Journal articles on the topic 'Drawing – United States – Exhibitions'
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1
Sinelnyk, Alina. "Curating the international profile of contemporary Chinese ink medium art: The Third Chengdu Biennale (2007) and The Met’s Ink Art (2013–14)." Journal of Contemporary Chinese Art 9, no. 3 (November 1, 2022): 289–312. http://dx.doi.org/10.1386/jcca_00068_1.
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This article aims to shed light on a curatorial momentum that was generated at the turn of the 2010s in the broader international art world, allowing contemporary Chinese ink works for the first time within the context of the new century to have a more geographically widespread spotlight of attention under a dual label of the Indigenous and the international. Indeed, in the run up to the 2008 Beijing Olympic Games, the curatorial approach to ink art in both China and North America and Europe began to change, emphasizing not only ink’s cultural uniqueness but also its transcultural applicability. The pioneering event to do this was the Third Chengdu Biennale in China, following which there was a noticeable escalation in similar exhibitions across countries like the United States or the United Kingdom. These ranged from the ground-breaking Ink Art: Past as Present in Contemporary China (2013–14) at New York’s Metropolitan Museum of Art (The Met) to exhibitions at international auction houses and commercial galleries, such as Christie’s or the London-based Saatchi Gallery. By focusing on the Third Chengdu Biennale and The Met’s Ink Art exhibition as the two case-study examples, this article elucidates in what specific ways present-day Chinese ink works were framed by these two significant internationally oriented exhibitions, as well as what kind of critical reception this attracted. Drawing from this analysis, the article also provides a reflection on this curatorial momentum’s both achievements and limitations, suggesting that altogether they present an important foundation for present-day curators to devise new constructive ways of positioning Chinese ink as the global contemporary medium of artistic expression.
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Ben-Choreen, Tal-Or K. "Emergence of Fine Art Photography in Israel in the 1970s to the 1990s Through Pedagogical and Social Links with the United States." Contemporary Review of the Middle East 6, no. 3-4 (September 2019): 252–65. http://dx.doi.org/10.1177/2347798919872588.
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The flourishing of photography as a tool for expressive reportage and artistic practice transformed photographic education during the mid-twentieth century. American-based academic institutions quickly established reputations in the emerging fine art field as leaders in photographic education drawing international students from diverse locations, including Israel. Many Israelis who studied photography in American institutions returned to Israel bringing with them the knowledge they had gained while abroad. This article considers the impact of American pedagogical models and social networks on the development of the Israeli photographic field. Included in this discussion is an exploration of the emergence of Israeli photography programs in institutions of higher education, photography galleries, museum collections, and exhibitions. By approaching the study through a network methodological approach, this article traces the transnational movements of individuals: photographers, program graduates, and curators in order to demonstrate the significant impact American photographic education had on the emerging Israeli photographic field.
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Murray, Shaun. "Drawing architecture." Design Ecologies 11, no. 1 (June 1, 2022): 11–33. http://dx.doi.org/10.1386/des_00014_1.
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Can we surpass the representational nature of architecture drawing to consider and discuss the agency of architectural drawing in process and result? Over the course of three years from 2019, a cohort of architect–drafters, architect–theoreticians and a curator are meeting every six months in a reflective exchange to discuss the production and exhibition of a collection of drawings and drawing-related artefacts. The varying cast of the bi-annual symposia are participants from the United States, Canada and Europe including Michael Webb, Perry Kulper, Laura Allen, Bryan Cantley, Nat Chard, Mark Dorrian, Arnaud Hendrickx, William Menking, Shaun Murray, Anthony Morey, Mark Smout, Neil Spiller, Natalija (Nada) Subotincic, Mark West, Michael Young and Riet Eeckhout. Surpassing the representational nature of architecture drawing, a group of architects and I consider and discuss the agency of architectural drawing in process and result. Drawing architecture implies materializing an architecture within the drawing, where it can be sought, found and experienced. This refers to an action in the present progressive, an action by the author in the process of bringing into the world through drawing – architectural research through drawing. The artefacts, as drawings, that we are looking at are an end in themselves and not a preparatory means to build an environment as in how drawings are used in architectural practices for buildings. These symposia aim to reveal and come closer to the individual agency of each practice within the drawn discipline of architecture, to establish a way in which we can show this agency in an Exhibition at Montreal Design Centre in August–December 2022. The bi-annual symposium days were structured by round-table conversations and discussions that take place based on drawings or drawing-related artefacts brought in by the participants. In ‘Drawing architecture’ Session 1 in New York, we had an in-depth introduction of each participant’s practice with Michael Webb, Perry Kulper, Bryan Cantley, Nat Chard, Arnaud Hendrickx, William Menking, Shaun Murray, Anthony Morey, Neil Spiller, Natalija (Nada) Subotincic, Mark West, Michael Young and Riet Eeckhout. Participants expanded on their bodies of work, tools and the nature of the drawing practice. For ‘Drawing architecture’ Session 2 in London, we sharpened the conversation between the participants by: (1) establishing an angle from which we talk through the artefact(s) (drawing or drawing practice-related artefact), each participant from the standpoint of their practice. Angle: Talking through the drawing or drawing practice-related artefact, can you expand on the agency of the drawing (practice) within the discipline of architecture? Questions that might be helpful: (a) How does the drawing work as a tool of investigation (technique of leveraging knowledge). (b) Where and what is the architecture within the resulting drawing/artefact? When is the architecture in the process? Is there architecture within the drawing? (2) By placing the drawing or artefact central during the symposium talk and organize a group conversation around it. It might be that you bring one or more current drawings/artefacts enabling you to expand on the specific drawing practice investigation. The artefact might be resolved or unresolved, finished, ongoing or just starting and in the thick of things. The presence of the drawing allows the group to come closer to and understand the agency of the artefact itself, supported by talking us through and unpacking the artefact.
