Relevant bibliographies by topics / Whitney Museum of American Art

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

Academic literature on the topic 'Whitney Museum of American Art'

Author: Grafiati
Published: 4 June 2021
Last updated: 31 July 2024

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Journal articles on the topic "Whitney Museum of American Art"

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González Fraile, Eduardo Miguel. "WHITNEY MUSEUM OF AMERICAN ART (MET BREUER)." Proyecto, Progreso, Arquitectura 23 (November 19, 2020): 28–45. http://dx.doi.org/10.12795/ppa.2020.i23.02.

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El museo de arte Whitney de Breuer se ubica en la isla de Manhattan, en Nueva York, próximo a varios museos muy importantes: al Museo Americano de Historia Natural, al Museo Metropolitano de Arte y al Museo Guggenheim, la obra más conocida de Franz Lloyd Wright. En la génesis del proyecto influirán las características del lugar, la geometría de la parcelación, las metáforas concomitantes con la fachada del anterior Museo Whitney, la emulación de la aérea volatilidad del Museo Guggenheim y la bien engrasada disposición del programa funcional, condensadas en una sección principal que se hunde bajo la línea de tierra y busca allí las raíces del diseño. El plano del terreno original separa arquitecturas distintas respecto al programa, la estructura y la morfología: transparencia de la parte inferior de la fachada frente a la opacidad y masividad de los volúmenes que avanzan hacia el exterior. El patio mediterráneo subyace en el esquema de la disposición de la planta y el complejo patio inglés aporta la sección generadora y da forma literal a las fachadas, contenidas por una envolvente abstracta y poseedoras de un contenido encriptado.
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TALLACK, DOUGLAS. "Seeing out the Century." Journal of American Studies 35, no. 1 (2001): 127–31. http://dx.doi.org/10.1017/s0021875801006491.

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Barbara Haskell, The American Century: Art and Culture 1900–1950 (New York: Whitney Museum of American Art, in association with W. W. Norton, 1999, $60 cloth). Pp. 408. ISBN 0 393 04723 7, 0 87427 122 3.Lisa Phillips, The American Century: Art and Culture 1900–1950 (New York: Whitney Museum of American Art, in association with W. W. Norton, 1999, $60 cloth). Pp. 398. ISBN 0 393 04815 2, 0 87427 123 1.
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Hulsey, John. "On Institutional Democratization and Reflexive Resistance: A Conversation with Andrea Fraser." October, no. 178 (2021): 81–99. http://dx.doi.org/10.1162/octo_a_00440.

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Abstract In this conversation, Andrea Fraser discusses her recent book, 2016 in Money, Museums, and Politics, which considers the imbricated relationships between plutocracy, political power, and cultural institutions in the United States. She discusses the 2016 election of Donald J. Trump and the rise of right-wing populism; the history of private philanthropy and museum patronage; recent activist campaigns demanding the resignation of museum trustees, such as Warren B. Kanders at the Whitney Museum of American Art; and the concept of “reflexive resistance.”
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Cummings, Paul. "20th Century Drawings from the Whitney Museum of American Art." Leonardo 22, no. 2 (1989): 274. http://dx.doi.org/10.2307/1575256.

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Bishop, Claire. "The Perils and Possibilities of Dance in the Museum: Tate, MoMA, and Whitney." Dance Research Journal 46, no. 3 (2014): 63–76. http://dx.doi.org/10.1017/s0149767714000497.

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This article argues that the art world's current fascination for dance follows on from a previous high point of interaction in the late 1960s and 1970s, and before that, a moment in the late 1930s and early 1940s. It traces these first, second, and third waves of dance in the museum at three institutions: the Tate in London, and the Museum of Modern Art and the Whitney Museum of American Art in New York. Three institutional histories are sketched, drawing out the differences between their approaches. The conclusion presents the four most pressing possibilities/problems of presenting dance in the museum: historical framing, spectatorship, altering the work's meaning, and financial support.
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Duncan, Sam. "FINE ARTS MUSEUMS OF SAN FRANCISCO.NATIONAL GALLERY OF ART, WASHINGTON, DC.THE WHITNEY MUSEUM OF AMERICAN ART." Art Documentation: Journal of the Art Libraries Society of North America 17, no. 1 (1998): 51–52. http://dx.doi.org/10.1086/adx.17.1.27948941.

