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Articles de revues 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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1

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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Giżycki, Marcin. "Ostatnia wieczerza Judy Chicago." Kwartalnik Filmowy, no. 100 (December 31, 2017): 239–43. http://dx.doi.org/10.36744/kf.2005.

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W 1979 r. amerykańska artystka Judy Chicago wystawiła w San Francisco Museum of Modern Art instalację Dinner Party dedykowaną 1038 kobietom z historii i mitologii świata. Na pracę, którą dziś można oglądać w Brooklyn Museum of Art, złożyły się trzy długie stoły ustawione w trójkąt, na których przygotowano nakrycia dla 39 kobiet oznaczone ich nazwiskami wyhaftowanymi złotymi nićmi. Wśród uhonorowanych znalazły się: Hatszepsut, Safona, św. Brygida z Kildare, Cesarzowa Teodora, Eleonora Akwitańska, Petronilla de Meath, Artemisia Gentileschi, Susan B. Anthony, Emily Dickinson, Virginia Woolf i Geo

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Maroja, Camila. "Entrevista com Lynn Zelevansky." ARS (São Paulo) 15, no. 30 (2017): 277. http://dx.doi.org/10.11606/issn.2178-0447.ars.2017.134681.

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Em outubro de 2016, o Carnegie Museum of Art, em Pittsburgh, inaugurou “Hélio Oiticica: to organize delirium”. Em fevereiro de 2017, foi a vez do Art Institute of Chicago, e, finalmente em julho, a exposição foi montada no Whitney Museum of American Art em Nova Iorque. Nesta entrevista, Lynn Zelevansky relata o processo de organizar a mostra no Carnegie Museum, seus primeiros contatos com o Brasil na condição de curadora-assistente do MoMA e a importância de ter em mente a audiência e o timing da exposição.

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Fern, Annette. "Re: Sources." Theatre Survey 47, no. 1 (2006): 93–105. http://dx.doi.org/10.1017/s004055740600007x.

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In July 2005, the Art Institute of Chicago announced plans for the demolition of the Kenneth Sawyer Goodman Memorial Theatre in order to make room for additional gallery and administrative spaces for the museum. The Goodman Theatre had been a museum department from its founding in 1925 to 2000, when the company became an independent producing organization and moved to a new facility in Chicago's theatre district. Since then, the building had been an unproductive appendage to the Art Institute, but numerous attempts to tear it down had been met with resistance by architectural preservationists

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Leimer, Ann Marie. "La Conquistadora: A Conquering Virgin Meets Her Match." Religion and the Arts 18, no. 1-2 (2014): 245–68. http://dx.doi.org/10.1163/15685292-01801013.

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‭The Mexican Museum in San Francisco commissioned Delilah Montoya to produce a contemporary codex for the 1992 exhibition “The Chicano Codices: Encountering Art of the Americas,” which sought to critique Quincentennial observances erasing indigenous presence. The artist created a seven-page book, Codex Delilah, Six-Deer: Journey from Mexicatl to Chicana, that depicted the consequences of the initial American-European encounter, and she used the heroine Six-Deer to visually record women’s contributions to this 500-year history. In the codex’s fourth panel, Six-Deer comes across Adora-la-Conquis

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Dohoney, Ryan. "The Chicago sound show at the smart museum of art, the University of Chicago." Sound Studies 6, no. 2 (2020): 271–74. http://dx.doi.org/10.1080/20551940.2020.1719467.

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Kinkley, Jonathan. "Art Thief: An Educational Computer Game Model for Art Historical Instruction." Leonardo 42, no. 2 (2009): 133–37. http://dx.doi.org/10.1162/leon.2009.42.2.133.

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Cognitive research has revealed learning techniques more effective than those utilized by the traditional art history lecture survey course. Informed by these insights, the author and fellow graduate researchers at the University of Illinois at Chicago designed a “serious” computer game demo, Art Thief, as a potential model for a learning tool that incorporates content from art history. The game design implements constructed learning, simulated cooperation and problem solving in a first-person, immersive, goal-oriented mystery set within a virtual art museum.

