Relevant bibliographies by topics / Chicago Museum of Contempory Art

Academic literature on the topic 'Chicago Museum of Contempory Art'

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Published: 25 July 2024
Last updated: 1 August 2024

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Journal articles on the topic "Chicago Museum of Contempory Art"

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Stone, Lisa. "Playing House/Museum." Public Historian 37, no. 2 (May 1, 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, Shih Chang, John Reeve, Grace Gassin, Nadia Gush, Esther McNaughton, Ira Jacknis, and Siobhan Campbell. "Book Review Essays and Reviews." Museum Worlds 7, no. 1 (July 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 York: Routledge, 2018. - Safeguarding Intangible Heritage: Practices and Politics. Natsuko Akagawa and Laurajane Smith, eds. New York: Routledge, 2019. Book ReviewsThe Filipino Primitive: Accumulation and Resistance in the American Museum. Sarita Echavez See. New York: New York University Press, 2017.The Art of Being a World Culture Museum: Futures and Lifeways of Ethnographic Museums in Contemporary Europe. Barbara Plankensteiner, ed. Berlin: Kerber Verlag, 2018.China in Australasia: Cultural Diplomacy and Chinese Arts since the Cold War. James Beattie, Richard Bullen, and Maria Galikowski. London: Routledge, 2019.Women and Museums, 1850–1914: Modernity and the Gendering of Knowledge. Kate Hill. Manchester: Manchester University Press, 2016.Rethinking Research in the Art Museum. Emily Pringle. New York: Routledge, 2019.A Natural History of Beer. Rob DeSalle and Ian Tattersall. New Haven, CT: Yale University Press, 2019.Fabricating Power with Balinese Textiles: An Anthropological Evaluation of Balinese Textiles in the Mead-Bateson Collection. Urmila Mohan. Chicago: University of Chicago Press, 2018.
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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 (July 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 (May 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 (November 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 this effort. This text is based upon Joey Orr's interview with Dread Scott on Thursday 12 May 2016, at the Museum of Contemporary Art Chicago.
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Haron, Muhammed. "Inscription as Art in the World of Islam." American Journal of Islam and Society 13, no. 4 (January 1, 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 about their works. This exhibition started with the opening of theconference and continued into May. On display was a unique blend of traditionaland modem uses of Arabic calligraphy--objects from the seventhcentury as well as those produced via contemporary technology.Habibeh Rahim, who is attached to Hofstra University's department ofphilosophy, and Alexej Ugrinsky of the Cultural Center, were the conferencedirector and coordinator, respectively. The former initiated the ideaand, with a committee of individuals, hosted the conference and exhibiteda selection of Islamic art. This exhibition was supported further by permanentdisplays in New York City at the Metropolitan Museum of Art, theBrooklyn Museum, the Pierpont Morgan Library, and the New York PublicLibrary.The conference opened with prayers from each of the major religioustraditions and two brief addresses by Habibeh Rahim and DavidChristman, the dean of New College and current director of HofstraMuseum. The first session, chaired by Sheila Blair (Harvard Univeristy),consisted of the following scholars and presentations: Valerie Gonzalez(Ecole d'Architecture Provence-Mediterrainee Centre Habitat etDeveloppement, Marseille, France), "The Significant Esthetic System ofInscriptions in Muslim Art"; Peter Daniels (University of Chicago),"Graphic-Esthetic Convergence in the Evolution of Scripts: A FirstEssay"; Solange Ory (Universite de Provence at Aix-Marseille, France),"Arabic Inscriptions and Unity of the Decoration"; Sussane Babarie (NewYork University), "The 'Aesthetics' of Safavid Epigraphy: AnInterpretation"; Ali al-Bidah (Dar al-Athar al-Islamiyah), "Aesthetic andPractical Aspects of a Hexagonal Emerald in Dar al-Athar al-Islamiyah";and Howard Federspiel (McGill University, Canada), "Arabic Script on ...
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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 (July 2014): 101–3. http://dx.doi.org/10.1162/desi_r_00285.

