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

Author: Grafiati

Published: 4 June 2021

Last updated: 28 July 2025

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1

Zukowski, Scott T. "Online Archives and American Studies Pedagogy Abroad: A Case Study." Anglia 142, no. 4 (2024): 645–62. https://doi.org/10.1515/ang-2024-0059.

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Abstract This essay details specific approaches to using the Smithsonian Institution’s digital archives as tools for teaching with primary resources in American Studies and Native American and Indigenous Studies classrooms beyond the United States. The applications of these strategies are transferable across the humanities and social sciences. The article is based on my experience as a 2022–2023 “Teaching with Primary Resources” Fellow with the Smithsonian’s Archives of American Art, an experience of intensive collaboration on course and assignment design with Smithsonian archivists, archival

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2

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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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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4

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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5

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 Bibliot

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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 Lib

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8

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 c

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9

Shieh, Jackie. "Smithsonian Libraries & Archives: BIBFRAME linked data experiment with the Share Family technology." Art Libraries Journal 50, no. 1 (2025): 12–18. https://doi.org/10.1017/alj.2025.5.

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The semantic web promises interlinks of cultural heritage objects, both original and digital, of which the Smithsonian Institution (SI) holds plenty in artifacts, books, audio/video, etc. At the core, structured data in RDF is likely the one member of data infrastructure that carries the major lifting for interlinking. Parsing millions of bibliographic data mainly locked in MARC21 into the BIBFRAME/RDF syntax is not an insignificant endeavour for the library community. The Smithsonian Libraries & Archives, a network of specialized libraries (including art and design), is not an exception.

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10

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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11

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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12

Cameron, Alexandra Cunningham. "Working for Willi Smith." Public 33, no. 65 (2022): 93–103. http://dx.doi.org/10.1386/public_00095_1.

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An essay about the American designer Willi Smith and his brand Williwear, focusing on the experience of curating the first ever exhibition of his work at Cooper Hewitt, Smithsonian Design Museum and the particular problems of archives in the case of streetwear designer of his generation.

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13

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 co

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14

Barata, Ana. "Resources for Latin American art in the Gulbenkian Art Library." Art Libraries Journal 37, no. 4 (2012): 21–23. http://dx.doi.org/10.1017/s0307472200017697.

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From its creation in 1968 the Gulbenkian Art Library has possessed a number of special collections, and these have been enriched through major bequests or through acquisition. Currently there are about 180 collections with relevance for the study of Portuguese art and culture: they include private libraries, the private archives of Portuguese artists and architects, and photographic archives. Material in the special collections is available through the library’s catalogue and some have already been digitised and are available on the internet, depending on their copyright terms and conditions.

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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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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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Jordan, Michael Paul. "Documenting and Revitalizing Kiowa Knowledge: Material Culture Studies and Community Engagement." Museum Anthropology Review 9, no. 1-2 (2015): 80–95. http://dx.doi.org/10.14434/mar.v9i1-2.13463.

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This project report describes a research visit by a delegation from the Kiowa Tribe of Oklahoma to the National Museum of Natural History, the National Anthropological Archives, and the National Museum of the American Indian. The Smithsonian Institution’s Recovering Voices program sponsored the visit and provided a Community Research Grant to fund the endeavor. The report summarizes the research team’s activities and outlines their efforts to incorporate information gleaned during the visit into programming for members of the Kiowa community.

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Sigala, Stephanie. "SMITHSONIAN STUDIES IN AMERICAN ART. Vol. 1, no. 1. Migs Grove." Art Documentation: Journal of the Art Libraries Society of North America 7, no. 3 (1988): 122. http://dx.doi.org/10.1086/adx.7.3.27947942.

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Kirwin, Liza. "Landscape Studies at the Archives of American Art." Archives of American Art Journal 47, no. 1/2 (2008): 30–43. http://dx.doi.org/10.1086/aaa.47.1_2.25435146.

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Bell, Joshua A., Kimberly Christen, and Mark Turin. "After the Return: Digital Repatriation and the Circulation of Indigenous Knowledge." Museum Worlds: Advances in Research 1, no. 1 (2013): 195–203. https://doi.org/10.3167/armw.2013.010112.