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BLAIR, SHEILA. "The Many Questions of Islamic Art." International Journal of Middle East Studies 39, no. 3 (2007): 336–37. http://dx.doi.org/10.1017/s0020743807070468.

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This luster bowl, made by the Persian potter Abu Zayd in February–March 1204 (Jumada II 600), exemplifies the broad range of questions that can be raised by Islamic art. The first question is that of provenance. The bowl appeared on the art market in 2001, unknown and undocumented but in virtually perfect condition. A battery of tests supports its authenticity. Jonathan Bloom and I included it in the exhibition Cosmophilia: Islamic Art from the David Collection, Copenhagen, which we organized for the McMullen Museum, Boston College, and which was on view until 20 May 2007 at the Smart Museum,

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Vanes, Zachary. "Useful Video in the Art Museum: Museum Education in Chicago and the Videos of Andrea Fraser." Film History 33, no. 4 (2021): 109–31. http://dx.doi.org/10.2979/filmhistory.33.4.05.

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Schaefer, William. "Exhibiting Experimental Art in China. By Wu Hung. Chicago: Smart Museum of Art, University of Chicago, 2000. 224 pp. $40.00 (paper)." Journal of Asian Studies 61, no. 1 (2002): 234–37. http://dx.doi.org/10.2307/2700228.

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Yahr, Jayme. "Disappearing act." Journal of the History of Collections 32, no. 1 (2018): 157–76. http://dx.doi.org/10.1093/jhc/fhy042.

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Abstract The American self-made businessman Daniel J. Terra (1911–1996) collected art as a testament to his patriotism and in an attempt to establish his cultural prowess. Between 1971 and his death in 1996, Terra amassed a collection of 605 paintings, works on paper, and sculpture, made possible by a small network of art dealers who aided Terra in his rapid transformation of the American art market. After a failed attempt to donate his collection to the Art Institute of Chicago, Terra created not one, but two museums in Illinois and one in France over the course of twelve years. Each Terra-ba

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Westerby, Genevieve, and Kelly Keegan. "Digital Art History and the Museum: The Online Scholarly Collection Catalogues at the Art Institute of Chicago." Visual Resources 35, no. 1-2 (2019): 141–54. http://dx.doi.org/10.1080/01973762.2018.1553445.

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Haas, Bruno. "Hegel und das Ende der Kunst." Philosophische Rundschau 71, no. 4 (2024): 384–97. https://doi.org/10.1628/phr-2024-0031.

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Alberto Sianis book revisits a number of positions about the »end of art« (mainly E. Geulen, R. Pippin, A. C. Danto) and reaffirms an interpretation close to the thought of D. Henrich and the school of A. Gethmann-Siefert. In modernity, there is no end of art, only a lessened importance of it which liberates art to fulfil its real purpose, namely the expression of the individual. In extending the bibliographical background, the following article tries to open perspectives beyond this common view, hinting at the exact sense of » being-passed » in the context of absolute spirit, the ontological

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Healy, Marley. "An Interview with Petra Slinkard Nancy B. Putnam Curator of Fashion and Textiles at the Peabody Essex Museum in Salem, Massachusetts." Fashion Studies 2, no. 2 (2019): 1–16. http://dx.doi.org/10.38055/fs020203.

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This article contains an interview with Petra Slinkard, the Nancy B. Putnam Curator of Fashion and Textiles at the Peabody Essex Museum in Salem, Massachusetts. Ms. Slinkard is the first to hold this position at the museum and has held it since February 2018. Prior to this, Ms. Slinkard was the Curator of Costume at the Chicago History Museum. She has a Bachelor of Science in Fashion Merchandising, a Bachelor of Arts in Art History, and a Master of Science in Fashion/Textile History. Over the course of almost ten years, leadership at the museum endeavored to create a plan that would mobilize i

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Filipová, Marta. "Náš český Millet? Joža Uprka, lidové a české umění." AUC PHILOSOPHICA ET HISTORICA 2021, no. 2 (2024): 69–76. http://dx.doi.org/10.14712/24647055.2024.9.

