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Littérature scientifique sur le sujet « Chicago Museum of Contempory Art »

Auteur : Grafiati

Publié le 25 juillet 2024

Mis à jour le 31 juillet 2025

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Articles de revues sur le sujet "Chicago Museum of Contempory Art"

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Stone, Lisa. "Playing House/Museum." Public Historian 37, no. 2 (2015): 27–41. http://dx.doi.org/10.1525/tph.2015.37.2.27.

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What happens when a historic house museum is owned and operated by an art school, much of the work is done by students, and it is used as a stage for contemporary practices and experimentation? The Roger Brown Study Collection, an instructional resource of the School of the Art Institute of Chicago (SAIC), has operated as an “artists’ museum” for the SAIC community and the public since 1997. Our project has been to rewrite the rules of playing house/museum, to allow the histories of a nineteenth-century building and a twentieth-century artist to perform fully in the twenty-first century.

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Message, Kylie, Eleanor Foster, Joanna Cobley, et al. "Book Review Essays and Reviews." Museum Worlds 7, no. 1 (2019): 292–317. http://dx.doi.org/10.3167/armw.2019.070117.

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Book Review EssaysMuseum Activism. Robert R. Janes and Richard Sandell, eds. New York: Routledge, 2019.New Conversations about Safeguarding the Future: A Review of Four Books. - A Future in Ruins: UNESCO, World Heritage, and the Dream of Peace. Lynn Meskell. New York: Oxford University Press, 2018. - Keeping Their Marbles: How the Treasures of the Past Ended Up in Museums—And Why They Should Stay There. Tiffany Jenkins. Oxford: Oxford University Press, 2016. - World Heritage and Sustainable Development: New Directions in World Heritage Management. Peter Bille Larsen and William Logan, eds. New

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Navvab, Mojtaba. "Daylighting System Design and Evaluation of the Museum of Contemporary Art in Chicago." Journal of the Illuminating Engineering Society 27, no. 2 (1998): 160–73. http://dx.doi.org/10.1080/00994480.1998.10748243.

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Gable, Eric. "In Search of a Lost Avant-Garde: An Anthropologist Investigates the Contemporary Art Museum By Matti Bunzl. Chicago: University of Chicago Press, 2015." Visual Anthropology Review 33, no. 1 (2017): 97–98. http://dx.doi.org/10.1111/var.12126.

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ORR, JOEY. "Radical View of Freedom: An Interview with Dread Scott." Journal of American Studies 52, no. 04 (2018): 913–28. http://dx.doi.org/10.1017/s0021875818001342.

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In 2019, US-based African American artist Dread Scott will present his new performative work, Slave Rebellion Reenactment, just outside the city of New Orleans, Louisiana, USA. It will be a re-performance of the German Coast uprising of 1811, one of the largest rebellions of enslaved people in US history. It is the most recent installment in a slowly growing historical body of knowledge about this little-known history. The story is about a radical idea of freedom that Scott seeks to enliven through recruiting the performers. The potential for organizing and future networks is at the heart of t

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Williamson, Bess. "Exhibition Review of “Rowan and Erwan Bouroullec: Bivouac”Museum of Contemporary Art, Chicago, (October 20, 2012–January 20, 2013)." Design Issues 30, no. 3 (2014): 101–3. http://dx.doi.org/10.1162/desi_r_00285.

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Haron, Muhammed. "Inscription as Art in the World of Islam." American Journal of Islam and Society 13, no. 4 (1996): 589–92. http://dx.doi.org/10.35632/ajis.v13i4.2287.

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During April 1996, the Hofstra Cultural Center organized an internationalinterdisciplinary conference that focused upon the role of inscriptionin Islamic art. The conference included diverse areas of inquiry. Forinstance, it accepted a paper that addressed the usage of Arabic script asinscription in different parts of the world and provided an opportunity to listento papers that considered inscription as an icon as well as its context,function, and comparative features. In addition, the coordinators organizedan exhibition of the works of several artists who were invited specificallyto talk abo

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Margolin, Myra. "Victor Margolin’s Early Years." Disegno, no. 1-2 (2021): 10–21. http://dx.doi.org/10.21096/disegno_2021_1-2mm.

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When I was a small child, my father used to take me to a novelty shop in Chicago called Uncle Fun. It was filled with rows of cabinets with tiny drawers that seemed, to my small self, to reach the ceiling. Each drawer contained a small wonder: little rubber chickens, stickers of Renaissance angels, woven finger traps, wax lips, kazoos. We would venture from our apartment in suburban Chicago to this shop in the city where he and I both delighted in opening the drawers and discovering small bursts of surprise, returning home with bags of treasures. We would lay these out on the dining room table

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Fuchs, Walther J., Tschirren Marianne Keller, and Osamu Okuda. "Zwitscher-Maschine. Journal on Paul Klee / Zeitschrift für internationale Klee-Studien No. 14 (Autorinnen und Autoren)." Zwitscher-Maschine. Journal on Paul Klee / Zeitschrift für internationale Klee-Studien 14, no. 2023 (2023): 138–39. https://doi.org/10.5281/zenodo.10064579.

