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

Author: Grafiati

Published: 4 June 2021

Last updated: 12 February 2022

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1

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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2

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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3

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items strong, its collections comprise the world’s largest single source for letters, diaries, financial records, unpublished writings, sketchbooks, scrapbooks and photographs created by artists, critics, collectors, art dealers and art societies – the raw material for scholarship in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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4

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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5

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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6

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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7

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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8

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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9

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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10

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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11

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. Among these special collections two have special relevance to the study of the history of Brazilian art and architecture: the collection of Portuguese tiles and the Robert Smith Collection.

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12

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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13

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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14

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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15

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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16

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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17

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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18

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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19

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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20

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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21

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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22

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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23

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 art or literature of the past been pursued with more generous authority. American libraries, universities, archives, museums, centres for advanced study, are now the indispensable record and treasure-house of civilization. It is here that the European artist and scholar must come to see the cherished after-glow of his culture. Though often obsessed with the future, the United States is now, certainly in regard to the humanities, the active watchman of the classic past.So far, so good. But Steiner's encomium (notwithstanding that second sentence) carried with it a conditional scrutiny which was less attractive in its implications.

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24

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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25

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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26

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 programming, documentary history, and curatorial functions of museums in countless ways. In addition, especially for art historians and other scholars, museum libraries and archives have been and continue to be increasingly valuable for primary and secondary sources, including artists’ correspondence, diaries, sketches, hard-to-find monographs, exhibition records and sales catalogues. What is unclear, however, is the extent to which resources in art museum libraries and archives are being documented, preserved and made accessible online. This research is perhaps the first of its kind to evaluate, on a small scale and during a span of twelve years, the web presence of 22 North American art museum libraries and archives.

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27

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 perpetuation of Native culture and community. Adopted 1990.

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28

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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29

Matisse, Henri, Gail Levin, and JOHN CAUMAN. "Researching at the Archives of American Art: HENRI MATISSE'S LETTERS TO WALTER PACH." Archives of American Art Journal 49, no. 1/2 (2010): 28–41. http://dx.doi.org/10.1086/aaa.49.1_2.23025799.

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30

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 earthwork, crucial to the evolution of Land Art. The study of the documents included among Robert Smithson’s Papers at the Smithsonian Museum of American Art allows us to reconstruct a history that shared interests and concerns with Moholy-Nagy’s New Vision or Le Corbusier’s Loi du Méandre.

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Skov, Marie Arleth. "The 1979 American Punk Art dispute: Visions of punk art between sensationalism, street art and social practice." Punk & Post-Punk 9, no. 3 (2020): 443–66. http://dx.doi.org/10.1386/punk_00061_1.

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In May 1979, a conflict arose in Amsterdam: the makers of the exhibition American Punk Art clashed with local artists, who disagreed with how the curators portrayed the punk movement in their promotion of the show. The conflict lays open many of the inherent (self-) contradictory aspects of punk art. It was not merely the ubiquitous ‘hard school vs. art school’ punk dispute, but that the Amsterdam punk group responsible for the letter and the Americans preparing the exhibition had different visions of what punk art was or should be in respect to content and agency. Drawing on interviews with the protagonists themselves and research in their private archives, this article compares those visions, considering topics like institutionalism vs. street art, avantgarde history vs. tabloid contemporality and political vs. apolitical stances. The article shows how the involved protagonists from New York and Amsterdam drew on different art historical backgrounds, each rooted in the 1960s: Pop Art, especially Andy Warhol, played a significant role in New York, whereas the signature poetic-social art of CoBrA and the anarchistic activity of the Provos were influential in Amsterdam. The analysis reflects how punk manifested differently in different cultural spheres, but it also points to a common ground, which might be easier to see from today’s distance of more than forty years.

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32

Weiss, Karen B. "An Archival Approach to Digitization and Web Accessibility at the Archives of American Art." Collections 6, no. 3 (2010): 103–23. http://dx.doi.org/10.1177/155019061000600302.

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33

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 provided a unique opportunity for a critical debate about the very idea of digital return in all of its problematic manifestations, from the linguistic to the legal, as indigenous communities, archives, libraries, and museums work through the terrain of digital collaboration, return, and sharing. What follows is a report on the workshop’s presentations and discussions.