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On 19 January 2012, the workshop After the Return: Digital Repatriation and the Circulation of Indigenous Knowledge was held at the Smithsonian Institution’s National Museum of Natural History in Washington DC. With support from the National Science Foundation and the Smithsonian’s Understanding the American Experience and Valuing World Cultures Consortia, this workshop brought together twenty-eight international participants for a debate around what happens to digital materials after they are returned to communities (however such communities are conceived, bounded, and lived). The

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21

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

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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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23

Kirwin, Liza. "Visual Thinking: Sketchbooks from the Archives of American Art." Archives of American Art Journal 27, no. 1 (1987): 21–29. http://dx.doi.org/10.1086/aaa.27.1.1557478.

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Kirwin, Liza. "Visual Thinking: Sketchbooks from the Archives of American Art." Archives of American Art Journal 30, no. 1/4 (1990): 155–63. http://dx.doi.org/10.1086/aaa.30.1_4.1557653.

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25

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 dat

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Kart, Susan. "Eliot Elisofon Archives at the National Museum of African Art, Smithsonian Institution—http://sirismm.si.edu/siris/eepatop.htm." Visual Resources 30, no. 1 (2014): 106–9. http://dx.doi.org/10.1080/01973762.2014.879407.

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27

Matallana, Andrea. "Inventing Latin America Under the Good Neighborhood Policy: The Case of the MoMA Collection, 1943." International Journal of Cultural and Art Studies 6, no. 1 (2022): 29–46. http://dx.doi.org/10.32734/ijcas.v6i1.8385.

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This article describes the strategies of the North American government to help establish a Latin American Collection in the Museum of Modern Art (MoMA) and the role that Lincoln Kirstein had as a collector of the works that made up the collection. The dialogue that Kirstein had with various personalities of the culture in the tasks of exhibition and collection is analyzed. We emphasize how the fine arts were spaces of political weighting, and areas usable by Good Neighbor politics. Finally, it is explained what kind of Latin American art was collected to make up the collection in 1943, and wha

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Abbey, Heidi N. "Does a decade make a difference? Comparing the web presence of North American art museum libraries and archives in 1999 and 2011." Art Libraries Journal 37, no. 3 (2012): 34–40. http://dx.doi.org/10.1017/s0307472200017582.

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The number of North American art museums with a presence on the internet has more than doubled since 1999. This is not surprising given the power of new media to transform the experiences that museum visitors have with our cultural institutions. Every year museums attract thousands of visitors to view, both in person and online, their specialized collections and unique exhibitions. Developing in tandem with these resources and largely unfamiliar to the general, museum-going public, the libraries and archives of these institutions have contributed to the research mission, educational programmin

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VUONG, LÉA. "Art and Archive: Louise Bourgeois through a Feverish Gaze." Australian Journal of French Studies 59, no. 1 (2022): 46–59. http://dx.doi.org/10.3828/ajfs.2022.05.

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This article examines uses of archival documents in the work of French-American artist Louise Bourgeois (1911-2010). Jacques Derrida’s seminal essay on “Archive Fever” (1995) provides a framework for the close study of Bourgeois’s multi-modal archives. The article discusses how the artist’s archives, while embedded in the site that manages them, pursue their existence outside their institutional home: displayed in exhibition spaces, reproduced in print publications and recorded on film, they are constantly moving, all the while pointing to a continuous shift in the place, value and nature of t

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30

Schiller, Laura. "Making American Literatures in Middle School." English Journal 89, no. 2 (1999): 98–104. http://dx.doi.org/10.58680/ej1999525.

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Discusses the influence of a summer institute on the development of an American Literature curriculum for middle school. Notes resulting teaching strategies include: researching archives with students to supplement textbook material; providing field trips; creating personal archival collections with students; pairing texts; and mixing media from film, to art, to fiction.

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EVELYN, DOUGLAS E. "The Smithsonian's National Museum of the American Indian: An International Institution of Living Cultures." Public Historian 28, no. 2 (2006): 51–56. http://dx.doi.org/10.1525/tph.2006.28.2.51.