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<strong>AUTORINNEN UND AUTOREN</strong> <strong>Marcel Baumgartner</strong>, 1971–1979 Studium der Kunstgeschichte, der Architekturgeschichte und der Klassischen Archäologie in Bern; 1980 Promotion mit einer Arbeit <i>Zur Aktualität des Kubismus</i>. 1974–1979, parallel zum Studium, Mitarbeit an der Paul Klee-Stiftung, Kunstmuseum Bern. 1979–1981 Mitarbeit an der Ausstellung <i>Westkunst. Zeitgenössische Kunst seit 1939</i> in Köln. Studienaufenthalte in München und London. 1982–1988 Aufbau der Sammlung <i>Stiftung Kunst Heute</i>, Bern (zusammen mit Bernhard Mendes Bürgi und Christian Cu

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Eisensmith, Jake. "Caravans of Gold, Fragments in Time: Art, Culture, and Exchange across Medieval Saharan Africa." Contemporaneity: Historical Presence in Visual Culture 9, no. 1 (2021): 95–98. http://dx.doi.org/10.5195/contemp/2021.328.

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Exhibition Schedule: The Block Museum, Northwestern University, Chicago, IL, January 26–July 21, 2019; Aga Khan Museum, Toronto, Canada, September 21, 2019–February 23, 2020; Smithsonian Museum of African Art, Washington, DC, TBD–TBD

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Thèses sur le sujet "Chicago Museum of Contempory Art"

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Howard, Courtney L. "Special Exhibitions, Media Outreach, and Press Coverage at the Metropolitan Museum of Art, the Chicago Art Institute, and the National Gallery of Art." Ohio University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1276542794.

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Larsen, Devon P. "Rethinking the Monumental: The Museum as Feminist Space in the Sexual Politics Exhibition, 1996." [Tampa, Fla] : University of South Florida, 2006. http://purl.fcla.edu/usf/dc/et/SFE0001540.

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Benlian, Michèle. "Modes d'émergence de l'architecture contemporaine à travers l'édification des premiers musées d'art moderne, entre New York et Paris au XXème siècle." Thesis, Sorbonne Paris Cité, 2018. http://www.theses.fr/2018USPCA013.

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Le travail abordé concerne le domaine de l’histoire artistique et culturelle. La période étudiée est le XXè siècle. Les événements se déroulent à New York et à Paris. - La recherche pose l’hypothèse suivante : la création, puis l’édification du premier musée d’art moderne, le MoMA à New York, ouvre la voie à l’architecture contemporaine, à travers l’édification du musée d'art moderne. Les pensées architecturales américaine et française, n’œuvraient pas dans le même sens. Tandis que l’une s’appuie sur une recherche formelle, qui trouverait des liens avec la réception de l’art moderne, l’autre o

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Sbarra, Wendy M. "New Ways of Seeing: Examining Musuem Accessibility for Visitors with Vision Impairments." Digital Archive @ GSU, 2012. http://digitalarchive.gsu.edu/art_design_theses/121.

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While I have always loved to go to the art museum I have often found it difficult to convince friends and family to go with me. It seems to be a particularly daunting task for visitors with disabilities and specifically those with vision impairments. This study surveys the accessibility of the programming for visitors with visual impairments at 25 art museums in the United States of America and how they communicate that information to potential visitors. It highlights museums that go beyond what is required by the Americans with Disabilities Act and create programming that is enjoyable for all

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Castellano, González Cristina. "La construction du sens dans les expositions muséales : études de cas à Chicago et à Paris." Paris 1, 2011. http://www.theses.fr/2011PA010568.

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Afin d'examiner la construction du sens dans les expositions muséales, cette étude place au centre de ses hypothèses trois dimensions initiales : la production du sens, sa circulation ou distribution et sa réalisation ou appropriation. Ce choix est justifié sur la base d'une méthodologie transdisciplinaire propre aux études culturelles. Nous essayons d' expliquer les processus de négociation, les discours hégémoniques et les structures du sentiment qui interviennent au sein de cultures. Les études de cas de cette thèse ont été développés au Musée National d'Art Mexicain de Chicago et au Musée

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Hsu, Ya-ting, and 許雅婷. "ON APPLYING CUSTOMER RELATIONSHIP MANAGEMENT TO THE MUSEUM OF CONTEMPORY ART, TAIPEI." Thesis, 2007. http://ndltd.ncl.edu.tw/handle/09544541588258119891.