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In April 2022, the Albín Polášek Museum in Florida closed a large exhibition of paintings by Joža Uprka from the private collection of a collector living near Chicago. This exhibit was to be later shown at the Czech embassies in Washington and Paris. In the USA, the work of Joža Uprka is still popular, alongside expressions of folk culture, which take many forms. They range from collected items to observing folk traditions by the diaspora of many generations. The town of Cedar Rapids, Iowa, for example, has always had a strong Czech community, and today it houses the National Czech and Slovak

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Greenland, Fiona Rose. "The Modern Art Machine - Fernando Domínguez Rubio, Still Life: Ecologies of the Modern Imagination at the Art Museum (Chicago, University of Chicago Press, 2020, 424 p.)." European Journal of Sociology 61, no. 3 (2020): 461–64. http://dx.doi.org/10.1017/s0003975620000296.

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Balaschak, Chris. "« La Secrétaire ». Travail et automatisation dans le cursus Generative Systems de Sonia Landy Sheridan." Transbordeur 9 (2025): 80–91. https://doi.org/10.4000/13dwy.

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Projects: Sonia Landy Sheridan and Keith Smith, une exposition qui s’est tenue au Museum of Modern Art, à New York, en 1974, représentait l’œuvre la plus ambitieuse à avoir émergé du programme Generative Systems de Sheridan. Comme l’a déclaré Sheridan, l’objectif du Generative Systems, un programme universitaire de la School of the Art Institute of Chicago, était de « produire des idées à l’aide des technologies actuelles ». Les travaux de Sheridan et Smith exposés au MoMA, fruits d’une collaboration avec la société 3M, ont non seulement mis en évidence le potentiel créatif de la production d’

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shaw, cameron. "Suzanne Lacy: Chewing More Than the Fat." Gastronomica 12, no. 2 (2012): 10–12. http://dx.doi.org/10.1525/gfc.2012.12.2.10.

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This article looks at the work of Suzanne Lacy, an artist who emerged from the Feminist Art Program at the California Institute of the Arts in the early 1970s. It focuses on key examples of Lacy's large-scale dinners, including the food-based performance network staged in conjunction with the opening of The Dinner Party by Judy Chicago at the San Francisco Museum of Modern Art in 1979. This article argues that these dinners served to transition Lacy from an early performance practice centered on rape and violence against women to the later coalition-building exercises that helped define “new g

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Buckley, Kat. "Karolina Gnatowski. Some Kind of Duty. DePaul Art Museum, Chicago, Illinois, January 17 – March 31, 2019." TEXTILE 18, no. 1 (2019): 109–15. http://dx.doi.org/10.1080/14759756.2019.1622938.

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Embrick, David G., Simón Weffer, and Silvia Dómínguez. "White sanctuaries: race and place in art museums." International Journal of Sociology and Social Policy 39, no. 11/12 (2019): 995–1009. http://dx.doi.org/10.1108/ijssp-11-2018-0186.

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Purpose This paper examines the Art Institute of Chicago – a nationally recognized museum – as a white sanctuary, i.e., a white institutional space within a racialized social system that serves to reassure whites of their dominant position in society. The purpose of this paper is to highlight how museums create and maintain white spaces within the greater context of being an institution for the general public. Design/methodology/approach The empirical analysis of this study is based on collaborative ethnographic data collected over a three-year period of time conducted by the first two authors

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Garrocq, Jean-Baptiste. "Fernando DOMÍNGUEZ RUBIO, Still Life: Ecologies of the Modern Imagination at the Art Museum, Chicago, London, University of Chicago Press, 2020, 417 p." Réseaux N° 228, no. 4 (2021): 273–76. http://dx.doi.org/10.3917/res.228.0273.

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Branting, Steven D. "“So Close to the Banks of Oblivion” An American Master is Rediscovered." Sculpture Review 69, no. 4 (2020): 44–49. http://dx.doi.org/10.1177/0747528420985354.