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Jasińska, Anna, and Artur Jasiński. "NEW BUILDING OF THE WHITNEY MUSEUM OF AMERICAN ART IN NEW YORK." Muzealnictwo 59 (March 30, 2018): 19–27. http://dx.doi.org/10.5604/01.3001.0011.7190.

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On the 1st of. May 2015, in Meatpacking District of West Manhattan, the new building of the Whitney Museum of American Art was opened. It is the fourth location of this well-known New York museum, which was established in 1930, by Gertrude Vanderbilt Whitney. The Whitney possesses the world’s largest collection of American art and focuses on exhibiting living artists. Spectacular, industrial in character architecture signed by Renzo Piano has met with mixed reactions. The building is functional and well connected with the post-industrial site, however, not appreciated by everyone. Similar situation happened forty years ago, when Centre of Georges Pompidou, designed by Renzo Piano and Richard Rogers, pioneers of high-tech architecture, was widely criticised. Only popularity, high attendance and commercial success of famous Paris facility changed that negative opinion. Is the New Whitney following the same path – time will tell.
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Oliveira, Luiz Sérgio de. "Arte e consumo." POIÉSIS 19, no. 32 (2019): 165. http://dx.doi.org/10.22409/poiesis.1932.165-174.

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Anderson, Maxwell L. "Notes on the Mission of the Whitney Museum of American Art." American Art 13, no. 2 (1999): 84–86. http://dx.doi.org/10.1086/424343.

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Ogrodnik, Benjamin. "Dreamlands: Immersive Cinema and Art, 1905 – 2016: Whitney Museum of American Art, October 26, 2016 – February 5, 2017." Contemporaneity: Historical Presence in Visual Culture 6 (November 30, 2017): 109–12. http://dx.doi.org/10.5195/contemp.2017.231.

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Eschibition Review:Exhibition catalog: Chrissie Iles, Dreamlands: Immersive Cinema and Art, 1905–2016. New Haven/London: Yale University Press, 2016. 256pp.; 300 color and 100 b/w ills. Hardcover $65.00 (9780300221879) Exhibition schedule: Whitney Museum of American Art, New York, NY, October 28, 2016–February 5, 2017
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Dissertations / Theses on the topic "Whitney Museum of American Art"

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

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The Whitney Museum of American Art founded in 1931 by Gertrude Vanderbilt Whitney offers insight into the role of women patrons in the American art world. Furthermore, the Museumâs contemporary identification with the Museum of Modern Art obscures its unique history and different founding principles. This paper explores the foundation of the Whitney Museum in roughly the first two decades of its existence from 1931 to 1953 to examine how Whitney and the Museumâs first director, Juliana Force, negotiated gender and class ideology and the Modernist discourse to found the first museum solely devoted to American art. Gertrude Vanderbilt Whitney and Juliana Force operated the Whitney Museum based on three main principles: the primacy of the individual artist, the promotion of American art, and the importance of an informal museum space. The Whitney Museum of American Art, staked Whitney and Forceâs claim in a male dominated art world. The Museum was a complex space, representing a modern feminine viewpoint that embraced inclusivity and elitism, masculine and feminine, Modernism and conservatism. Whitney and Force wanted the Whitney Museum to be less formal and more inclusive, so they designed it like a middle class home with intimate galleries, furniture, carpets, and curtains. However, the decor hindered the Whitney Museumâs influence on the modern art canon because critics perceived the Museum as feminine and personal, Modernismâs rejection of the feminine and realism that ultimately led to the exclusion of the Whitney Museumâs collection of realist art from the modern art historical canon.
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Einreinhofer, Nancy. "The paradox of the American art museum." Thesis, University of Leicester, 1994. http://hdl.handle.net/2381/35302.