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碩士<br>元智大學<br>藝術管理研究所<br>95<br>Customer Relationship Management (CRM) comprises such aspects as methods, techniques and conceptual frameworks. In my thesis I propose to conduct a study of customer relationship management as applicable to non-profit cultural or art organizations. This is in part motivated by a wish to see museums or cultural institutions open themselves up, not just to actual visitors but to all potential “relation customers” or individuals that may directly or indirectly participate in the institutes’ activities. When museums stop considering visitors merely as “the crowd ou

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LoGiudice, Peter. "Humanism and the classical the expansion of the Art Institute of Chicago /." 2006. http://etd.nd.edu/ETD-db/theses/available/etd-04212006-063136/.

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Webb, Guiniviere Marie. "Origins and philosophy of the Butler Art Gallery and Labor Museum at Chicago Hull-House." Thesis, 2010. http://hdl.handle.net/2152/ETD-UT-2010-12-2602.

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Jane Addams influenced the lives of many immigrant Chicagoans through offering a variety of community oriented services including art education programs at the Hull-House. This study examines the origins and philosophy of both the Butler Art Gallery and Labor Museum, and discusses each program’s role for residents, visitors, and guests of Hull-House. In addition to providing a historical basis for Jane Addams as an art educator, this study discusses the techniques for community organization that were utilized by Hull-House residents, including Jane Addams and Ellen Gates Starr.<br>text

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Livres sur le sujet "Chicago Museum of Contempory Art"

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Koons, Jeff. Jeff Koons: Museum of Contemporary Art, Chicago. The Museum, 1988.

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Mesecke, Andrea. Museum of contemporary art, Chicago: Josef Paul Kleihues. Gebr. Mann Verlag, 1996.

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Museum of Contemporary Art (Chicago, Ill.), ed. Collective vision: Creating a contemporary art museum. Museum of Contemporary Art, 1996.

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Russell, Ferguson, Kravagna Christian, UCLA Hammer Museum of Art and Cultural Center., Museum of Contemporary Art (Chicago, Ill.), and New Museum of Contemporary Art (New York, N.Y.), eds. Mathias Poledna: Crystal palace : Hammer Museum, Los Angeles; Museum of Contemporary Art, Chicago; New Museum of Contemporary Art, New York. Regents of the University of California], 2007.

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R, Neff Terry Ann, and Museum of Contemporary Art (Chicago, Ill.), eds. Chicago artists in the European tradition: Museum of Contemporary Art, February 25-April 9, 1989. The Museum, 1989.

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Museum of Contemporary Photography (Columbia College (Chicago, Ill.)). Photography's multiple roles: Art, document, market, science. Museum of Contemporary Photography, Columbia College, 1998.

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R, Neff Terry Ann, and Museum of Contemporary Art (Chicago, Ill.), eds. Selections from the William J. Hokin collection: Museum of Contemporary Art, Chicago, April 20-June 16, 1985. The Museum, 1985.

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Architects, Garofalo, Museum of Contemporary Art (Chicago, Ill.), and University of Illinois at Chicago Circle. Dept. of Architecture, eds. Between the museum and the city. MCA and CAA/UIC, 2003.

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Smith, Elizabeth A. T., 1958-, Pearlman Alison, Widholm Julie Rodrigues, Fitzpatrick Robert, and Museum of Contemporary Art (Chicago, Ill.), eds. Life, death, love, hate, pleasure, pain: Selected works from the Museum of Contemporary Art, Chicago, collection. Museum of Contemporary Art, 2002.

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1947-, Francis Richard, Bhabha Homi K. 1949-, Bois Yve Alain, and Museum of Contemporary Art (Chicago, Ill.), eds. Negotiating rapture: The power of art to transform lives. Museum of Contemporary Art, 1996.

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Chapitres de livres sur le sujet "Chicago Museum of Contempory Art"

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Green, Lynne Pace, Damon Locks, Maria Scandariato, and Andrew Breen. "Engaging the Next Generation of Citizen Artists How a Museum of Contemporary Art and Chicago Public High School Partnered to Foster Informed and Activated Youth." In Promoting Civic Engagement Through Art Education. Routledge, 2024. http://dx.doi.org/10.4324/9781003402015-19.

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Clary, Renee M. "The present is the key to the paleo-past: Charles R. Knight’s reconstruction of extinct beasts for the Field Museum, Chicago." In The Evolution of Paleontological Art. Geological Society of America, 2022. http://dx.doi.org/10.1130/2021.1218(18).