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Inattention has doomed too many masters. Without provenance, context or an appreciation for cultural continuity, artistic treasures become disposable bric-a-brac. And so it nearly was for two companion bianco Carrara marbles that had lain unattested for decades in the storage of a small Idaho museum. Now proven by extensive research to be the works of sculptor Madison Colby (1842-1871), the 19-inch rondels bespeak a talent abruptly silenced by tuberculosis but not too soon to escape the notice of the San Francisco and Chicago art communities. Having experienced this resurrection, Colby’s unden

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Bush, Clive. "Cultural Reflections on American Linguists from Whitney to Sapir." Journal of American Studies 22, no. 2 (1988): 185–212. http://dx.doi.org/10.1017/s0021875800021988.

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At the World's Fair Congress of Anthropology in Chicago in 1915 Professor O. T. Mason explained the ethnological exhibit in the following terms: “The aim was to have each leading linguistic stock of peoples represented by collections of art products and by groups of life-size figures engaged in characteristic arts and industries serially in the alcoves.” A certain cultural confidence is manifest. Language is seen as the basis for “stocks” of peoples (stocks being a favourite classificatory measure for Darwinists and Financiers), and museum humanoids, engaged in representative and atomised indu

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Siegel, Andrea. "Capital Culture: J. Carter Brown, the National Gallery of Art, and the Reinvention of the Museum Experience NeilHarris. Chicago: University of Chicago Press, 2013." Journal of American Culture 38, no. 2 (2015): 155. http://dx.doi.org/10.1111/jacc.12311.

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Domínguez, Silvia, Simón E. Weffer, and David G. Embrick. "White Sanctuaries: White Supremacy, Racism, Space, and Fine Arts in Two Metropolitan Museums." American Behavioral Scientist 64, no. 14 (2020): 2028–43. http://dx.doi.org/10.1177/0002764220975077.

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In this article, we compare two nationally recognized museums located in Chicago and Boston: The Art Institute of Chicago and the Boston Fine Arts Museum. We find that while both museums are colonial projects and White sanctuaries, there are variations in the racial mechanisms in place that help maintain White supremacy. Specifically, we look at three such mechanisms and compare and contrast between the two museums. We contend our findings suggest that while White supremacy is universal in its national (global) depth and breath, place matters. We argue that the physical context of the museums—

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Cutler-Bittner, Jody B. "Charles White." Nka Journal of Contemporary African Art 2019, no. 45 (2019): 140–49. http://dx.doi.org/10.1215/10757163-7917192.

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The recent exhibition Charles White: A Retrospective (Museum of Modern Art, New York, October 7, 2018–January 13, 2019) offered a chance to consider the technical and iconographic breadth of an oeuvre that has been exhibited mainly in sporadic doses for the past few decades and has expanded in scope through recent attention from a subsequent generation of African American artists, including several students as well as art scholars. White (1918–79) was vocally committed from the mid-1960s through his final decade to African American art subjects in tandem with social issues, climactic in poigna

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Rhor, Sylvia. "Every Walk of Life and Every Degree of Education: Museum Instruction at The Art Institute of Chicago, 1879-1955." Art Institute of Chicago Museum Studies 29, no. 1 (2003): 20. http://dx.doi.org/10.2307/4113026.

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Budrina, Ludmila A. "THE RUSSIAN DEPARTMENT’S CARVED STONE AT THE 1893 WORLD’S COLUMBIAN EXPOSITION: RECONSTRUCTION OF THE COLLECTION." Ural Historical Journal 71, no. 2 (2021): 17–24. http://dx.doi.org/10.30759/1728-9718-2021-2(71)-17-24.

