of dissemination and exhibition, the members adopted a collective approach to the medium that turned the striving for institutional recognition into a desire for regional legitimation. Through an examination of photographic practices, uses, and object trajectories, this thesis traces the construction of an idiosyncratic representation of Californian culture and history by the Club, which actively assisted the state’s search for a legitimate national place. By focusing on the collective dimension of photography, the analysis demonstrates how the practice in an isolated territory led to the imagination of a community with shared aesthetic and historical understandings. The object of this thesis is to revise both linear and narrow tropes in the history of photography by broadening its geographic, sociocultural, archival perspectives
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Noyes, Chandra. "Crafting a definition : a case study of the presentation of craft at the Renwick Gallery." Thesis, 2011. http://hdl.handle.net/2152/ETD-UT-2011-12-4751.

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This report is a case study of the presentation of craft at the Renwick Gallery, the craft museum of the Smithsonian American Art Museum (SAAM). The Renwick, founded in 1976, is a curatorial department of SAAM, focusing in modern and contemporary American craft. Through an examination of the museum’s galleries and exhibitions, interviews with staff, and an analysis of educational programming, this thesis explores how the Renwick defines craft implicitly and explicitly. Giving a context for this study is a history of the Renwick Gallery, as well as history of craft and its definitions. With these histories as background, the ways that the Renwick, and thus its visitors, understand craft is explored. The qualities specific to craft in the literature and manifest at the Renwick are examined in order to determine how they influence the presentation of craft at the Renwick.<br>text
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"Art in the archives: The origins of the art representing the core of the Aaron Douglas Collection from the Amistad Research Center." Tulane University, 1992.

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The Aaron Douglas Collection of works of art in the Amistad Research Center, now at Tulane University, includes works of art little known to scholars of American art. It is a collection of two hundred and seventy examples by black and minority artists, most dating from 1925 to 1954. Fifty-two of this number have been illustrated with several in color. There is no published catalog. Though individual works have been shown in specialized exhibitions, virtually none of this group has been included in standard survey books used in courses teaching American art history. The vitality of these works of art, the message they convey, should be included with the discipline of American art history The Aaron Douglas Collection represents a portion of a larger assemblage made by the Harmon Foundation of New York City. The details of the Collection's history are discussed in Chapter One Chapters Two and Three of this thesis provide a necessary foundation to the appreciation of the artists and their works. Several of these artists have slipped into obscurity. For that reason, background information about their times, the 20s and 30s, will perhaps serve to fill in some of the inherent gaps. Chapter Four gives a basic profile of each artist highlighting, whenever possible, pertinent information about them. The end of each profile contains catalog information for each of their pieces in the Collection<br>acase@tulane.edu
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Books on the topic "Smithsonian Archives of American Art"

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Art, Archives of American. Smithsonian Archives of American Art: Celebrating 50 years, the Archives of American Art, 1954-2004. Archives of American Art, Smithsonian Institution, 1999.

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Art, Archives of American, ed. More than words: Artists' illustrated letters from the Smithsonian's Archives of American Art. Smithsonian Institution, Archives of American Art, 2005.

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Lists: To-dos, illustrated inventories, collected thoughts, and other artists' enumerations from the Smithsonian's Archives of American Art. Princeton Architectural Press, 2010.

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

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

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Twachtman, John Henry. Twachtman in Gloucester: His last years, 1900-1902 : essays by John Douglass Hale, Richard J. Boyle, and William H. Gerdts : a loan exhibition for the benefit of the Archives of American Art (Smithsonian Institution), 12 May-13 June 1987, Ira Spanierman Gallery. Universe/Ira Spanierman Gallery, 1987.

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Elizabeth, Prelinger, ed. American impressionism: Treasures from the Smithsonian American Art Museum. Watson-Guptill, 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. Graphic masters: Highlights from the Smithsonian American Art Museum. Smithsonian American Art Museum, 2003.

