Bibliografías temáticas / Museum of Early American Folk Arts

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Literatura académica sobre el tema "Museum of Early American Folk Arts"

Autor: Grafiati
Publicado: 28 de julio de 2024
Última modificación: 31 de julio de 2025

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Artículos de revistas sobre el tema "Museum of Early American Folk Arts"

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Tsiotinou, Angeliki. "A Repository for Working-Class Memories and Hybrid Hellenisms: The Hellenic Cultural Museum in Salt Lake City, Utah." Journal of Modern Greek Studies 43, no. 1 (2025): 69–98. https://doi.org/10.1353/mgs.2025.a957855.

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Abstract: Representations of the Greek immigrant experience in the Hellenic Cultural Museum (HCM), a vernacular Greek American museum in Salt Lake City, Utah, commemorate the everyday life, labor struggles, and folk culture of early twentieth-century working-class Greek immigrants. As a repository of working-class memories, the museum challenges a set of dominant US immigration narratives around class and race, including the white ethnic bootstraps success model. At the same time, the museum's exhibition draws from popular narratives of Hellenism in the United States and Greece to distinguish
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Blackstone, Sarah. "The Theatre Museum of Repertoire Americana." Theatre Survey 41, no. 1 (2000): 89–93. http://dx.doi.org/10.1017/s0040557400004403.

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Sarah Blackstone is Chair of the Department of Theatre at Southern Illinois University and serves on the Advisory Board for the Theatre Museum of Repertoire Americana. Neil and Caroline Schaffner started collecting memorabilia from the repertoire theater movement during the 1950s. They dreamed of one day establishing a museum that would display their collection and other items connected with this wide-spread popular entertainment form. In 1973, with the help of the Midwest Old Settlers and Threshers Association, and endless hours of effort, their dream was realized in the small town of Mt. Ple
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Bailey, Ebony L. "(Re)Making the Folk: Black Representation and the Folk in Early American Folklore Studies." Journal of American Folklore 134, no. 534 (2021): 385–417. http://dx.doi.org/10.5406/jamerfolk.134.534.0385.

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Abstract This article details the origins of American folklore studies by examining how “the folk” were repeatedly equated to Black Americans and how folklore was used as a measure of African Americans’ post-emancipation “progress.” Attending to discussions of Black representation in the late nineteenth century, I explore how (1) African Americans were positioned as the folk and (2) how African Americans (re)positioned themselves in discourses of “Blackness” and “folkness.”
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Kirwin, Liza. "Plain Painters: Making Sense of American Folk Art. John Michael VlachThe Spirit of Folk Art: The Girard Collection at the Museum of International Folk Art. Henry Glassie." Archives of American Art Journal 31, no. 1 (1991): 31–34. http://dx.doi.org/10.1086/aaa.31.1.1557701.

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Semenova, Valentina I., and Nadezhda V. Bagapova. "Western European samples in the artistical cast-iron of Kusa." Vestnik of Saint Petersburg State University of Culture, no. 3 (60) (2024): 108–12. http://dx.doi.org/10.30725/2619-0303-2024-3-108-112.

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Attribution and establishment of authorship of artistical cast-iron is one of the important tasks in Russian museums that store valuable collections of this kind. The work carried out the attribution of six sculptures from the Yekaterinburg Museum of Fine Arts, the State Historical Museum of the Southern Urals, the State Historical Museum-Reserve «Gorki Leninskie», the Zlatoust City Museum of Local Lore, the All-Russian Museum of Decorative and Folk Arts and the private museum of V. Y. Orlova in Yaroslavl. The authors were able to establish the authorship and original name of the sculptural pr
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Suslova, Svetlana V. "Tatar costume in museum collections of Russia." Historical Ethnology 8, no. 2 (2023): 202–21. http://dx.doi.org/10.22378/he.2023-8-2.202-221.

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The article is an overview of the collections on the folk costume of the Tatars, stored in the funds of numerous museums in Russia and Tatarstan. It contains information about the traditional types of upper and lower clothing, shoes and jewelry of the Volga-Ural Tatars (Kazan, Kasimov, Mishars, and Kryashens), as well as similar information on the costume of Astrakhan and Siberian Tatars living on the territory of the Russian Federation. Particular attention is paid to women's costume which characterizes folk arts and crafts to the greatest extent. A significant part of the collections is well
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Rosa, John. "Small Numbers/Big City: Innovative Presentations of Pacific Islander Art and Culture in Phoenix, Arizona." AAPI Nexus Journal: Policy, Practice, and Community 5, no. 1 (2007): 59–78. http://dx.doi.org/10.36650/nexus5.1_59-78_rosa.