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The mission of the Smithsonian Institution's National Museum of the American Indian is to affirm to Native communities and the non-Native public the historical and contemporary culture and cultural achievements of the Natives of the Western Hemisphere by advancing, in consultations, collaboration and cooperation with them, a knowledge and understanding of their cultures, including art, history and language, and by recognizing the Museum's special responsibility, through innovative public programming, research and collections, to protect, support and enhance the development, maintenance and per

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32

WHITE, HARRY. "American Musicology and “The Archives of Eden”." Journal of American Studies 32, no. 1 (1998): 1–18. http://dx.doi.org/10.1017/s0021875898005775.

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In his T. S. Eliot Memorial Lectures delivered at the University of Kent in March, 1971, and subsequently published as In Bluebeard's Castle or Some Notes Towards A Re-definition of Culture, George Steiner apostrophized the condition of American culture in the following way:America is the representative and premonitory example [of the democratization of high culture]. Nowhere has the debilitation of genuine literacy gone further (consider the recent surveys of reading-comprehension and recognition in American high schools). But nowhere, also, have the conservation and learned scrutiny of the a

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McCoy, Garnett, and Richard J. Wattenmaker. "Reading Records: A Researcher's Guide to the Archives of American Art." Archives of American Art Journal 35, no. 1/4 (1995): 3–117. http://dx.doi.org/10.1086/aaa.35.1_4.1557656.

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34

Savig, Mary. "Transcribing Handwritten Letters and Diaries from the Archives of American Art." Collections 12, no. 2 (2016): 137–46. http://dx.doi.org/10.1177/155019061601200207.

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35

Segal, Howard P. "The Great American Hall of Wonders, Smithsonian American Art Museum, Washington, D.C., 15 July 2011–8 January 2012." Technology and Culture 55, no. 1 (2014): 227–36. http://dx.doi.org/10.1353/tech.2014.0011.

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36

Gudkov, Maxim M. "“A Man of Soviet Orientation” — American Impresario Sidney Ross." ТЕАТР. ЖИВОПИСЬ. КИНО. МУЗЫКА 3 (September 2024): 106–27. http://dx.doi.org/10.35852/2588-0144-2024-3-106-127.

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This study focuses on the activities of the American impresario Sidney Ross, whose work has been little studied in both the USA and Russia. During the interwar period, Ross sym- pathized with the USSR and dedicated himself to organizing overseas tours for leading Soviet directors and theatres, including Vsevolod Meyerhold and his Moscow State Theatre, Constantin Stanislavsky and the Moscow Art Theatre, Alexander Tairov and the Moscow Kamerny Theatre, Vladimir Nemirovich-Danchenko and Music Studio at the Moscow Art Theatre). For the first time in Russian and American theatre studies, a brief cr

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37

Pico, Ramón. "AERIAL ART, THE NEW LANDSCAPE OF ROBERT SMITHSON." JOURNAL OF ARCHITECTURE AND URBANISM 43, no. 2 (2020): 181–91. http://dx.doi.org/10.3846/jau.2019.10354.

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Aircraft were to play a decisive role in the short career of Robert Smithson. In 1969, when he published his article Aerial Art, Walther Prokosch, an architect specializing in aviation, put him in contact with TAMS engineering. This gave rise to his involvement in a land altering operation as vertiginous and brutal as the construction of Dallas Fort-Worth International Airport. At that point Smithson became aware of the human capacity to transform Mother Earth and the importance of contemplation from the air. He incorporated these interests into his artistic creation, thus paving the way for e

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Bell, Joshua A., Kimberly Christen, and Mark Turin. "After the Return." Museum Worlds 1, no. 1 (2013): 195–203. http://dx.doi.org/10.3167/armw.2013.010112.

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On 19 January 2012, the workshop After the Return: Digital Repatriation and the Circulation of Indigenous Knowledge was held at the Smithsonian Institution’s National Museum of Natural History in Washington DC. With support from the National Science Foundation and the Smithsonian’s Understanding the American Experience and Valuing World Cultures Consortia, this workshop brought together twenty-eight international participants for a debate around what happens to digital materials after they are returned to communities (however such communities are conceived, bounded, and lived). The workshop pr

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39

Sepúlveda, Gabriela Aceves. "Encounters with “Latin American Art” in Canada." Latin American and Latinx Visual Culture 4, no. 1 (2022): 122–36. http://dx.doi.org/10.1525/lavc.2022.4.1.122.