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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, get out his big box of rubber stamps and spend hours making kookie, kitschy art together. Another clear memory: searching with him for the perfect Chicago hot dog. First we decided it was at Fluky’s, where they gave out bubble gum in the shape of a hot dog. Then we switched our allegiance to Poochie’s, where they grilled the onions and slathered on melted cheddar cheese. When my uncles visited from New York, my father eagerly engaged them in the search, taking them around the city to sample hot dog after hot dog. My father was a seeker of culture, someone who dove into the human-made world, be it looking at paintings at a high-end gallery, questing for hot dog perfection, or buying curios with his pre-schooler. I don’t think there was much difference in his mind. He was endlessly fascinated with material culture, engaging in innumerable collecting endeavors throughout his life. He kept catalogs of every film he had seen, had drawers overflowing with records and CDs of music from every continent, and for years devoted shelves of his university office to his “Museum of Contemporary Art”, his collection of cultural kitsch.
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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 (February 21, 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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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-Conquistadora, the artist’s revisioning of the New Mexican Catholic icon of Our Lady of the Rosary, La Conquistadora, the oldest figure of Marian devotion in the United States. Six-Deer contests the designs of the Virgin, who intends to forcefully convert the native peoples of New Mexico. Rather than capitulate, Six-Deer refuses to participate in New Mexico’s Reconquista of 1692. Although Montoya appropriated La Conquistadora’s traditional sartorial splendor, she proposed an alternate reading of this Conquering Virgin. This article reads Montoya’s depiction within the dimensions of La Conquistadora’s historical, religious, cultural, and iconographic contexts.‬
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Dissertations / Theses on the topic "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 oriente la projection formelle de l’architecture en relation avec la ville. La démonstration se fait à partir d'exemples, pris dans l’histoire de l’architecture moderne de 1910 jusqu'aux années fin soixante : la construction du Musée national d’art moderne à Paris en 1936, au Palais de Tokyo, la création en 1929 et la construction, en 1939, du MoMA à New York. Deux autres musées s'édifient à New York : le Solomon Guggenheim Museum en 1959, et le Musée Whitney en 1966, et les agrandissements du MoMA réalisés aux mêmes années. Sont pris en compte, concernant et autour des édifications muséales : les débats intellectuels dans l’art, les conflits, les acteurs, les lieux, les usages, les effets d’influence et de voisinages. L'histoire culturelle contemporaine se fait à plusieurs niveaux : - dans la période qui précède la réalisation des édifices muséaux, à travers l'analyse des réalisations architecturales et de leurs esthétiques, auprès des architectes auteurs des édifices.- Dans un autre temps, sont développés la réception et les usages des lieux mis en fonction des réalisations, et les effets d’influence des réalisations et de l'architecture
The thesis concerns the history of contemporary architecture artistic and cultural. The period is the 20th century and the events take place in New York and Paris. - My research poses the following hypothesis. The creation and erection of the first museum of modern art, the MoMA in New York, opened the way to contemporary architecture though the edification of the museum. American and French views on architecture do not stem from the same school of thought. One direction of architecture leans on a formal view findings links in art and the reception of art, the other architecture opens the formal projection of architecture in relation to the city. - The demonstration is done using examples taken from the history of modern architecture from 1910 until the late sixties : the creation of MoMA in New York in 1929 and its construction in 1939. Then, there are the works of the Solomon Guggenheim Museum in 1959 and the realization of the Whitney Museum in 1966, and the enlargements of MoMA. In parallel, we are developing the construction of the National Museum of Modern Art in Paris in 1936, at the Palais de Tokyo. The following are taken into account the different intellectual considerations in Art, the artists, the conflicts, the actors and the places, the different uses and the influence of the neighbouring areas on the museums themselves, the architects and the aesthetics of the buildings put into function and the effects/influences caused by each building
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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. This study will be a reference to create a more enjoyable experience 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 du quai Branly it. Paris entre 2006 et 2009.
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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
元智大學
藝術管理研究所
95
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 out there to be let in,” a new dimension is added to museum studies in creating and maintaining an engaging relationship with customers. The study is divided into three chapters. Chapter one traces the concept of management and its methodology in museum history to its origins in the business world. This chapter also makes reference to two important indices by which management can be measured in any institution. Chapter two provides a detailed account of how the concept of customer relationship management may be properly applied to non-profit organizations, including revised procedures for concept formation, customer classification and all other auxiliaries which facilitate execution. Chapter three studies the case of customer relationship management in Modern Art Museum, Taipei aided by my own experience as a volunteering there as well as by interviews with museum personnel and published materials. It is concluded with an evaluative review of the current policies, their consequences, values added and extended profits. I have attempted to rethink customer relationship management for Modern Art Museum, Taipei by suggesting recognition of its mutual dependence with customers and a more intelligent marketing strategy based on customizing for each category of customers.
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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.
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Books on the topic "Chicago Museum of Contempory Art"

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

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

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Museum of Contemporary Art (Chicago, Ill.), ed. Collective vision: Creating a contemporary art museum. Chicago: 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. [Los Angeles: 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. Chicago, IL: The Museum, 1989.