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In the 19th century stone-cutting art has become one of the brightest elements in the representation of the Russian Empire. World’s fairs provided ample opportunities for this representation. The article examines the structure of the collections and the list of the exhibitors at one of the largest fairs — The World’s Columbian Exposition of 1893. The paper draws upon both published and archival documents, including those which have not yet been used for the examination of the representation of Russia’s stone art at this exhibition. It reconstructs mineralogical, technical and typological diver

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Casey, Steven, and Gregg Montgomery. "Roving Mars: Using Function Analysis to Develop a Concept System." Ergonomics in Design: The Quarterly of Human Factors Applications 18, no. 4 (2010): 9–16. http://dx.doi.org/10.1518/106480410x12887326202951.

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Function analysis drives a bold concept for a vehicle that could transport humans around the harsh Martian terrain in the year 2037. Responding to a design challenge by the U.K. magazine Industrial Vehicle Technology International, ergonomist Steven Casey and industrial designer Gregg Montgomery joined forces to develop a concept for a manned Mars Exploration Rover to be used on the Red Planet in the year 2037. The exercise was a classic use of function analysis, an HF/E engineering method integral to the development of unique systems. The harsh Mars environment, overall mission objectives, li

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Tandy, Kisha. "Julie Rodrigues Widholm, Barbara Jones-Hogu: Resist, Relate, Unite, 1968–1975. Chicago: DePaul University Art Museum, 2018. Pp. 104. $60.00 (cloth)." Journal of African American History 106, no. 1 (2021): 163–64. http://dx.doi.org/10.1086/712010.

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El Khatib, Abdallah. "Qur’anic Verses Count Analysis in Some Oldest MSS Fragments from Western Libraries." Manuscripta Orientalia. International Journal for Oriental Manuscript Research 29, no. 2 (2023): 3–12. http://dx.doi.org/10.31250/1238-5018-2023-29-2-3-12.

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The article presents an analysis of the ayat count in MSS Marcel 5 and other related MSS. Additionally, it provides a brief history of the Marcel collection in the National Library of Russia, which includes valuable Qur’anic parchments dating back to an early period in Islamic history. The manuscript has undergone 14C dating and its palaeographical and codicological features confirm the early date. The article reaffirms its direct relationship with several manuscripts, including MSS Paris, BnF Arabe 335, Leiden Or. 14.545 a, Doha, Museum of Islamic Art, MS 276, and others in libraries across t

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Acocella, Alessandra. "Mario Bellini e il progetto di allestimento della mostra 'Il Tesoro di San Marco' presentato dalla Olivetti (1984-1987)." Opus Incertum 10 (December 24, 2024): 28–37. https://doi.org/10.36253/opus-15832.

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The 1980s marked a period of intense collaboration between Mario Bellini and the Olivetti company, encompassing the creation of both design objects and display solutions. Among these was the design for the Treasure of St. Mark exhibition, inaugurated in Paris in March 1984 and subsequently toured in Cologne, London, New York, Los Angeles, Dallas, Chicago, Rome, Milan, and Venice. The event was part of Olivetti’s broader initiative aimed to the preservation and enhancement of the Italian cultural heritage, showcasing a selection of some of the most valuable artifacts from Venice’s collection of

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Carr, David. "Capital Culture: J. Carter Brown, the National Gallery of Art, and the Reinvention of the Museum Experience by Neil Harris. Chicago: University of Chicago Press, 2013. 608 pages. Hardcover: $35.00." Curator: The Museum Journal 57, no. 3 (2014): 381–86. http://dx.doi.org/10.1111/cura.12076.

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Harnish, Allison. "Caravans of Gold, Fragments in Time: Art, Culture, and Exchange Across Medieval Saharan Africa, The Block Museum of Art, Northwestern University, Chicago, January 26‐July 21, 2019 | Aga Khan Museum, Toronto, September 21, 2019‐February 23, 2020 | Smithsonian National Museum of African Art, Washington, DC, July 16, 2021‐February 27, 2022." International Journal of Islamic Architecture 11, no. 1 (2022): 205–8. http://dx.doi.org/10.1386/ijia_00075_5.