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This Dialogues section seeks to contribute to the scholarship on Latin American art in Canada and “Latinx Canadian art.” We aim to broaden the historical and current narratives of art and artists from Latin America north of the United States, taking into account Canada’s history of migration and its official bilingual status (French-English), multilingual and multicultural reality, and relationship with Indigenous peoples. Adding to the urgency of studying the presence of Latin American art in Canada, there is also a need to focus on the work of artists and curators with a Latin American backg

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Gleisser, Faye. "Sitting Beside the Sit-In: Art Museum Dining and Gastrocuratorial Politics in the Age of Dei." ASAP/Journal 9, no. 2 (2024): 343–73. https://doi.org/10.1353/asa.2024.a947149.

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ABSTRACT: This essay challenges the persistent idealizing of art museum restaurants as spaces of diversity and togetherness and instead proposes a more expansive framework of gastrocuratorial politics to confront the colonialist and anti-Black somatic aesthetics manifest within the commissions, designs, and management of eateries in white-dominated collecting art museums. To build this argument, I cross-examine the social politics of dining environments differently but relatedly negotiated within the Tate Britain’s Rex Whistler; The Modern at the Museum of Modern Art in New York; In Situ at th

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Cash, Cecilia Gunzburger. "Plains Indian Costume in Catlin's Indian Gallery. The Renwick Gallery, Smithsonian American Art Museum, Washington DC." TEXTILE 2, no. 1 (2004): 80–83. http://dx.doi.org/10.2752/147597504778052847.

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Litavrina, Marina. "America on Russian Actors’ Touring Map: Komissarzhevskaya and the Others." ISTORIYA 14, no. 4 (126) (2023): 0. http://dx.doi.org/10.18254/s207987840025994-2.

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The paper focuses upon the experience of Russian actors who toured in America in early 20th century. The author analyses their naïve beliefs, bold aspirations and great expectations, sizing up all these manifestations as Russian actors’ “American dream” or myth. The collision between Russian artistic messianism and American pragmatism, different views on theatre art, as well as cultural misunderstanding and language barrier — all in all performed great obstacles upon their way to American fame. In this sense, the case of Vera Komissarzhevskaya American tour (1908) is most representative. The m

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Ellis, Thomas. "Curating the space race, celebrating cooperation: Exhibiting space technology during 1970s détente." European Journal of American Culture 39, no. 3 (2020): 275–95. http://dx.doi.org/10.1386/ejac_00031_1.

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During the 1960s, US and Soviet space efforts engaged in a surrogate space race at international expositions, displaying real and replica space hardware as a way of demonstrating their celestial achievements to an earthbound public. The following decade saw an uneasy détente between the Cold War superpowers that prompted a new rhetorical emphasis on space cooperation rather than competition that spilled over into transnational collaborations and exchanges between the curators of American and Soviet space exhibitions. Drawing on documents from the National Aeronautics and Space Administration a

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Lea, Mary Margaret, and Celia Emmelhainz. "Organizers of Museum History: Honoring the Labor of Librarians and Archivists in the Bureau of American Ethnology." International Journal of Librarianship 9, no. 2 (2024): 87–102. http://dx.doi.org/10.23974/ijol.2024.vol9.2.365.

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In 1879, the United States funded care for the records of government-funded geological, ethnographic and archaeological explorations in the American West, in what later became known as the Bureau of American Ethnology (BAE) within the Smithsonian Institution. But who was doing the organizing of library and archival sources so integral to this scientific mission? This article highlights eight women working in the Bureau of American Ethnology library and archives in the early 20th century, including head librarians and archivists Jesse Thomas, Ella Leary, Miriam Ketchum, Carol Jopling, Mae Tucke

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Hubert, Erell. "Arts from Latin America at the Montreal Museum of Fine Arts." Latin American and Latinx Visual Culture 4, no. 1 (2022): 93–100. http://dx.doi.org/10.1525/lavc.2022.4.1.93.