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This resource paper provides an overview of how the small but growing Pacific Islander and Asian American community in Phoenix has sustained, developed, and preserved its culture and art in the absence of a permanent AAPI art or cultural museum. This article gives examples of such alternative formats and includes details on dance, music, and other folk cultural practices. Metropolitan statistical areas with AAPI populations comparable to Phoenix include Minneapolis, Atlanta, and Dallas. Phoenix community groups use small, temporary displays at annual AAPI cultural festivals. One approach is a
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Marshall, Jennifer. "Common Goods: American Folk Crafts as Sculpture at the Museum of Modern Art, New York City, 1932—33." Prospects 27 (October 2002): 447–65. http://dx.doi.org/10.1017/s0361233300001289.

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During New York City's newly opened Museum of Modern Art's (MoMA's) fourth exhibition season of 1932–33, while director and intellectual leader Alfred H. Barr, Jr. was on sabbatical leave in Europe, interim director Holger Cahill mounted a show of 18th- and 19th-century American arts and crafts. Offered for sale in New England as antiques at the time of the show, the items on display in Cahill's American Folk Art: The Art of the Common Man in America 1750–1900 obscured the divisions between the avant-garde and the traditional, between high art and the everyday object. In an exhibit of items no
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Gyul, Elmira, and Tereza Hejzlarová. "Amulet as Jewel, Jewel as Amulet Uzbek, Tajik, and Karakalpak Amulet Cases Using the Example of Museum Collections." Annals of the Náprstek Museum 43, no. 1 (2022): 27–51. http://dx.doi.org/10.37520/anpm.2022.003.

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The study presents amulet cases of the Uzbeks, Tajiks, and Karakalpaks from the late 19th century until the early 20th century taking example from the collections of the State Museum of Arts of Uzbekistan, Samarkand State Museum-Reserve, State Museum of Applied Art and History of Crafting of the Republic of Uzbekistan and National Museum – Náprstek Museum of Asian, African and American Cultures, Czech Republic. In particular, the types and forms of amulet cases, material, processing technique, ornament, and the resulting ethnic and local specifics are analysed. The study aims to differentiate
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Cuddon, Benedict. "A Field Pioneered by Amateurs: The Collecting and Display of Islamic Art in Early Twentieth-Century Boston." Muqarnas Online 30, no. 1 (2014): 13–33. http://dx.doi.org/10.1163/22118993-0301p0003.

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This article examines the formation and display of collections of Islamic art in Boston-area museums over the first half of the twentieth century. It focuses on the holdings of three main institutions: the Museum of Fine Arts, the Fogg Art Museum, and the Isabella Stewart Gardner Museum. It explores some of the key personalities involved in the formation of collections, such as Denman Waldo Ross, Hervey Wetzel, Joseph McMullan, and Stuart Cary Welch. It also looks at early curators of the collections, in this era a largely amateur pursuit. Through these considerations it traces changing approa
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Tesis sobre el tema "Museum of Early American Folk Arts"

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Stamper, Randall Lawrence. "Gonna Spread the News all Around: Early, African-American Popular Song as Spoken Newspaper." VCU Scholars Compass, 2006. http://hdl.handle.net/10156/2136.

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Libros sobre el tema "Museum of Early American Folk Arts"

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Museum of Fine Arts, Boston., ed. American folk: Folk art from the collection of the Museum of Fine Arts, Boston. MFA Publications, 2001.

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Krill, Rosemary Troy. Early American decorative arts, 1620-1860: A handbook for interpreters. AltaMira Press, 2010.

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Kauffman, Henry J. Early American copper, tin & brass: Hand-crafted metalware from colonial times. Astragal Press, 1995.

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R, Kylloe Ralph, and Scottish Rite Masonic Museum of Our National Heritage., eds. Rustic furniture: [an exhibition organized in cooperation with Ralph Kylloe] July, 23, 1989-January 14, 1990, Museum of Our National Heritage. Scottish Rite Masonic Museum and Library, 1989.