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Ian Shin, K. "The Chinese Art “Arms Race”." Journal of American-East Asian Relations 23, no. 3 (October 27, 2016): 229–56. http://dx.doi.org/10.1163/18765610-02303009.
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Interest in Chinese art has swelled in the United States in recent years. In 2015, the collection of the late dealer-collector Robert Hatfield Ellsworth fetched no less than $134 million at auction (much of it from Mainland Chinese buyers), while the Metropolitan Museum of Art drew over 800,000 visitors to its galleries for the blockbuster show “China: Through the Looking Glass”—the fifth most-visited exhibition in the museum’s 130-year history. The roots of this interest in Chinese art reach back to the first two decades of the 20th Century and are grounded in the geopolitical questions of those years. Drawing from records of major collectors and museums in New York and Washington, D.C., this article argues that the United States became a major international center for collecting and studying Chinese art through cosmopolitan collaboration with European partners and, paradoxically, out of a nationalist sentiment justifying hegemony over a foreign culture derived from an ideology of American exceptionalism in the Pacific. This article frames the development of Chinese art as a contested process of knowledge production between the United States, Europe, and China that places the history of collecting in productive conversation with the history of Sino-American relations and imperialism.
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Khan, B. Zorina. "Inventing Prizes: A Historical Perspective on Innovation Awards and Technology Policy." Business History Review 89, no. 4 (2015): 631–60. http://dx.doi.org/10.1017/s0007680515001014.
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Prizes for innovations are currently experiencing a renaissance, following their marked decline during the nineteenth century. Debates about such incentive mechanisms tend to employ canonical historical anecdotes to motivate and support the analysis and policy proposals. Daguerre's “patent buyout,” the Longitude Prize, inducement prizes for butter substitutes and billiard balls, the activities of the Royal Society of Arts and other “encouragement” institutions—all comprise potentially misleading case studies. The article surveys and summarizes extensive empirical research using samples drawn from Britain, France, and the United States, including “great inventors” and their ordinary counterparts, and prizes at industrial exhibitions. The results suggest that administered systems of rewards to innovators suffered from a number of disadvantages in design and practice, which might be inherent to their nonmarket orientation.
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Franz, Kathleen, Nancy Bercaw, Kenneth Cohen, Mireya Loza, and Sam Vong. "Girlhood (It’s complicated)." Public Historian 43, no. 1 (February 1, 2021): 138–63. http://dx.doi.org/10.1525/tph.2021.43.1.138.
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Girlhood (It’s complicated) is an exhibition at the National Museum of American History (NMAH), part of the Smithsonian Institution, which opened in October of 2020. Created with federal funding as part of the American Women’s History Initiative (AWHI), the exhibition commemorates the centennial of women’s suffrage. To put a fresh spin on this anniversary and draw attention to larger, intertwining issues of gender and politics in the United States, the exhibition team chose to explore the history of girlhood and girls as political actors as the focus of the show. Drawing on the rich, interdisciplinary literature of girlhood studies and inspired by zines as a form of identity creation and political self-expression, the show aims to create a public history of girlhood that unveils the public lives of girls in the past and showcases the many ways in which they, even without the vote or formal political power, have had a political voice in American history. The exhibition is open at the NMAH from October 2020 to January 2023, and will travel with the Smithsonian Institution Traveling Exhibition Service through 2026.
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Aubrecht, Katie. "Work of Art, Art of Work: Artistic Literacy and Quality in Long-Term Dementia Care." Innovation in Aging 4, Supplement_1 (December 1, 2020): 92. http://dx.doi.org/10.1093/geroni/igaa057.303.