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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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Galliher, Allison. "Early American Silver at the Currier Museum of Art." Thesis, Harvard University, 2015. http://nrs.harvard.edu/urn-3:HUL.InstRepos:24078350.

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This project-based thesis has added five stops and an introduction to American Silver to the Currier Museum of Art’s mobile tour. The Museum has an extensive silver collection but has very little information readily available for its visitors in the galleries. This thesis provides those visitors with information about the Currier’s American silver collection. It uses the Currier’s current mobile application as a template while incorporating museum education teaching methods to create an engaging tour. The thesis begins with a history of silver in America from Colonial times to the start of the nineteenth century. This time period is best represented in the Currier’s American silver collection. The thesis discusses the role and development of the silversmith as a craftsman as well as the social history of silver in America during this period. It also discusses the use and advantages of using mobile technology in the museum setting. Many visitors already own mobile devices. Museums can take advantage of visitors’ familiarity with these tools by creating programs specifically for this technology. The tour itself is based on teaching methods outlined by the museum educator George E. Hein in his book: Learning in the Museum (1998). These methods are used to build upon the standards set by the Currier Museum of Art’s “Audience Engagement and Interpretation Philosophy” in order to make the tour more engaging for visitors. Articles by museum technology professionals Robert Stein and Nancy Proctor were also consulted when researching the best practices for mobile tours. Their work lays out many key elements for successful mobile applications including the use of media assets, stops where these assets are experienced and the connections used to move between the stops. The accessibility benefits of mobile technology for visitors, especially the use of audio recordings for visitors with disabilities, are also discussed and were taken into account when creating the tour.
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Ferrell, Susanna S. "Black and White: The Exhibiting of Chinese Contemporary Ink Art in European and North American Museums." Scholarship @ Claremont, 2015. http://scholarship.claremont.edu/scripps_theses/688.

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Contemporary Chinese ink art is often seen as a part of an ongoing history in the Western art world, as opposed to a part of the contemporary. This thesis addresses the history of Chinese ink, the Westernization of the Chinese art world, and the major exhibitions of Chinese contemporary ink artwork that have been held in the Western world.
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Howe, Laura Paulsen. "Navajo Baskets and the American Indian Voice: Searching for the Contemporary Native American in the Trading Post, the Natural History Museum, and the Fine Art Museum." Diss., CLICK HERE for online access, 2007. http://contentdm.lib.byu.edu/ETD/image/etd2015.pdf.

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

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

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

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

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Books on the topic "Whitney Museum of American Art"

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Stoller, Ezra. Whitney Museum of American Art. Princeton Architectural Press, 2000.

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Whitney Museum of American Art. Building the Whitney Museum of American Art. Whitney Museum of American Art, 2015.

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Lincoln, Anderson Maxwell, ed. American visionaries: Selections from the Whitney Museum of American Art. Whitney Museum of American Art, 2001.

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Art, Whitney Museum of American. Whitney Museum of American Art at Altria: 25 years. Whitney Museum of American Art, 2008.

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Whitney Museum of American Art. Whitney Museum of American Art at Altria: 25 years. Whitney Museum of American Art, 2008.

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Art, Whitney Museum of American. New York renaissance dal Whitney Museum of American Art. Electa, 2002.

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Chrissie, Iles, Momin Shamim 1973-, and Singer Debra, eds. Whitney biennial 2004. Whitney Museum of American Art, 2004.

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Feinstein, Roni. Enduring creativity: Whitney Museum of American Art, Fairfield County. Whitney Museum of American Art, 1988.

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Chrissie, Iles, Momin Shamim 1973-, Singer Debra, and Whitney Museum of American Art., eds. Whitney Biennial 2004. Steidl, 2004.

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C, Lee Janie, and Whitney Museum of American Art., eds. Brice Marden drawings: The Whitney Museum of American Art collection. The Museum, 1998.

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Book chapters on the topic "Whitney Museum of American Art"

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Breuer, Marcel. "Whitney Museum of American Art (Currently Frick Madison), 1964–1966." In Great Windows in Modern Architecture. Routledge, 2024. http://dx.doi.org/10.4324/9780429341977-18.