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Jane, Katcher, and Fenimore Art Museum (Cooperstown, N.Y.), eds. The instruction of young ladies: Arts from private girls' schools and academies in early America. Fenimore Art Museum, 2016.

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D, Zimmerman Philip, ed. Seeing things differently. Fort Church Publishers, 1992.

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Museum, St Louis Art, ed. Useful beauty: Early American decorative arts from St. Louis collections : the Saint Louis Art Museum, June 19-August 15, 1999. The Museum, 1999.

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Art, Elvehjem Museum of, ed. Makers and users: American decorative arts, 1630-1820, from the Chipstone collection. Elvehjem Museum of Art, 1999.

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9

Feininger, Lyonel. Lyonel Feininger: The early years, 1889-1919 : watercolours and drawings. Marlborough Fine Art (London) Ltd., 1987.

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Feininger, Lyonel. Lyonel Feininger: The early years : 1889-1919 : watercolours and drawings. Marlborough Fine Art, 1987.

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Capítulos de libros sobre el tema "Museum of Early American Folk Arts"

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Page, Joanna. "Introduction." In Decolonial Ecologies. Open Book Publishers, 2023. http://dx.doi.org/10.11647/obp.0339.08.

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The visual arts have played an integral role in the collection, identification, study, and exhibition of flora and fauna since the earliest times. The introduction traces ways in which art has participated in the construction of knowledge about the New World in particular, drawing on relevant recent scholarship by Daniela Bleichmar, Mauricio Nieto Olarte, and Juan Pimentel, among others. It focuses on how animal and plant life in Latin America were documented by chroniclers of the early colonial period, in the great scientific expeditions of the Enlightenment, and in museum exhibition practice
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Lindgren, James M. "“Reminders of the Dignified Life of Our Forefathers”." In Preserving Historic New England. Oxford University PressNew York, NY, 1995. http://dx.doi.org/10.1093/oso/9780195093636.003.0009.

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Abstract “Authenticity” and “continuity” were words frequently mentioned by preservationists not simply to define the desired qualities of historic sites but implicitly to show their dissatisfaction with modernity. As a result, Appleton and his colleagues wanted to develop museums that would il lustrate the early lives of Yankees and show their relevance to modern New England. While SPNEA principally focused on preserving threatened buildings, it also worked to recreate the earlier environment by establishing an arts-and-crafts museum, developing period rooms, and building a folk park such as
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Balug, Katarzyna. "Institutional Orbits and the Inflatable Form in the Space Age." In NASA and the American South. University Press of Florida, 2024. http://dx.doi.org/10.5744/florida/9781683404019.003.0016.

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Preoccupation with breathable air and the aesthetics of space travel made their way into art and architecture in the 1960s. The result was a sudden and robust output of inflatable structures, from kinetic air-supported sculptures to artistic balloon flights and responsive, creaturely architectural environments. This chapter examines Houston’s contribution to inflatable cultural production from the late 1960s to the early ‘70s through the Contemporary Arts Museum Houston. First, the chapter elaborates the unique institutional structure of CAMH as informed by the networked logic of the Apollo sp
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Rocksborough-Smith, Ian. "The Washington Park Relocation." In Black Public History in Chicago. University of Illinois Press, 2018. http://dx.doi.org/10.5622/illinois/9780252041662.003.0006.

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Chapter 5 of this book looks at how the DuSable Museum conducted its expansion and physical development in the Black Power era. The museum’s relocation to Washington Park, next to the University of Chicago, reimagined a historically African American social space and neighborhood in the city’s geography and can be considered alongside the highly diverse engagements of Black Power and black arts movement activists around the country with civic-level politics. The politics this expansion effort brought into play also demonstrate how museum work became a significant part of local movements for urb
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Smalls, Shanté Paradigm. "Wild Stylin’." In Hip Hop Heresies. NYU Press, 2022. http://dx.doi.org/10.18574/nyu/9781479808199.003.0002.