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Abstract This paper shares results from a thematic analysis (Braun & Clarke, 2006) of semi-structured interviews with a purposive snowball sample of 15 leaders in dementia arts education and praxis from Canada, the United States and United Kingdom. Interviews were conducted as part of a multi-phased collaborative, interdisciplinary arts-informed research project that aimed to operationalize quality mental health and dementia care in long-term care (LTC) from a relational perspective, with a focus on LTC staff literacy. Artistic literacy that is cultivated through creative arts-making and public exhibiting was described by participants as crucial to supporting and promoting quality within long-term care. Quality was imagined as a work of art and operationalized in terms of artist competencies, capacities and conditions. Artists included LTC staff, residents and their family and friends. Our analysis identified five themes related to artistic literacy: space-making, validation, fostering community, means of engagement, vulnerability and resilience. Drawing on cultural sociology (Bourdieu, 1993, 1984) and aging studies theory (Basting, 2018), we consider and discuss the role of the arts in disrupting unexamined assumptions about quality in LTC and advancing innovation in LTC staff mental health and dementia care.
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Lei, Hao. "Italian Immigrants Culture in New York: A Comparative Study on The Godfather II and Mean Streets Through the Lens of Audiovisual Language." Communications in Humanities Research 19, no. 1 (December 7, 2023): 148–56. http://dx.doi.org/10.54254/2753-7064/19/20231220.
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This study explores the dynamics of cultural integration, assimilation, and identity formation of Italian immigrants in American films in the 20th century. It makes a comparative analysis of two iconic films, The Godfather II and Mean Streets, through the lens of audiovisual language. Drawing upon the semiotics theory, mirror theory, and root theory, this research aims to analyze the dynamic changes in culture, economy, and emotions experienced by Italian immigrants. The study is anchored in three key aspects. First, it focuses on the identity politics of Italian immigrants in the United States, with a spotlight on second-generation immigrants. Unlike the first generation, they retain a strong sense of separation from their Italian roots, exhibiting few traces of a transitional identity arc. The second aspect revolves around the directors reconstruction of national history in a global context and its connection to the Mafias influence on economic predicament. Lastly, by looking into the narrative symbols in these films, this research continuously explores the emotional dynamics in the process of cultural integration.
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Taylor, Paul. "‘A Routh O’ Auld Nick-Nackets’ – the antiquarian collection of John Rae." Scottish Archaeological Journal 36-37, no. 1 (March 2015): 163–83. http://dx.doi.org/10.3366/saj.2014.0054.
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John Rae, a Scottish antiquarian collector and spirit merchant, played a highly prominent role in the local natural history societies and exhibitions of nineteenth-century Aberdeen. While he modestly described his collection of archaeological lithics and other artefacts, principally drawn from Aberdeenshire but including some items from as far afield as the United States, as a mere ‘routh o’ auld nick-nackets' (abundance of old knick-knacks), a contemporary singled it out as ‘the best known in private hands' (Daily Free Press 4/5/91). After Rae's death, Glasgow Museums, National Museums Scotland, the University of Aberdeen Museum and the Pitt Rivers Museum in Oxford, as well as numerous individual private collectors, purchased items from the collection. Making use of historical and archive materials to explore the individual biography of Rae and his collection, this article examines how Rae's collecting and other antiquarian activities represent and mirror wider developments in both the ‘amateur’ antiquarianism carried out by Rae and his fellow collectors for reasons of self-improvement and moral education, and the ‘professional’ antiquarianism of the museums which purchased his artefacts. Considered in its wider nineteenth-century context, this is a representative case study of the early development of archaeology in the wider intellectual, scientific and social context of the era.
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Beck, James. "RECENT DONATELLO EXHIBITIONS IN ITALY AND THE UNITED STATES." Source: Notes in the History of Art 5, no. 3 (April 1986): 2–7. http://dx.doi.org/10.1086/sou.5.3.23202393.
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Zhezhko-Braun, Irina. ""Project 1619" as an alternative to "American project"." Ideas and Ideals 13, no. 1-1 (March 19, 2021): 80–111. http://dx.doi.org/10.17212/2075-0862-2021-13.1.1-80-111.