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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 Archives of American Art"

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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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Goerlitz, Amelia A. "From La Farge to Paik: Research Resources at the Smithsonian American Art Museum." In East-West Interchanges in American Art: A Long and Tumultuous Relationship. Smithsonian Institution Scholarly Press, 2012. http://dx.doi.org/10.5479/si.9781935623083.232.

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Jules-Rosette, Bennetta, and J. R. Osborn. "Reaching Out." In African Art Reframed. University of Illinois Press, 2020. http://dx.doi.org/10.5622/illinois/9780252043277.003.0004.

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This chapter examines strategies of museum outreach and museum education in the public sphere. It contrasts the mythos and chronos of museum narratives through a content, architectural, and design analysis of the Smithsonian National Museum of African American History and Culture. Case studies of youth interactions explore the ways that museums extend their educational mission. The control that museums seek to establish within their exhibtionary complexes often moves out of their control when diverse publics are involved, and expanded audiences stake their own claims on the representation of heritage. This process has contrasting political implications for diverse populations. Curatorial narratives, the mythos of museum histories, catalogues, outreach programs, and various technological interventions have been deployed to address the communicative gaps between curators and their audiences.
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Daniel Barnes, Riché J. "Johnnetta Betsch Cole." In The Second Generation of African American Pioneers in Anthropology. University of Illinois Press, 2018. http://dx.doi.org/10.5622/illinois/9780252042027.003.0007.

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This chapter explores the life of Johnnetta B. Cole, the consummate public anthropologist. She has been an educator, the president of two historically Black colleges for women (Spelman and Bennett), and the director of the Smithsonian Museum of African Art. She completed her PhD in anthropology at Northwestern University, where she studied with Melville Herskovits. Trained as an Africanist, she worked collaboratively with others to develop some of the first Black studies programs in the country. She went on to critically engage issues of gender, class, and sexuality and became passionate about issues of power, privilege and inequality, which she taught, researched, and explored through the lens of anthropology.
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Zeitlin, Steve. "How Folklorists Changed the World: The Smithsonian Folklife Festival as a Catalyst for Change." In Curatorial Conversations. University Press of Mississippi, 2016. http://dx.doi.org/10.14325/mississippi/9781496805980.003.0016.

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This chapter traces the influence of certain programmatic priorities, philosophies, and strategies on shaping the vision of the Smithsonian Folklife Festival and the ways in which certain Festival notions of art and cultural equity have since suffused American culture. Tracing the impact of the Festival from a personal vantage point, the author explores the Festival's history, suggesting the under-acknowledged contribution of folklorists to American culture and the way the Festival has become a model for other nationally acclaimed organizations such as City Lore in New York City and Story Corps, events such as the annual Cowboy Poetry Gathering in Elko, Nevada, and for media productions such as the Moth Radio Hour.
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Gerzina, Gretchen Holbrook. "‘[T]here were so many things I wanted to do & didn’t’: The Queer Potential of Carrington’s Life and Art." In Queer Bloomsbury. Edinburgh University Press, 2016. http://dx.doi.org/10.3366/edinburgh/9781474401692.003.0011.

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Carrington’s life has often been viewed as tragic because of her suicide at the age of thirty-nine after Lytton Strachey’s death, and her relationship with him has been understood as of consummate importance. But her letters to women were among her most flirtatious and playful – similar to those she often wrote to cheer Strachey in his love affairs. This essay uses Carrington’s artwork and letters from archives and private collections to examine Carrington’s relationships with women: Poppet John, Julia Strachey, and her affair with the troubled American heiress Henrietta Bingham. Despite Virginia Woolf’s now well-publicized relationship with Vita Sackville-West, there is reason to believe that Carrington’s class and background made Bloomsbury less accepting of her tangled loves, unclear about her dedication to her art, and wary of the life she worked so hard to maintain with Strachey.
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Reports on the topic "Smithsonian Archives of American Art"

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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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