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This chapter positions Martin Wong (1946–1999) as a foundational influential figure in New York City’s early hip hop culture. As the founder of the Museum of American Graffiti (July 1989–October 1989), Wong established the first permanent (though short-lived) home for hip hop art and ephemera. Through an investigation of and engagement with Wong’s archives at the Downtown Collection (New York University), the Museum of the City of New York, and the PPOW Gallery, I frame Wong’s art and life as a fulcrum around which the burgeoning hip hop street art cultures and the downtown arts scene pivoted.
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Lena, Jennifer C. "The Museum of Primitive Art, 1940–1982." In Entitled. Princeton University Press, 2019. http://dx.doi.org/10.23943/princeton/9780691158914.003.0003.

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This chapter discusses the creation of the Museum of Primitive Art (MPA). The history of Michael C. Rockefeller's primitive art collection provides an ideal case study of the process of artistic legitimation. Through a detailed analysis of the complete organizational archive—including memos, publications, journals, and administrative paperwork—one can observe this process in detail. The small group of MPA administrators fought to promote artistic interpretations of the objects in the collection against the established view that they were anthropological curiosities. However, these objects were
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Brier, Bob. "Who Owns Tutankhamun?" In Tutankhamun and the Tomb that Changed the World. Oxford University PressNew York, 2022. http://dx.doi.org/10.1093/oso/9780197635056.003.0020.

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Abstract The chapter presents an overview of the history of antiquities leaving Egypt, both legally and illegally. In the early part of the nineteenth century almost anything could be taken out of Egypt, and this is when European museums such as the British Museum and the Louvre began building their impressive collections of Egyptian antiquities. In 1883, when the French were in control of the Antiquities Service, it was decreed that foreign excavation teams could keep a portion of the duplicates that they excavated. During this period of division of the finds, many American museums such as th
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Sheppard, W. Anthony. "Singing Sayonara." In Extreme Exoticism. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190072704.003.0007.

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Postwar Hollywood films offered the most sustained exposure American audiences have ever had to the Japanese performing arts. Following World War II, Hollywood created a new image of Japan, one that replaced the racism it had nourished during the war with depictions emphasizing the cultural refinements of the exotic Japanese. Music was central to this transformation. The primary example is the 1957 Sayonara. Multiple forms of “Japanese” music are heard in this film, creating a complex and contradictory musical portrait. Franz Waxman’s score employs Irving Berlin’s “Sayonara” and numerous folk
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Kramer, Hilton. "Fairfield Porter." In Invisible Giants. Oxford University PressNew York, NY, 2003. http://dx.doi.org/10.1093/oso/9780195168839.003.0040.

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Abstract Fai,field Porter’s was one of the most unusual careers in the American art of his time, for it was a career haunted by a sense of belatedness. The advantages he enjoyed in his early life-an elite education in the best schools, European travel, a family that supported his vocation, and a wide acquaintanceship with men of talent and accomplishment in many fields-had the paradoxical effect of postponing the development of his own artistic gifts. When he first emerged as a painter whose work commanded attention and criticism in the 19Sos, he was a generation older than most of the painter
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Lautz, Terry. "Jerome and Joan Cohen." In Americans in China. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780197512838.003.0007.

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Jerome and Joan Cohen were pioneers in the fields of Chinese law and contemporary Chinese art, respectively. Their encounters with law and art raised basic questions about human values and freedom of expression in the PRC. They lived in Beijing during a period of economic and cultural ferment in the early 1980s, in the aftermath of Mao’s destructive Cultural Revolution. Jerry Cohen, who was a professor at Harvard, practiced corporate law with a US law firm when the PRC’s legal system was being reconstructed. After returning to New York, he fostered legal educational exchange and advocated for
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Informes sobre el tema "Museum of Early American Folk Arts"

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Tradition and Entrepreneurship: Popular Arts and Crafts from Peru. Inter-American Development Bank, 2004. http://dx.doi.org/10.18235/0006434.

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An exhibition honoring Peru, and the city of Lima, host of the 45th Annual Meeting of the Board of Governors of the Inter-American Development Bank, presented folk objects and crafts various regions of Peru in which tradition has evolved within age-old artistic expressions. The exhibit also included objects that reflect recent innovations introduced by artisans and entrepreneurs with the idea of making such expressions economically sustainable. The exhibition was organized and curated by the IDB Cultural Center, with the participation of the Museum of the Central Bank of Peru.
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