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VonBokel, Aimee. "Capital Culture: J. Carter Brown, the National Gallery of Art, and the Reinvention of the Museum Experience by Neil HarrisCapital Culture: J. Carter Brown, the National Gallery of Art, and the Reinvention of the Museum Experience by Neil Harris. Chicago, University of Chicago Press, 2013. 616 pp. $35.00 US (cloth)." Canadian Journal of History 49, no. 2 (2014): 316–18. http://dx.doi.org/10.3138/cjh.49.2.316.

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Brown, Robert L. "The Kingdom of Siam: The Art of Central Thailand, 1350–1800. Edited and curated by Forrest McGill; co-curated by Pattaratorn Chirapravati. Asian Art Museum, Chong-Moon Lee Center for Asian Art and Culture, and Peabody Essex Museum. Ghent: Snoeck Publishers; Chicago: Art Media Resources; Bangkok: Buppha Press, 2005. 200 pp. $29.95 (paper)." Journal of Asian Studies 66, no. 1 (2007): 285–87. http://dx.doi.org/10.1017/s0021911807000526.

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Breen, Deborah. "Contingency and Constraint." Transfers 5, no. 3 (2015): 142–45. http://dx.doi.org/10.3167/trans.2015.050312.

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Museum of Modern Art (MoMA) 11 West 53rd Street, New York, NY 10019 http://www.moma.org/interactives/exhibitions/2015/onewayticket/ Admission: USD 25/18/14 “I pick up my life, / And take it with me, / And I put it down in Chicago, Detroit, / Buff alo, Scranton, / Any place that is / North and East, / And not Dixie.” Th ese are the opening lines from “One-Way Ticket,” by African-American poet, Langston Hughes (1902–1967). Th e poem provides the emotional and historical core of the “Migration” paintings by Jacob Lawrence (1917–2000), a series that depicts the extraordinary internal migration of

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Cossu, Stefano. "Labours of Love and Convenience: Dealing with Community-Supported Knowledge in Museums." Publications 7, no. 1 (2019): 19. http://dx.doi.org/10.3390/publications7010019.

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This writing utilizes the case study of a specific project, namely adopting a Digital Asset Management System (DAMS) based on open source technologies at the Art Institute of Chicago (AIC), to describe the thought process, which along the way led to the discovery of Linked Data and more general technology development practices based on community participation. In order to better replicate such a thought process and its evolution into a broader strategy that goes beyond technology, this paper will begin by describing the problem that the Collection IT team at AIC had been initially tasked to re

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TURCHYNYAK, Yaryna. "CONCEPTUAL ISSUED AND SEMANTICS ELEMENTS, AIMS OF ARTS BY THE MYRON LEVYTSKY." Bulletin of the Lviv University. Series of Arts Studies 280, no. 20 (2019): 212–22. http://dx.doi.org/10.30970/vas.20.2019.10626.

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The main objective of the research conceptual issued relate to the definition and semantics of the book-covers by Myron Levytsky features are explore. The book-cover is supremely multifunctional process and depends to a large extent issues. The design and layout of a book includes many different elements. Methodology. The research is based on an abstract to the integrity specific approach that allows us to consider the comparative analysis. Relevance of the study. The research includes specific issues of modern art that are integrity in the layout of a book-cover. The graphic art by the Myron

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Lethbridge, Robert. "Book Review: The ‘Writing’ of Modern Life: The Etching Revival in France, Britain, and the US. By Elizabeth Helsinger et al. Chicago: Smart Museum of Art, University of Chicago, 2008. Pp. viii + 101. £12.00 (pbk)." Journal of European Studies 40, no. 1 (2010): 75–76. http://dx.doi.org/10.1177/00472441100400010602.

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Clark, Carol C. "Neil Harris. Capital Culture: J. Carter Brown, the National Gallery of Art, and the Reinvention of the Museum Experience. Chicago: University of Chicago Press, 2013. 608 pp.; black-and-white illustrations, postscript, notes, index. $35.00." Winterthur Portfolio 49, no. 1 (2015): 55–56. http://dx.doi.org/10.1086/680460.

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