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Museum of Contemporary Photography (Columbia College (Chicago, Ill.)). Photography's multiple roles: Art, document, market, science. Chicago: 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. Chicago, Ill: 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. [Chicago]: 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. Chicago: 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. Chicago: Museum of Contemporary Art, 1996.

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Book chapters on the topic "Chicago Museum of Contempory Art"

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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 animals’ life anatomy and investigate lighting. Once details were finalized, Knight supervised assistants to transfer the study painting to the final mural. The Field Museum mural process, a monumental task of translating science into public art, was accompanied by a synergistic tension between Knight, who wanted full control over his artwork, and the museum’s scientific staff; the correct position of an Eocene whale’s tail—whether uplifted or not—documents a critical example. Although modern scientific understanding has rendered some of Knight’s representations obsolete, the majority of his 28 murals remain on display in the Field Museum’s Evolving Planet exhibit. Museum educators contrast these murals with contemporary paleontological knowledge, thereby demonstrating scientific progress for better public understanding of the nature of science.
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Villalobos, J. Gibran. "Creating Latinx Arts Networks in Chicago." In Building Sustainable Worlds, 154–58. 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, 135–208. De Gruyter, 2021. http://dx.doi.org/10.1515/9783422986985-005.

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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, 3–14. 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, 15–54. 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; luckily, a cluster of signs soon appears demarcating one room containing “potentially objectionable material.” Here the crowd quickens with particular intensity; and here indeed is much to catch the eye: a Mapplethorpe (part of the Lisa Lyon series); Josh Wytkin’s transsexuals; Richard Avedon’s portrait of a bee keeper, nude, covered with swarming insects. On one wall stands a familiar-looking image, discreetly clothed amid this abundance of flesh: Leonardo’s Christ, from the very center of the Last Supper. On closer inspection, negative marks band the image; to its side entirely stands a plaque announcing the title, Delay, and the name of the artist, William Anastasi.
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Wiedemeyer, Nina. "Fernando Domínguez Rubio: Still Life. Ecologies of the Modern Imagination at the Art Museum, Chicago/London 2020." In MUSEALE RESTE, 104–6. De Gruyter, 2022. http://dx.doi.org/10.1515/9783110733372-013.

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Brier, Bob. "Who Owns Tutankhamun?" In Tutankhamun and the Tomb that Changed the World, 257—C19.P23. 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 the Metropolitan Museum of Art, the Museum of Fine Arts in Boston, and the Oriental Institute of the University of Chicago built their collections. This policy of partage began to change shortly after the discovery of Tutankhamun’s tomb. It was a slow process, but in 1983, Egypt passed Law 117, forbidding the export of any antiquities. This chapter discusses the role of the discovery of Tutankhamun’s tomb in this change.
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Poston, Larry. "Da‘wah in the East: The Expansion of Islam from the First to the Twelfth Century,." In Islamic Da‘wah in the West, 26–47. Oxford University PressNew York, NY, 1992. http://dx.doi.org/10.1093/oso/9780195072273.003.0003.