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34

Hills, Patricia, and GERALD M. MONROE. "Art and Politics in the Archives of American Art Journal: ARTISTS AS MILITANT TRADE UNION WORKERS DURING THE GREAT DEPRESSION." Archives of American Art Journal 49, no. 1/2 (2010): 42–53. http://dx.doi.org/10.1086/aaa.49.1_2.23025800.

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35

Haigler, Daniella. "Collections Access and Custom Storage Solutions at the Smithsonian’s Museum Support Center." Biodiversity Information Science and Standards 2 (July 17, 2018): e26223. http://dx.doi.org/10.3897/biss.2.26223.

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The National Museum of Natural History is committed to long-term stewardship of collections and to supporting their use by scientists and the general public. This stewardship role is unique among other US natural history museums. As the nation’s natural history museum, the National Museum of Natural History has a mandated commitment to conserve and protect its collections in a manner that will assure their continued accessibility by future generations and maintain the National Museum of Natural History mission. A significant number of objects from the National Museum of Natural History are permanently stored at the Museum Support Center in Suitland, MD. This space not only includes collections from the National Museum of Natural History (NMNH), but also the Museum Conservation Institute (MCI), the National Museum of American History (NMAH), the Hirshhorn Museum and Sculpture Garden (HMSG), the Freer Sackler Gallery (FSG) and the National Museum of African Art (AfA) as well as several other museums. In terms of collections access and use, the museum support center has a team, Collections Support Services (CSS), dedicated to collections’ long-term care and preservation. Collections Support Services provides access and support for the 730,000 square feet of collections housed at MSC. CSS staff perform a variety of technical and labor tasks related to the cleaning, preparation, packing, transport, unpacking, and permanent storage of objects and specimens. This includes building custom aluminum pallets for oversized objects and whale skull cradles. Moreover, while the use of palletized storage is not a new concept in museum storage, the construction of Pod 4 at the Museum Support Center in Suitland, MD posed some unique challenges for the permanent storage of oversized collections. Pod 4 provides continuous rows of 2', 4' and 8' deep cantilevered open racking from floor to ceiling (22 feet high), and allows palletized objects to be moved and placed in the racking via forklift. Traditional wooden pallets are unacceptable by archival standards, as they are acidic by nature, bulky, heavy, not fire-retardant, and prone to pest infestation. Collections Support Services circumvented these issues by establishing an innovative system of customized aluminum pallets for collections’ long-term care and preservation. These pallets are durable and lightweight, and must pass several quality control tests that include dropping and jarring. They are also designed with multiple functions in mind for ease of use, storage, transport, and maintenance.

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36

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 and Smithsonian Institution archives in Washington, DC, this article reveals how competitive displays of space technology were reconfigured to sell US–Soviet space cooperation. Official government-sponsored cooperative exhibits were spectacular and bombastic, but détente also fostered a quieter, transnational process of exchange between Soviet and American curators. American curators at the Smithsonian’s newly opened National Air and Space Museum were eager to build ties with their Soviet counterparts. However, the collaborations that resulted from these ties often ended up reinforcing their museum’s nationalistic narrative rather than subverting it. The 1970s saw the emergence of a transnational community of professional space curators dedicated to memorializing the early space age, but 1970s space exhibitions continued to reflect the previous decade’s nationalistic competition.

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37

Johnson, Adriana Michéle Campos. "Art and Our Surrounds: Emergent and Residual Languages." ARTMargins 9, no. 1 (2020): 58–79. http://dx.doi.org/10.1162/artm_r_00258.

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This essay undertakes a review of recent books by T.J. Demos ( Decolonizing Nature: Contemporary Art and the Politics of Ecology (2016) and Against the Anthropocene: Visual Culture and Environment Today (2017)) and Jens Andermann ( Tierras en trance: Arte y naturaleza después del paisaje (Lands Entranced: Art and Nature after Landscape, 2018)). Demos and Andermann participate in the paradigm shift taking place under the name of eco-criticism, forging connections between the debates around environmental crisis and the fields in which they have written and published previously - art criticism and visual culture and Latin American literary and cultural studies, respectively. Both authors take on the challenge of thinking through the perceptual and conceptual habits that have dominated a relationship to our environment under capitalist modernity (such as the concept of landscape) and how artistic practices might be said to rework those habits. While Demos maps recent efforts to engage ecological concerns and “decolonize nature” across the globe, Andermann looks back to the twentieth century Latin American archive, constructing a local genealogy that harbors an ecological and political thinking that anticipates what is now lived as global crisis; their projects intersect in contemporary Latin American activist art that has gained enough attention to figure as part of a global circuit. The review considers the overlapping points as well as the striking disjuncture in both projects in relation to the different knowledge formations, archives and languages from which each author speaks.