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

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

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

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

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

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

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This chapter is devoted to the creation of private museums of medieval icons and ‘primitives’ in Russia and Western Europe at the start of the twentieth century. One of these museums belonged to a famous Russian collector and artist, Ilya Ostroukhov (1858–1929). Ostroukhov shared a similar appreciation for ‘primitives on a gold background’ with the American art historian, art dealer and collector Bernard Berenson (1865–1959), a taste that Berenson had started to cultivate by the end of the nineteenth century. Taking as examples Russian, Italian and American collections of ancient icons, this chapter demonstrates common tendencies in the discovery, study and collecting of medieval icons and Italian ‘primitives’, as well as new trends in the European art market.
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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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Tarigo-Bonizzoni, Liliana. "Study of the Open-Air Museum of Ibero-American Art of San Gregorio de Polanco, Uruguay." In Cultural and Creative Mural Spaces. Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-53106-5_7.

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

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Conference papers on the topic "Whitney Museum of American Art"

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Kaprielian, Gabriel. "Lima 2100: Collective Resilience Through Adaptive Urbanism." In 110th ACSA Annual Meeting Paper Proceedings. ACSA Press, 2022. http://dx.doi.org/10.35483/acsa.am.110.80.

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

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Abstract Reclaiming public space at Oakland's Arroyo Public Park, a nexus of crime and illegal activities. A coalition of neighbors invited local performing artists to help animate city agencies, inspire repair of the amphitheater and create daytime performances in the summer, mostly by children. It gave voice to and represented many people. Reclaiming space for community was the impetus, structured curriculum activates were means. Safe public space and learning were two inseparable goals. Conciliation learning through specific responses, example: Crisis Of Perseverance acute among children and youth lacking role models or witnessing success through perseverance. Artists of all types are the embodiment of achievable mastery and completion. Taking place on redefined historic 1940 passenger-cargo/military ship for public peacetime use and as a cultural space. Mixt generations after and outside school programs: Children and Architecture project’s intention was to integrate children’s internal wisdom of playing with learning about the world of architecture (environment and co-habitability) as starting point was an intergenerational setting: 5-12 olds + parents and volunteers, twice weekly from 1989 to 1995 at the Museum of Children’s Art in Oakland, California. Concluding Examples Public celebration and engagements as inadvertent conciliations if prepared for before hand. Biographical sketch: Slobodan Dan Paich native of former Yugoslavia was born 1945. He lived in England from 1967 to 1985. Slobodan taught the History of Art and Ideas, Design and Art Studio from 1969 through 1985 at various institutions in London, including North-East London Polytechnic, Thames Polytechnic and Richmond College-American University in London. Between 1986 to1992, he taught at the University of California at Berkeley. With a number of scholars, artists, and community leaders, he founded the Artship Foundation in 1992, and has been its Executive Director ever since. He also served as a board member of the Society of Founders of the International Peace University in Berlin/Vienna from 1996 to 2002, where he lectured annually and chaired its Committee on Arts and Culture. community@artship.org
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Cmeciu, Camelia, Doina Cmeciu, and Monica Patrut. "CSR 2.0 - FRAMING ONLINE LEARNING ENVIRONMENTS IN CAMPAIGNS ON NON-FORMAL EDUCATION." In eLSE 2013. Carol I National Defence University Publishing House, 2013. http://dx.doi.org/10.12753/2066-026x-13-200.