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Abstract The territory brought under Islamic suzerainty during the first century following the inception of the religion stretched from the shores of the Atlantic in the West to the Indian subcontinent in the East-a remarkable achievement given the relatively small forces that accomplished it. Among the many questions that could be asked with regard to this phenomenon is one having to do with the initi ative that produced it: Was this expansion the intended result of tac tical and strategic planning on the part of the founder of Islam or was it rather an accident resulting from a chance combination of historical circumstances? Was it in Muhammad’s mind to produce a world religion or did his interests lie mainly within the confines of his homeland? Was he solely an Arabian nationalist-a political genius intent upon uniting the proliferation of tribal clans under the banner of a new religion-or was his vision a truly international one, encompassing a desire to produce a reformed humanity in the midst of a new world order? These questions are not without significance, for a number of the proponents of contemporary da’wah activity in the West trace their inspiration to the Prophet himself, claiming that he initiated a worldwide missionary program in which they are the most recent participants. Ahmad Sakr, the former director of the Muslim World League Office to the United Nations and North America and founder of the American Islamic College in Chicago, believes that “Allah commanded the Prophet Muhammad to start making Da’wa from the first day he was entrusted with the mission of Islam.
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Conference papers on the topic "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 national and international exhibitions or events that could be hosted in museums has a twofold consequence: on the one hand, a cultural dynamics due to the permanent contact with unknown objects, and on the other hand, some visibility strategies in order to attract visitors. This latter effect actually embodies a shift within the perception of museums from entities of knowledge towards leisure environments. Within this context where the concept of edutainment(Eschach 2007) seems to prevail in the non-formal way of acquiring new knowledge, contemporary virtual museums display visual information without regard to geographic location (Dahmen, Sarraf, 2009). They play ?a central role in making culture accessible to the mass audience(Carrazzino, Bergamasco 2010) by using new technologies and novel interaction paradigms. Our study will aim at analyzing the way in which civilization was e-framed in the virtual project ?A History of the World in 100 Objects, run by BBC Radio 4 and the British Museum in 2010. The British Museum won the 2011 Art Fund Prize for this innovative platform whose main content was created by the contributors (the museums and the members of the public). The chairman of the panel of judges, Michael Portillo, noted that the judges were impressed that the project used digital media in ground-breaking and novel ways to interact with audiences. The two theoretical frameworks used in our analysis are framing theories and critical discourse analysis. ?Schemata of interpretation? (Goffman 1974), frames are used by individuals to make sense of information or an occurrence, providing principles for the organization of social reality? (Hertog & McLeod 2001). Considered cultural structures with central ideas and more peripheral concepts and a set of relations that vary in strength and kind among them? (Hertog, McLeod 2001, p.141), frames rely on the selection of some aspects of a perceived reality which are made more salient in a communicating text or e-text. We will interpret this virtual museum as a hypertext which ?makes possible the assembly, retrieval, display and manipulation? (Kok 2004) of objects belonging to different cultures. The structural analysis of the virtual museum as a hypertext will focus on three orders of abstraction (Kok 2004): item, lexia, and cluster. Dividing civilization into 20 periods of time, from making us human (2,000,000 - 9000 BC) up to the world of our making (1914 - 2010 AD), the creators of the digital museum used 100 objects to make sense of the cultural realities which dominated our civilization. The History of the World in 100 Objects used images of these objects which can be considered ?as ideological and as power-laden as word (Jewitt 2008). Closely related to identities, ideologies embed those elements which provide a group legitimation, identification and cohesion. In our analysis of the 100 virtual objects framing e-civilization we will use the six categories which supply the structure of ideologies in the critical discourse analysis framework (van Dijk 2000: 69): membership, activities, goals, values/norms, position (group-relations), resources. The research questions will focus on the content of this digital museum: (1) the types of objects belonging to the 20 periods of e-civilization; (2) the salience of countries of origin for the 100 objects; (3) the salience of social practices framed in the non-formal teaching of e-civilization/culture; and on the visitors? response: (1) the types of attitudes expressed in the forum comments; (2) the types of messages visitors decoded from the analysis of the objects; (3) the (creative) value of such e-resources. References Brown, M.F. (2009). Exhibiting indigenous heritage in the age of cultural property. J.Cuno (Ed.). Whose culture? The promise of museums and the debate over antiquities (pp. 145-164), Princeton, Oxford: Princeton University Press. Carrazzino, M., Bergamasco, M. (2010). Beyond virtual museums: Experiencing immersive virtual reality in real museums. Journal of Cultural Heritage, 11, 452-458. Cuno, J. (2009) (Ed.). Whose culture? The promise of museums and the debate over antiquities (pp. 145-164), Princeton, Oxford: Princeton University Press. Dahmen, N. S., & Sarraf, S. (2009, May 22). Edward Hopper goes to the net: Media aesthetics and visitor analytics of an online art museum exhibition. Visual Communication Studies, Annual Conference of the International Communication Association, Chicago, IL. Eshach, H. (2007). Bridging in-school and out-of-school learning: formal, non-formal, and informal education . Journal of Science Education and Technology, 16 (2), 171-190. Goffman, E. (1974). Frame analysis: An essay on the organization of experience. Cambridge, MA: Harvard University Press. Hertog, J.K., & McLeod, D. M. (2001). A multiperspectival approach to framing analysis: A field guide. In S.D. Reese, O.H. Gandy, & A.E. Grant (Eds.), Framing public life: Perspective on media and our understanding of the social world (pp. 139-162). Mahwah, NJ: Lawrence Erlbaum Associates. Jewitt, C. (2008). Multimodality and literacy in school classrooms. Review of Research in Education, 32 (1), 241-267. Kok, K.C.A. (2004). Multisemiotic mediation in hypetext. In Kay L. O?Halloren (Ed.), Multimodal discourse analysis. Systemic functional perspectives (pp. 131-159), London: Continuum. van Dijk, T. A. (2000). Ideology ? a multidisciplinary approach. London, Thousand Oaks, New Delhi: Sage.
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