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ABSTRACT Although he was legally blind, Charles R. Knight (1874–1953) established himself as the premier paleontological artist in the early 1900s. When the Field Museum, Chicago, commissioned a series of large paintings to document the evolution of life, Knight was the obvious choice. Knight considered himself an artist guided by science; he researched and illustrated living animals and modern landscapes to better understand and represent extinct life forms within their paleoecosystems. Knight began the process by examining fossil skeletons; he then constructed small models to recreate the an

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Villalobos, J. Gibran. "Creating Latinx Arts Networks in Chicago." In Building Sustainable Worlds. University of Illinois Press, 2022. http://dx.doi.org/10.5622/illinois/9780252044540.003.0009.

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J. Gibran Villalobos relates his efforts to organize Latinx arts and culture administrators in Chicago and nationally. He narrates his own experience as a faculty member in arts administration at the School of the Art Institute of Chicago as well as his work as community liason at numerous arts organizations in the City, including his work with the Chicago Architecture Biennial, the Museum of Contemporary Art in Chicago, and his own independent curatorial practice. The testimony outlines the work of art administration as critical to Latinx placemaking in the arts.

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"Zur Museumskompatibilität der Body Art – Die Ausstellung Bodyworks im Museum of Contemporary Art Chicago, 1975." In Performance on Display. De Gruyter, 2021. http://dx.doi.org/10.1515/9783422986985-005.

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"The Short Century." In Selected Writings, Volume 1. Duke University Press, 2025. https://doi.org/10.1215/9781478060536-011.

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This chapter is the introduction to the exhibition The Short Century: Independence and Liberation Movements in Africa, 1945–1994, curated by Okwui Enwezor and shown at the Museum Villa Stuck, Munich; the House of World Cultures, Berlin; the Museum of Contemporary Art, Chicago; and ps1, Museum of Modern Art, New York, between February 2001 and early 2002. It traced these historical developments as manifest in art, posters, photography, architecture, music, theater, literature, and film, as well as archival texts.

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"AIC–ISAC Museum Concordance." In Ancient Egyptian Art at The Art Institute of Chicago. The Art Institute of Chicago, 2025. https://doi.org/10.53269/9780865593213/16.

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"4. The Idea of Art and the Ethics of the Museum." In Aesthetics at Large: Volume 1. University of Chicago Press, 2019. http://dx.doi.org/10.7208/chicago/9780226546872.003.0004.

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Kirshner, Judith Russi, and Lisa Wainwright. "The art museum and the art school: negotiating collaboration in Chicago." In Academics, Artists, and Museums. Routledge, 2018. http://dx.doi.org/10.4324/9780203733134-1.

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McGoey, Elizabeth, Diane Rousseau, Rachel Sabino, Ken Sutherland, and Andrew Talley. "A New Setting for Tiffany Glass: The Hartwell Memorial Window at the Art Institute of Chicago." In Perspectives on Place. The Art Institute of Chicago, 2023. http://dx.doi.org/10.53269/9780865593169/04.

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An interdisciplinary account of the origins of a monumental stained glass window, its deinstallation from its original location in a Rhode Island church, and the complex, collaborative efforts to develop and realize its new setting at the museum.

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Freedman, Jonathan. "The Jew in the Museum." In The Temple Of Culture. Oxford University PressNew York, NY, 2000. http://dx.doi.org/10.1093/oso/9780195131574.003.0002.

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Abstract The Art Institute Of Chicago; 1994: a collection of recent acquisitions to the photography collection. The crowd swarms, though not quite as thickly as upstairs, where it encounters masterpieces dismally familiar yet unexpectedly moving in their full auratic presence. The avidity of these spectators is hardly deterred-it may, in fact, be enhanced-by signs posted throughout the photography exhibition informing us, in purest officialese, that “material in this exposition may prove offensive to some patrons.” Nothing conspicuously shocking, overtly prurient, initially presents itself; lu

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Actes de conférences sur le sujet "Chicago Museum of Contempory Art"

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Cmeciu, Doina, and Camelia Cmeciu. "VIRTUAL MUSEUMS - NON-FORMAL MEANS OF TEACHING E-CIVILIZATION/CULTURE." In eLSE 2013. Carol I National Defence University Publishing House, 2013. http://dx.doi.org/10.12753/2066-026x-13-108.

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Considered repositories of objects(Cuno 2009), museums have been analysed through the object-oriented policies they mainly focus on. Three main purposes are often mentioned: preservation, dissemination of knowledge and access to tradition. Beyond these informative and cultural-laden functions, museums have also been labeled as theatres of power, the emphasis lying on nation-oriented policies. According to Michael F. Brown (2009: 148), the outcome of this moral standing of the nation-state is a mobilizing public sentiment in favour of the state power. We consider that the constant flow of natio

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