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

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Author: Grafiati

Published: 25 July 2024

Last updated: 1 August 2024

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1

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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2

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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3

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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4

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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5

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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6

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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7

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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8

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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11

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 Georgia O’Keeffe. Dalszych 999 nazwisk wypisano, również złotą farbą, na kafelkowej posadzce. Dzieło od razu wywołało burzliwe reakcje i dysputy nawet w środowiskach feministycznych. Zarzucano mu m.in. słabą reprezentację kobiet spoza kręgu kultury euroamerykańskiej. Najwięcej negatywnych reakcji wywołały jednak wzory na talerzach niedwuznacznie kojarzące się z żeńskimi organami płciowymi. Dziś jednak Dinner Party uchodzi za jedną z najważniejszych i najwcześniejszych (przynajmniej na tę skalę) manifestacji feminizmu w sztuce. Cały proces powstawania instalacji udokumentowała w filmie Johanna Demetrakas, dając świadectwo nie tylko wielkiego wkładu zespołu współpracowników Judy Chicago w skończone dzieło, ale także rodzenia się feministycznej świadomości w grupie.

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12

Maroja, Camila. "Entrevista com Lynn Zelevansky." ARS (São Paulo) 15, no. 30 (October 27, 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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13

Dohoney, Ryan. "The Chicago sound show at the smart museum of art, the University of Chicago." Sound Studies 6, no. 2 (February 11, 2020): 271–74. http://dx.doi.org/10.1080/20551940.2020.1719467.

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14

Fern, Annette. "Re: Sources." Theatre Survey 47, no. 1 (April 13, 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 who felt that the structure, by noted Chicago architect Howard Van Doren Shaw, was historically significant and warranted landmark status.

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15

Kinkley, Jonathan. "Art Thief: An Educational Computer Game Model for Art Historical Instruction." Leonardo 42, no. 2 (April 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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16

BLAIR, SHEILA. "The Many Questions of Islamic Art." International Journal of Middle East Studies 39, no. 3 (August 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, University of Chicago. However, we are in the dark about where the bowl has been in the eight centuries since it was made.

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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 (February 2021): 109–31. http://dx.doi.org/10.2979/filmhistory.33.4.05.

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18

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 (February 2002): 234–37. http://dx.doi.org/10.2307/2700228.

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19

Yahr, Jayme. "Disappearing act." Journal of the History of Collections 32, no. 1 (December 17, 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-backed museum struggled to find visitors, structures of support, and strategic vision while under his control. With the disappearance of each museum, the story of Terra’s art collection became inexorably intertwined with concepts of value, identity, and the physical shift from private hobby to public endeavour.

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20

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 (February 11, 2019): 141–54. http://dx.doi.org/10.1080/01973762.2018.1553445.

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21

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 its fashion and textile collection and reinvigorate its active collecting of fashion objects. This year, the museum opened a new wing that has allocated a specific venue for showcasing exhibitions dedicated to the exploration of its fashion collection. What follows are excerpts from a conversation between the author and the curator. Topics include the Fashion and Textile Collection at the Peabody Essex Museum, the new Fashion and Design Gallery, and the accessibility of the institution’s collection.

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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 (December 2020): 461–64. http://dx.doi.org/10.1017/s0003975620000296.

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23

Buckley, Kat. "Karolina Gnatowski. Some Kind of Duty. DePaul Art Museum, Chicago, Illinois, January 17 – March 31, 2019." TEXTILE 18, no. 1 (July 9, 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 (October 14, 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, and consists of hundreds of photos and hundreds of hours of participant observations and field notes. The data are analyzed using descriptive methods and content analyses. Findings The findings highlight three specific racial mechanisms that speak to how white spaces are created, recreated and maintained within nationally and internationally elite museums: spatiality, the policing of space, and the management of access. Research limitations/implications Sociological research on how white spaces are maintained in racialized organizations is limited. This paper extends to museums’ institutional role in maintaining white supremacy, as white sanctuaries. Originality/value This paper adds to the existing literature on race, place and space by highlighting three specific racial mechanisms in museum institutions that help to maintain white supremacy, white normality(ies), and serve to facilitate a reassurance to whites’ anxieties, fears and fragilities about their group position in society – that which helps to preserve their psychological wages of whiteness in safe white spaces.

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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 genre public art.” Drawing on interviews with the artist, it traces the use of meat and foodstuffs in Lacy's practice, beginning with beef kidneys in 1972. Much prior writing on Lacy investigates her performances of the 1970s. This article examines the way in which Lacy used elements of these performances, namely food, to further understand the roles of relationships and conversation in art.

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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 (June 22, 2021): 273–76. http://dx.doi.org/10.3917/res.228.0273.

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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 (June 2015): 155. http://dx.doi.org/10.1111/jacc.12311.

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Branting, Steven D. "“So Close to the Banks of Oblivion” An American Master is Rediscovered." Sculpture Review 69, no. 4 (December 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 undeniable skill but sadly limited catalog can once again enjoy a deserved acclaim.