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This Dialogues section seeks to contribute to the scholarship on Latin American art in Canada and “Latinx Canadian art.” We aim to broaden the historical and current narratives of art and artists from Latin America north of the United States, taking into account Canada’s history of migration and its official bilingual status (French-English), multilingual and multicultural reality, and relationship with Indigenous peoples. Adding to the urgency of studying the presence of Latin American art in Canada, there is also a need to focus on the work of artists and curators with a Latin American backg

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Robin, Alena. "Colonial Art from Spanish America in Québec." Latin American and Latinx Visual Culture 4, no. 1 (2022): 80–92. http://dx.doi.org/10.1525/lavc.2022.4.1.80.

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This Dialogues section seeks to contribute to the scholarship on Latin American art in Canada and “Latinx Canadian art.” We aim to broaden the historical and current narratives of art and artists from Latin America north of the United States, taking into account Canada’s history of migration and its official bilingual status (French-English), multilingual and multicultural reality, and relationship with Indigenous peoples. Adding to the urgency of studying the presence of Latin American art in Canada, there is also a need to focus on the work of artists and curators with a Latin American backg

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47

Sáenz, Daniel Santiago. "Artistic Responses to Coloniality in the Americas." Latin American and Latinx Visual Culture 4, no. 1 (2022): 137–43. http://dx.doi.org/10.1525/lavc.2022.4.1.137.

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This Dialogues section seeks to contribute to the scholarship on Latin American art in Canada and “Latinx Canadian art.” We aim to broaden the historical and current narratives of art and artists from Latin America north of the United States, taking into account Canada’s history of migration and its official bilingual status (French-English), multilingual and multicultural reality, and relationship with Indigenous peoples. Adding to the urgency of studying the presence of Latin American art in Canada, there is also a need to focus on the work of artists and curators with a Latin American backg

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Toledo, Tamara. "Sur Gallery." Latin American and Latinx Visual Culture 4, no. 1 (2022): 110–21. http://dx.doi.org/10.1525/lavc.2022.4.1.110.

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Abstract:

This Dialogues section seeks to contribute to the scholarship on Latin American art in Canada and “Latinx Canadian art.” We aim to broaden the historical and current narratives of art and artists from Latin America north of the United States, taking into account Canada’s history of migration and its official bilingual status (French-English), multilingual and multicultural reality, and relationship with Indigenous peoples. Adding to the urgency of studying the presence of Latin American art in Canada, there is also a need to focus on the work of artists and curators with a Latin American backg

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Alvarez Hernandez, Analays, and Alena Robin. "Introduction to the Dialogues on Latin American Art(ists) from/in Canada." Latin American and Latinx Visual Culture 4, no. 1 (2022): 75–79. http://dx.doi.org/10.1525/lavc.2022.4.1.75.

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Abstract:

This Dialogues section seeks to contribute to the scholarship on Latin American art in Canada and “Latinx Canadian art.” We aim to broaden the historical and current narratives of art and artists from Latin America north of the United States, taking into account Canada’s history of migration and its official bilingual status (French-English), multilingual and multicultural reality, and relationship with Indigenous peoples. Adding to the urgency of studying the presence of Latin American art in Canada, there is also a need to focus on the work of artists and curators with a Latin American backg

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50

Hernandez, Analays Alvarez. "An Auto-Ethnographic Entrée en Matière and Mise en Contexte." Latin American and Latinx Visual Culture 4, no. 1 (2022): 101–9. http://dx.doi.org/10.1525/lavc.2022.4.1.101.

Full text

Abstract:

This Dialogues section seeks to contribute to the scholarship on Latin American art in Canada and “Latinx Canadian art.” We aim to broaden the historical and current narratives of art and artists from Latin America north of the United States, taking into account Canada’s history of migration and its official bilingual status (French-English), multilingual and multicultural reality, and relationship with Indigenous peoples. Adding to the urgency of studying the presence of Latin American art in Canada, there is also a need to focus on the work of artists and curators with a Latin American backg

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