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Treen, Kristen. "The Civil War and American Art by Eleanor Jones Harvey Smithsonian American Art Museum in association with Yale University Press | 2012 | xvii + 316pp | isbn 9780937311981Photography and the American Civil War by Jeff L. Rosenheim Metropolitan Museum of A." Critical Quarterly 56, no. 3 (2014): 123–27. http://dx.doi.org/10.1111/criq.12148.

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Chunikhin, Kirill. "At Home among Strangers: U.S. Artists, the Soviet Union, and the Myth of Rockwell Kent during the Cold War." Journal of Cold War Studies 21, no. 4 (2019): 175–207. http://dx.doi.org/10.1162/jcws_a_00910.

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After World War II, Soviet institutions organized many exhibitions of the American artist Rockwell Kent that bypassed the U.S. government. Promotion of Kent's work in the USSR was an exclusively Soviet enterprise. This article sheds new light on the Soviet approach to the representation of U.S. visual art during the Cold War. Drawing on U.S. and Russian archives, the article provides a comprehensive analysis of the political and aesthetic factors that resulted in Kent's immense popularity in the Soviet Union. Contextualizing the Soviet representation of Kent within relevant Cold War contexts, the article shows that his art occupied a specific symbolic position in Soviet culture. Soviet propaganda reconceptualized his biography and established the “Myth of Rockwell Kent”—a myth that helped to legitimate Soviet ideology and anti-American propaganda.

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Ulinskas, Moriah. "The Terezita Romo Papers: Capturing the Spirit of Collective Action in Archives." KULA: Knowledge Creation, Dissemination, and Preservation Studies 2 (November 29, 2018): 4. http://dx.doi.org/10.5334/kula.22.

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This article addresses the Terezita Romo Papers, one of a handful of archival collections of the Royal Chicano Air Force—a large collective of young, mostly immigrant or first-generation Mexican American artists and activists who produced countless community events and art projects and programs in Sacramento, California during the second half of the twentieth century. While membership of the Royal Chicano Air Force (RCAF) and its activities are hard to calculate, its history has been shaped by a tendency towards iconization of the group’s male founders in archival description. Specifically, where collections are described to highlight the unique contributions of individuals, it is difficult to retain and promote the collective voice of action which made so many of these movements successful. Using the papers of Tere Romo, one member of the RCAF, this paper looks at how the archives of the RCAF have tended towards iconization—overshadowing the contributions of its female members—and explores ways in which archivists can reconsider the language of archives when processing and describing materials documenting collective action in American history. A correction article relating to this publication can be found here: http://doi.org/10.5334/kula.62/

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Richardson, Karimah Kennedy, Anna Liza Posas, Lylliam Posadas, and Paige Bardolph. "New Discoveries and New Directions for the Archaeological Archives at the Autry Museum of the American West." Advances in Archaeological Practice 5, no. 3 (2017): 280–88. http://dx.doi.org/10.1017/aap.2017.19.

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ABSTRACTIn 2003, the Autry Museum of the American West merged with the Southwest Museum of the American Indian, which housed the second largest collection of Native American objects in the country. Included within this collection is the Braun Research Library Collection, which consists of works of art on paper, rare books, scholarly publications, manuscripts, photographs, correspondences, maps and sound recordings, and other archival materials, many of which relate to the early development of the disciplines of archaeology and anthropology in the United States. For over a century, both national and international researchers have used the museum's collections and archival materials with a relative open access. However, due to the culturally sensitive nature of many of these collections and the growth of how information can be made accessible, the Autry institution is currently developing procedures that affect access, especially for those researchers who wish to study archaeological archives. Staff from multiple departments are collaborating on addressing these concerns, including developing new policies while improving access to Native American tribes, communities, and researchers in preparation for the new off-site Autry Resources Center and storage facility where the collection will be housed in the future.

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Enders, Jody. "Emotion Memory and the Medieval Performance of Violence." Theatre Survey 38, no. 1 (1997): 139–62. http://dx.doi.org/10.1017/s0040557400001873.