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Bush, Clive. "Cultural Reflections on American Linguists from Whitney to Sapir." Journal of American Studies 22, no. 2 (August 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 industrial tasks, presented in serial order, become authoritative ways of coding behaviour, language and culture.

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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 (December 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—their location within each city, the lay out of their locations, and the physical space of the museums themselves—help explain this variation. We end with specific implications for our work, centering on how we might dismantle current ideas of high culture (read: White) in favor of museums that are more inclusive, recognize their colonial project histories, and have antiracism in their mission as socially responsible institutions for the cities in which they reside and the people who reside there.

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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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32

Cutler-Bittner, Jody B. "Charles White." Nka Journal of Contemporary African Art 2019, no. 45 (November 1, 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 poignant, politically charged lithographs in a realist drawing style set in increasingly abstract environments. By then associated with the Black Arts Movement, he continued to recycle historical figures and references from his earliest work in the milieu of a Black Renaissance in Chicago and bolstered by the Works Progress Administration, which, with reciprocal viewing, takes on a collective modernist context in terms of current events related to African American experience and American life broadly, even where allegorical. White’s prolific graphic experimentation yielded varied surface patterns that often evoke content-laden textures, elided into several distinctive late paintings also featured.

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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 diversity of the exhibited items and the principle of reciprocal completing of the exhibitors. It also analyzes the items presented by the imperial Petergof, Ekaterinburg lapidary and Kolyvan grinding factories, by Carl Woerffel’s enterprise and a wide range of small Ural producers as well. Due to discovering of archival materials, a number of items, exhibited in Chicago, was identified in themuseum collections in Russia and abroad. Some attributional details for the exhibited Woerffel items are offered which made it possible to propose the authorship and dating for the items from Russian and foreign collections. The author is also the first to analyze the collection, purchased at the exhibition from the Russian stonecutters for The Field Museum of Natural History in Chicago. A conclusion is drawn about the role of the colored stones items and the importance of their presentation for the formation of the Russian Empire’s image as one of the most important world centers of the decorative stones development.

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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 (January 1, 2021): 163–64. http://dx.doi.org/10.1086/712010.

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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 (October 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, living and working environments, and anticipated astronaut tasks were the driving forces behind the conceptual design. Their Mars Exploration Rover recently was awarded the prestigious GOOD DESIGN Award for “its bold, futuristic design” by the Chicago Athenaeum: Museum of Architecture and Design with the European Centre for Architecture Art Design and Urban Studies.

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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 the USA, such as the Oriental Institute in Chicago. There is evidence that the manuscript travelled from al Fustat in Egypt to Paris before finally settling in St. Petersburg, Russia, Leiden, Doha, the UK, and the USA. An analysis was conducted to determine the origin of the ayat count, but its exact origin proved difficult to ascertain for several reasons.

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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 (July 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 (January 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 (September 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 (February 2007): 285–87. http://dx.doi.org/10.1017/s0021911807000526.

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Breen, Deborah. "Contingency and Constraint." Transfers 5, no. 3 (December 1, 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 African Americans in the twentieth century. Not coincidentally, the poem also provides the title of the current exhibition of the sixty paintings in Lawrence’s series, on display at MoMA, New York, from 3 April to 7 September 2015.1 Shown together for the first time in over twenty years, the paintings are surrounded by works that provide context for the “great migration”: additional paintings by Lawrence, as well as paintings, drawings, photographs, texts, and musical recordings by other African-American artists, writers, and performers of the early to mid-twentieth century.

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Cossu, Stefano. "Labours of Love and Convenience: Dealing with Community-Supported Knowledge in Museums." Publications 7, no. 1 (March 7, 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 resolve, and its technical implementation. After that, the paper will treat the strategic shift of resources from a self-contained production and review cycle toward an exchange-based economy. The challenges, both external and internal, posed by this change will be addressed. All the while, the paper will highlight perspectives and challenges related to the museum sector, and the efforts of AIC to adopt views and methodologies that have traditionally been associated with the library world. A section is dedicated to ongoing efforts of the same nature among museums.

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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 Levytsky allows us to consider by the comparative approach to determine art on industrial graphics and arts and crafts. Myron Levytsky is a famous painter, graphic artist, journalist, and writer. He worked as a book illustrator and designer in Lviv since 1935. Myron Levytsky was published and edited the magazine «My i svit» in 1938. Also, he worked at the Academy of Sciences of the Ukrainian archeology department in Lviv and at the Lviv Historical Museum. In 1949 Myron Levytsky emigrated to Canada and worked in Winnipeg as art editor of Ivan Tyktor’s publishing house. He worked as an editor of the humor magazine Komar during 1949–1950. He was settling in Toronto in 1954. After he had spent two years painting in Paris, traveling to New York, Detroit, Ottawa, Edmonton, Chicago, Lviv, Kyiv. His first one-man exhibition was held in Paris, in 1958. Levytsky’s canvases are characterized by their stylized and rich color, flowing linearity, and new abstracted forms. New research approaches and concepts by foreign and Ukrainian artists are integrating individual issues into multicultural artist environment. The typology of entertainment establishment is explored and systematized, their classification for different field of art. The main contribution into development of the Ukrainian art did by artists of the «Ukrainian diaspora». A retrospective generally, is a look at event that took place in the past and make possible to integrity that experience into modern multicultural «art space». Findings. In this paper was revealed that the range of interests by Myron Levytsky are portraiture, urban landscapes, classical and Ukrainian mythology, nudes, literature, and history to icons and religious themes. The revealed features of the typology and approaches of the design of entertaining facilities can be used in the practical activities of art critics.