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Education is one of the most important signs of social progress and throughout the years a twofold evolution has taken place: on the one hand, the providers of knowledge have evolved from schools and universities to the business community and on the other hand, the traditional receivers of knowledge have changed into creators of knowledge. Business organizations have become aware that the corporate involvement in the community by implementing social campaigns on education may trigger a higher degree of visibility and consolidate the stakeholder relationship management. Thus the well-known corporate social responsibility (CSR) syntagm, ?doing well by doing good? (Rawlins, 2005) has turned into a pervasive element of the organizational discourse. As the report on CSR of the European Commission and the Directorate-General for Employment, Social Affairs and Inclusion (2011) highlighted, CSR should not be ?an isolated practice or teaching subject but a cross-cutting approach embedded in the wider concept of sustainable development?. The economic, legal, ethical, and philanthropic dimensions beyond every CSR activity should be integrated within the framework of campaigns which ?are often driven by reform efforts, actions that seek to make life or society or both better, as defined by emerging social values? (Dozier et. al, 2001). The final outcome of improving people?s life and/ or society involves stirring one?s awareness towards an issue. Investing into people?s education has become a pervasive issue for many organizations nowadays and non-formal education is a type of acquiring knowledge which the business community seems to prefer because it lies on social constructivism whose purposes are self-knowledge, development of identities, and belief that stakeholders can make a difference in the world (Oldfather et al., 1999). Within the age of Web 2.0 the traditional non-formal learning settings (museums, zoos, botanical gardens, planetariums and so on) have changed into online environments where features such as engaging, participating, connecting, collaborating, and sharing (Lee, Williams, Kim, 2012) prevail. Running a CSR 2.0 campaign on non-formal education implies that business organizations create these virtual environments where social media applications are used as a bidirectional information delivery system where stakeholders play an active role in the collaborative knowledge construction. As methodology, we will use the framing theory in order to provide the content analysis of the CSR 2.0 campaigns on non-formal education which were awarded at the Romanian PR Award in 2009, 2010 and 2011. Frames rely on the selection of some aspects of a perceived reality which are made more salient in a communicating (e-)text. We will provide a threefold analysis: a) a general framework of the Romanian CSR 2.0 campaigns on non-formal education taking into account R. Entman?s four frame types: problem definition, causal interpretation, moral evaluation and treatment recommendation; b) a structural analysis of non-formal education virtual environments as a hybrid genre formed of multimodal resources; c) a comparative analysis of the online environments framed as treatment recommendations which were used in the awarded Romanian CSR 2.0 campaigns on education. The research questions will focus on four aspects: the salience of business organizations as providers of non-formal education; the dominance of the awarded thematic online environments; the types of social actions framed in the different thematic e-learning environments; the types of digital identities virtually assigned to stakeholders. References Dozier, D.M., Grunig, L.A., & Grunig, J. E. (2001). Public relations as communication campaign. In R. E. Rice, & Ch. K. Atkin (Eds.), Public communication campaigns. 3rd edition (pp. 231-248). Thousand Oaks, London, New Delhi: Sage Publications. Entman, R. M. (1993). Framing: Toward clarification of a fractured paradigm. Journal of Communication, 43(4), 51-58. Lee, K., Williams, M.K. & Kim, K. (2012). Learning through social technologies: facilitating learning experiences with Web 2.0 social media. In P. Resta (Ed.), Proceedings of Society for Information Technology & Teacher Education International Conference 2012 (pp. 560-565). Oldfather, P., West, J., White, J., & Wilmarth, J. (1999). Learning through children?s eyes. Social constructivism and the desire to learn. Washington D.C.: American Psychological Association. Rawlins, B. L. (2005). Corporate Social Responsibility. In R.L. Heath (Ed.), Encyclopedia of Public Relations (pp. 210-214). Thousand Oaks, London, New Delphi: Sage Publications. 210-214. CSR
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Franco, Jorge. "Um humor descolonizado de criação de um espaço digital tridimensional baseado na integração do conhecimento transdisciplinar." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.66.g55.