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When Constantin Stanislavski'sAn Actor Preparesfirst appeared in English translation in 1936, the Moscow Art Theater had already made a great impact on American theatre. Particularly influential in the Soviet director's theories of acting was his concept of emotion memory. InAn Actor Prepares, the young actor, Kostya, tries to understand how to access the “memory of life” rather than the “theatrical archives of his mind” and has an epiphany at the moment when he recalls and relives the violence of an isolated vehicular accident that had dismembered its victim:

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Allan, Ken. "Creating an Avant-Garde in 1950s Los Angeles: Robert Alexander's Hand-Printed Gallery Brochure in the Archives of American Art." Archives of American Art Journal 42, no. 3/4 (2002): 21–26. http://dx.doi.org/10.1086/aaa.42.3_4.1557788.

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Smith, Donna B. "Picturing the Thirties2009400Picturing the Thirties. Washington, DC: Smithsonian American Art Museum 2009‐. Gratis URL: http://americanart.si.edu/education/picturing_the_1930 s/index.html Last visited June 2009." Reference Reviews 23, no. 8 (2009): 62–63. http://dx.doi.org/10.1108/09504120911003654.

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Tallack, Douglas. "Siegfried Giedion, Modernism and American Material Culture." Journal of American Studies 28, no. 2 (1994): 149–67. http://dx.doi.org/10.1017/s0021875800025433.

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The Swiss architectural critic and historian of technology, Siegfried Giedion, was born in 1893 and died in 1968. Space, Time and Architecture: The Growth of a New Tradition (1941) and Mechanization Takes Command: A Contribution to Anonymous History (1948) are his two most well-known books and both came out of time spent in the United States between 1938 and 1945. World War Two kept Giedion in America though he, unlike many other German-speaking European intellectuals, came home and in 1946 took up a teaching position at the Federal Institute of Technology in Zurich where he later became professor of art history. While in the United States he delivered the Charles Eliot Norton Lectures (1938–39), saw them in print as Space, Time and Architecture, and also completed most of the research in industrial archives and patent offices for Mechanization Takes Command. These two books are an important but, for the past twenty years, a mostly neglected, analysis of American material culture by a European intellectual, whose interests in Modernism included painting — notably Cubism and Constructivism — as well as architecture and planning. The period which saw the publication of Giedion's key works is, itself, an overlooked phase in the trans-Atlantic relationship between Modernism and modernization.

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Allen, Nancy S. "History of Western sources on Japanese art." Art Libraries Journal 11, no. 4 (1986): 8–13. http://dx.doi.org/10.1017/s0307472200004867.

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Learning about Japanese art has been difficult for Westerners. Limited access, language barriers, and cultural misunderstanding have been almost insurmountable obstacles. Knowledge of Japanese art in the West began over 150 years before the arrival of Commodore Perry in 1853. Englebert Kaempfer (1657-1716), sent to Japan as a physician for the Dutch East India Company, befriended a young assistant who provided information for a book on Japanese life and history published in 1727. By 1850, more ethnographic information had been published in Europe. Catalogs of sales of Japanese art in Europe exist prior to 1850 and collection catalogs from major museums follow in the second half of that century. After the Meiji Restoration (1867) cultural exchange was possible and organizations for that purpose were formed. Diaries of 19th century travellers and important international fairs further expanded cross-cultural information. Okakura Kakuzo, a native of Japan, published in English about Japanese art and ultimately became Curator of the important collections of the Boston Museum of Fine Arts. The advent of photography made visual images easily accessible to Westerners. Great collectors built up the holdings of major American museums. In the 20th century, materials written and published in Japan in English language have furthered understanding of Japanese culture. During the past twenty years, travelling exhibitions and scholarly catalogs have circulated in the West. Presently monographs, dissertations and translated scholarly texts are available. Unfortunately, there is little understanding in the West of the organization of Japanese art libraries and archives which contain primary source material of interest to art historians.

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Ovchinnikova, Natalia A. "The Fate of the Epistolary Heritage of the Veliky Ustyug Merchant Family Buldakovs of the Late 18th – the First Quarter of the 19th Century." Herald of an archivist, no. 2 (2021): 331–42. http://dx.doi.org/10.28995/2073-0101-2021-2-331-342.