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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 (March 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 (March 2015): 55–56. http://dx.doi.org/10.1086/680460.

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Ustyugova, V. V. "A FILM CRITIC'S VIEW VERSUS A HISTORIAN'S VIEW ON SOVIET HISTORICAL MOVIES." Вестник Пермского университета. История, no. 4(55) (2021): 39–45. http://dx.doi.org/10.17072/2219-3111-2021-4-39-45.

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The article analyzes Yuri Tsivian's book “On the Approaches to Carpalistics. Movement and Gesture in Litera-ture, Art, and Film” (2010), which is a continuation of an earlier project of the famous Russian and American film scholar and a representative of the Tartu-Moscow Semiotic School and Film Studies at the University of Chicago – the study “Historical Reception of Cinema: Cinematography in Russia, 1895–1930” published in Riga in 1991. Tsivian introduces the notion of “carpalistics” into cinematography to denote one of the fundamental and formative principles of cinema – gesture. The author investigates the history of gestures in art, especially in the Russian avant-garde of the 1920s. The Soviet avant-garde cinema, in contrast to the pre-revolutionary anti-montage cinema, was dominated by montage, but it was too early to bury the gesture. The article compares, on the one hand, the approach-es of historians who analyze the ideologemes and ideological markers of historical films and identify the “second” mythological film-reality of Soviet history (a vivid example of such optics is the study “Museum of the Revolu-tion. Soviet Cinema and the Stalinist Historical Narrative” by Evgeny Dobrenko), and, on the other hand, the ap-proaches of film scholars who work with film-frames and sources of film-making (ego-documents, scripted vari-ants, montage sheets, film versions, etc.). On the example of the analysis of Sergei Eisenstein's films “October” and “Ivan the Terrible”, Tsivian shows the author's meanings, independent from the state order, in the rich system of references in films, and sees the secret writing of historical and cultural contexts inherent in them.

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WARD, WENDY E. "Mark Reinhardt, Holly Edwards, and Erina Duganne (eds.), Beautiful Suffering: Photography and the Traffic in Pain (Chicago: The University of Chicago Press and Williams College Museum of Art, 2007, $25.00/£13.00). Pp. 216. isbn0 226 70950 7." Journal of American Studies 42, no. 2 (August 2008): 379–80. http://dx.doi.org/10.1017/s0021875808004982.

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Robertson, Kirsty. "The Disappearance of Arthur Nestor: Parafiction, Cryptozoology, Curation." Museum and Society 18, no. 2 (July 4, 2020): 98–114. http://dx.doi.org/10.29311/mas.v18i2.3083.

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This paper considers Beneath the Surface: The Archives of Arthur Nestor, a parafictional exhibition that I curated in 2014 with 16 undergraduate students at Western University, Canada. The exhibition depicted the life of Dr. Arthur Nestor, a professor of Biology who had disappeared from London (ON) in 1975, seemingly without trace. Over the summer of 2014, some of Nestor’s files and artefacts had been discovered during university renovations, and this archive was given to students in Museum Studies to organize and catalogue. As we sorted through the files, it became clear that Dr. Nestor was something of a controversial figure, a man who became an environmental activist in Southwestern Ontario because of his belief that cryptids (lake monsters) lived in Lakes Huron and Erie, and were in need of protection from human-made pollution. As the documents in his file overlapped with our research in the wider sphere, the evidence seemed to suggest that Nestor had left London to join Dr. Roy Mackal, a University of Chicago professor of cryptozoology searching for the Loch Ness Monster. This paper weaves together the tale of Arthur Nestor and the curating of Beneath the Surface with a history of the relationship between natural history museums and cryptozoology, ultimately questioning what parafiction can do in both art galleries and museums.

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Brown, Bronwen. "Guide to the Archive of Art and Design, Victoria and Albert Museum2001285Elizabeth Lomas. Guide to the Archive of Art and Design, Victoria and Albert Museum. London and Chicago, IL: Fitzroy Dearborn in association with The Victoria and Albert Museum 2001. 278 pp, ISBN: 1 57958 315 6 £45.00." Reference Reviews 15, no. 5 (May 2001): 35–36. http://dx.doi.org/10.1108/rr.2001.15.5.35.285.

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Straughan, Elizabeth, Deborah Dixon, and Harriet Hawkins. "U-n-f-o-l-d: A Cultural Response to Climate Change The Museum of Contemporary Photography and the Glass Curtain Gallery, Chicago, IL, U.S.A., February 2011–April 2011. Exhibit web site: www.mocp.org/exhibitions/2011/03/unfold.php." Leonardo 45, no. 1 (February 2012): 65–66. http://dx.doi.org/10.1162/leon_r_00327.

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