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

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Esta obra de arte experimental ha intentado producir un estado de ánimo descolonizado de investigación y creación de un espacio digital de Realidad Virtual (VR) tridimensional (3D), basado en la integración del conocimiento transdisciplinario. Ha aplicado el concepto de Transformación Digital (DX) (O’Brien y Reinitz, 2021) dentro de los procesos de práctica computacional educativa (Tissenbaum et al.2019) para el empoderamiento de las personas (Freire, 2016), mediante el diseño y la realización de un espacio 3DVR, utilizando técnicas de programación de gráficos por computadora en 3D para desarrollar la comunicación visual (Cunningham, 2007), con el apoyo del empleo de tecnologías basadas en Web3D (Web3d Consortium, 2021) como Recursos Educativos Abiertos (REA) (UNESCO, 2019). Las tecnologías Web3D accesibles y de bajo costo han permitido practicar, analizar y extender una investigación a largo plazo en los niveles de educación K-12 referente al intercambio de conocimientos, con el objetivo de inspirar la participación de las personas en las prácticas informáticas que abarcan las habilidades de codificación y alfabetización visual (Franco y Lopes, 2012; Franco , 2020), incluyendo el arte y sus oportunidades de aprendizaje y expresión en la era digital (Wand, 2007). Con el apoyo de las tecnologías Web3D y las experiencias de aprendizaje y enseñanza a lo largo de la vida, a través de la participación en un curso llamado “Proyecto Espetáculo em Realidade Aumentada”, en Fabrica de Cultura Diadema, el diseño e implementación continuos de esta obra de arte ha extendido nuestro proceso de investigación mediante la producción de un contenido mediante la interconexión del conocimiento conceptual relacionado con la obra de arte visual de la mezcla de culturas afrobrasileña, amerindia y europea de Rubem Valentim (Mendes Wood DM, 2021) y la representación simbólica de la cultura afroamericana de Jacob Lawrence (Smithsonian American Art Museum, 2021). Ambos artistas tienen una trayectoria de aprendizaje permanente y utilizan la geometría y las formas coloridas en su composición artística. Sus obras de arte han expresado conocimientos relacionados con las culturas afrobrasileña y afroamericana, contribuyendo a reducir la brecha en la invisibilidad en la educación oficial (Fernandes, 2016) y en la enseñanza de las contribuciones de la cultura negra al mundo de las artes, las ciencias y la tecnología. La interacción con la trayectoria y la obra de estos artistas ha llevado a investigar, aplicar y compartir conocimientos relacionados con África antigua, teniendo como referencia el uso de la civilización egipcia de las matemáticas, la geometría en cierta medida (geometría sagrada, Calter, 1998), y el conocimiento de formas y colores para construcción y decoración de pirámides y otros monumentos. Tal confluencia de conocimiento transdisciplinario ha hecho parte de la investigación y formación de bibliotecas y técnicas de gráficos por computadora, lo que permite, a través de prácticas educativas de programación de computadoras en 3D, integrar en esta realidad virtual 3D (VR) - (3DVR) las características de las obras de arte de la escultura digital, la instalación y el net art (Wands , 2007) de forma independiente y/o mediante una interfaz basada en blog. Por lo tanto, esta confluencia de conocimientos ha provocado, como se investigó y materializó a través del uso de gráficos por computadora en 3D en T’ÒSÚN, (2014), la construcción y visualización de la representación simbólica de los adornos e instrumentos sagrados de los Seres Encantados afrobrasileños, europeos y amerindios, incluida la posibilidad de mejorar las habilidades cognitivas y técnicas de las personas.
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Reports on the topic "Whitney Museum 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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Moreno Mejía, Luis Alberto, and Iván Duque Márquez. Contemporary Uruguayan Artists: An Uruguayan Presence in the About Change Exhibition. Inter-American Development Bank, 2012. http://dx.doi.org/10.18235/0006209.

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Contemporary Uruguayan Artists is part of About Change: Art from Latin America and the Caribbean, a project of the World Bank Art Program in cooperation with the Cultural Center of the Inter-American Development Bank and AMA | Art Museum of the Americas at the Organization of American States. The initiative comprises a series of exhibitions of art from Latin America and the Caribbean being offered in various venues in Washington during 2011-12. The exhibition is presented In honor of Uruguay and the City of Montevideo, site of the 53rd Annual Meeting of the Board of Governors of the IDB. The works selected for the exhibition offer a panorama of contemporary Uruguayan creativity. These pieces revisit history, explore memory, examine changes that have transformed culture and the environment, and rethink traditions. It includes painting, print, sculpture, mixed media, and photography, by 13 artists: Santiago Aldabalde, Ana Campanella, Muriel Cardoso, Gerardo Carella, Federico Meneses, Ernesto Rizzo, Jacqueline Lacasa, Gabriel Lema, Daniel Machado, Cecilia Mattos, Diego Velazco, Santiago Velazco, and Diego Villalba.
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Martin, Kathi, Nick Jushchyshyn, and Claire King. James Galanos, Wool Evening Suit. Fall 1984. Drexel Digital Museum, 2018. http://dx.doi.org/10.17918/6gzv-pb45.