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The article presents the history of the epistolary heritage of the Buldakov merchant family. The object of the research is letters of M. M. Buldakov, a representative of the Veliky Ustyug merchants, the leading director of the Russian-American company. These documents contain valuable information on the history of Russian merchants in the last quarter of the 18th – first third of the 19th century and the activities of the Russian-American company. Similar to all sources of epistolary genre, their distinctive feature is that they were created without additional edits and censorship and thereby recorded historical reality at first hand, while retaining the style and language characteristic of the period. The main problem faced by historians is patchy location of M. M. Buldakov’s letters. Currently, only a part of them, stored in the Vologda State Historical-Architectural and Art Museum-Reserve, has been published and introduced into scientific use. The documents scattered across other archives are yet to be identified and examined. The purpose of this study is to determine the true volume of the Buldakovs' epistolary heritage, to understand the reasons for its fragmentation, and to trace the movement of documents from one owner to another. This is the first attempt to restore the path of epistolaries from the pre-revolutionary family archive to modern archives, which determines the scientific novelty of the work. The methodological basis of the research is principles of historicism, consistency, and objectivity. This makes it possible to consolidate the scattered information and facts testifying to the movement of M. M. Buldakov’s papers. The analytical and synthetic method of comparing data provides an opportunity to see the general picture of letters location, while concrete-historical method allows us to describe the facts in historical sequence. We managed to identify three large collections of letters: in the Russian State Archive of Ancient Acts, in the Archive of the Foreign Policy of the Russian Empire of the Historical and Documentary Department of the Ministry of Foreign Affairs, and in the Vologda State Historical, Architectural and Art Museum-Reserve. The results of this study provide a unified picture of the epistolaries location in different archives, which, in turn, provides an opportunity for historians and archivists to continue their work on identifying and introducing into scientific use of documents necessary for further study of the history of Russian merchants and the Russian-American company activities.

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Gasper-Hulvat, Marie. "“More Like a Real Human Being”: Humanizing Historical Artists Through Remote Service-Learning." Journal of Experiential Education 41, no. 4 (2018): 397–410. http://dx.doi.org/10.1177/1053825918808321.

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Background: In a digital age, service-learning partner organizations can expand beyond geographical locations accessible to the students. Particularly within fields digitizing archival sources, including art history, many learning outcomes achieved in traditional on-site service-learning programs can also result from remote access to staff and materials at non-local partner organizations. Purpose: This study analyzed the impact of a remote service-learning project between an upper division contemporary art history course at a regional university in Ohio and the Archives of American Art in Washington, D.C. Methodology/Approach: Over 3 consecutive years, the students used digitized visual and audio archival materials to edit transcripts of oral histories for web publication. At the conclusion of the project, the students conducted focus group interviews to analyze their perceptions of learning outcomes. Findings/Conclusions: Qualitative analysis of the interview transcripts yielded four primary themes in the data: disciplinary understanding, transferrable skill development, critical decision making, and emotional knowledge. Implications: Remote service-learning can facilitate many of the same learning outcomes as on-site experiences.

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Dillenberger, John. "Millenial Desire and the Apocalyptic Vision of Washington Allston. By David Bjelajac. New Directions in American Art. Washington: Smithsonian Institution Press, 1988. xiv + 226 pp. $35.00." Church History 59, no. 1 (1990): 108–9. http://dx.doi.org/10.2307/3169117.

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Spencer, Catherine. "Navigating Internationalism from Buenos Aires: The Centro de Arte y Comunicación." ARTMargins 10, no. 2 (2021): 50–72. http://dx.doi.org/10.1162/artm_a_00292.

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Abstract This article maps the complex socio-political terrain negotiated by the Centro de Arte y Comunicación (CAYC) during the early 1970s from Buenos Aires. It shows how the CAYC attempted to continue the internationalising aims which the Instituto Torcuato Di Tella had pursued in the 1960s, while also providing a space for the exhibition and development of Conceptualism that engaged with political conditions in Argentina and in other countries including Brazil, Uruguay, Chile and Columbia, developing the framework of “systems art” in order to do so. The compromises necessitated by CAYC's balancing act opened the organisation, and in particular its director Jorge Glusberg, to accusations of cultural imperialism and complicity: from almost the very beginning, the CAYC project was characterised by dissensus and disagreement. The controversy generated by CAYC – documented in archives, publications and exhibition catalogues – now offers a rich historiographical resource for Latin American art, revealing how competing models of internationalism and Conceptualism were closely intertwined rather than diametrically opposed.

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