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The URL links to a website page in the Drexel Digital Museum (DDM) fashion image archive containing a 3D interactive panorama of an evening suit by American fashion designer James Galanos with related text. This evening suit is from Galanos Fall 1984 collection. The skirt and bodice of the jacket are black and white plaid wool. The jacket sleeves are black mink with leather inserts that contrast the sheen of the leather against the luster of the mink and reduce some of the bulk of the sleeve. The suit is part of The James G. Galanos Archive at Drexel University gifted to Drexel University in 2016. The panorama is an HTML5 formatted version of an ultra-high resolution ObjectVR created from stitched tiles captured with GigaPan technology. It is representative the ongoing research of the DDM, an international, interdisciplinary group of researchers focused on production, conservation and dissemination of new media for exhibition of historic fashion.
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Latin American Artists in Washington Collections. Inter-American Development Bank, 1994. http://dx.doi.org/10.18235/0006223.

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

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

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

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An exhibition exploring the development of the City of Medellín, Colombia, and the connections that may exist between art and development. Medellín is the city selected by the IDB for the 2009 Annual Meeting of IDB Governors in March of this year. The exhibit is one of the events celebrating the 50th Anniversary of the Inter-American Development Bank and was organized in close collaboration with the Antioquia Museum, Casa Museo Pedro Nel Gómez, Biblioteca Pública Piloto, and Embassy of Colombia in Washington, DC.
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Highlights from the Collection of the Art Museum of the Americas of the Organization of American States (OAS): Outstanding Works by Artists from the Spanish, English, French, and Dutch Speaking Caribbean. Inter-American Development Bank, 2007. http://dx.doi.org/10.18235/0006408.

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The Art Museum of the Americas is a unique and singular asset of the Organization of American States. The museum, inaugurated in 1976, houses the most comprehensive twentieth-century art collection from Latin America and the Caribbean on public display in Washington, DC. The OAS collection, which stands for so many nationalities, traditions, and visual languages has come to embody the goals of integration and mutual understanding long pursued by our inter-American system. The IDB, through its Cultural Center, has been a long-time supporter of the Art Museum of the Americas, and that relationship is reflected in exhibitions like this
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Contemporary Jamaican Artists: A Jamaican Presence in the ABOUT CHANGE Exhibition. Inter-American Development Bank, 2011. http://dx.doi.org/10.18235/0005963.

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Contemporary Jamaican Artists is part of ABOUT CHANGE, a project implemented by the World Bank Art Program in cooperation with the Inter-American Development Bank Cultural Center, and the Art Museum of the Americas of the Organization of American States (OAS). This initiative comprises a series of exhibitions representing Latin America and the Caribbean that are being held in various venues in Washington during 2011.
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50 Years, 50 Works: The Art of Latin America and the Caribbean in the 20th Century. Information Bulletin No. 108. Inter-American Development Bank, 2009. http://dx.doi.org/10.18235/0008282.

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Selections from the exhibit presented at the Museo de Antioquia, in Medellín, Colombia (from March 16 to May 17, 2009), on occasion of the 50th Anniversary of the Inter-American Development Bank, and the celebration of the 50th Annual Meeting of Governors of the IDB. The Cultural Center of the Inter-American Development Bank (IDB), has scheduled this same exhibition gathering selected artworks from the art collections of the Inter-American Development Bank (IDB) and the Art Museum of the Americas of the Organization of American States (OAS) - both in Washington, D.C. The exhibit represents, to a great extent, the development of the arts in the Region throughout the 20th century.
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