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This article is the second in a series on the birth of a new elite in the United States, called ‘the minority elite’. The previous article hypothesized that what is happening is not so much the replenishment or evolution of the old elite, but the emergence of a new one, grown on the basis of the Affirmative Action Program, the culture of ‘woke capitalism’ and decades of the minority protest. The process of elite change intensified on the wave of protest activity of black minority, primarily ‘Black Lives Matter’ movement, in the summer of 2020, which coincided with elections to all branches of government. The new elite need to create their own version of American history and their liberation mission. The ideological paradigm of the black movement includes several social doctrines: ‘The 1619 Project’, critical race theory, Black liberation, theories of white privilege, white supremacy and anti-racism. ‘The 1619 Project’ clearly demonstrates how the new elite understand the past, present and future of the United States and their place in the social structure. This article analyzes the theses of ‘1619’, and also contains the main conclusions of the professional criticism of this project. The goal of the project, according to its authors, is to reframe American history. It places slavery and systematic racism at the very center of US history and thereby denies the foundations on which the ‘American project’ is based. ‘1619’ is considered in the article as a socio-engineering project that includes various programs: curricula for colleges and schools, podcasts for radio, TV shows and films, interviews and speeches in universities, exhibitions, press publications, ideological themes for elections and trainings for organizations and social movements. The unprecedented speed of implementation and the scale of financing of the new version of American history in all spheres of society without its professional assessment indicate that this large-scale action was prepared in advance. The article deals with the fundamental factual errors in the presentation of history, analysis and interpretation of economic data in ‘1619’, including those that were uncritically borrowed from the school ‘New History of Capitalism’. It also addresses the doctrine of anti-racism. The analysis of the project showed a low level of evidence of the revision of history conceived in it. The author shows by the example of ‘1619’ that scientific research is not combined with ideological tasks, since the latter inevitably lead to adjustment to the given answer, a decrease in the level of the applied scientific apparatus and simplification of the conclusions drawn. Criticism of the project was heard only in the academic sphere, but did not get into the media. One of the most serious consequences of the project is the creation of a new mythology, supplanting from the public consciousness a version of American history based on the Declaration of Independence, the Constitution and proven historical facts. The black movement, albeit temporarily, managed to impose its own narrative on public opinion and create a rationale for moving into power and receiving new privileges.
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REDMAN, SAMUEL. "Remembering Exhibitions on Race in the 20th-century United States." American Anthropologist 111, no. 4 (November 17, 2009): 517–18. http://dx.doi.org/10.1111/j.1548-1433.2009.01160_1.x.
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Wang, ShiPu. "The Challenges of Displaying “Asian American”: Curatorial Perspectives and Critical Approaches." AAPI Nexus Journal: Policy, Practice, and Community 5, no. 1 (2007): 12–32. http://dx.doi.org/10.36650/nexus5.1_12-32_wang.
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This essay delineates the issues concerning AAPI art exhibitions from a curator’s perspective, particularly in response to the changing racial demographics and economics of the past decades. A discussion of practical, curatorial problems offers the reader an overview of the obstacles and reasons behind the lack of exhibitions of AAPI works in the United States. It is the author’s hope that by understanding the challenges particular to AAPI exhibitions, community leaders, and patrons will direct future financial support to appropriate museum operations, which in turn will encourage more exhibitions and research of the important artistic contribution of AAPI artists to American art.
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Montes Serrano, Carlos, and David Durántez Stolle. "The Mies van der Rohe exhibition at the MoMA in 1947: a 3D reconstruction model." EGE-Expresión Gráfica en la Edificación, no. 11 (December 30, 2019): 64. http://dx.doi.org/10.4995/ege.2019.12870.
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<div>Between 16 September 1947 and 25 January 1948 the Museum of Modern Art of New York hosted a Mies van der Rohe exhibition. This exhibition was made up of photo-murals, collages, drawings and photographs of his buildings. In addition; five scale models of commissions received in the United States and some of his pieces of furniture were on display. This article will study the graphical works selected by Mies and how they were laid out in the exhibition area, so as to enable the reproduction in the form of computer recreations of the spatial impressions received by visitors going around the site.</div>
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Bencic Kuznar, Andriana, and Vjeran Pavlakovic. "Exhibiting Jasenovac: Controversies, manipulations and politics of memory." Heritage, Memory and Conflict 3 (May 10, 2023): 65–69. http://dx.doi.org/10.3897/ijhmc.3.71583.
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The Jasenovac Concentration Camp prevails as one of the most potent symbols that continues to fuel ideological and ethno-national divisions in Croatia and neighboring Yugoslav successor states. We argue that mnemonic actors who distort the history, memory, and representations of Jasenovac through commemorative speeches, exhibitions, and political discourse are by no means new. The misuses of the Jasenovac tragedy, vividly present during socialist Yugoslavia, continue to the present day. Drawing upon the history of mediating Jasenovac as well as recent examples of commemorative speeches and problematic exhibitions, this article highlights some of the present-day struggles surrounding this former campscape.
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Gilchrist, Stephen, and Henry Skerritt. "Awakening Objects and Indigenizing the Museum: Stephen Gilchrist in Conversation with Henry F. Skerritt." Contemporaneity: Historical Presence in Visual Culture 5 (November 30, 2016): 108–21. http://dx.doi.org/10.5195/contemp.2016.183.
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Curated by Stephen Gilchrist, Everywhen: The Eternal Present in Indigenous Art from Australia was held at Harvard Art Museums from February 5, 2016–September 18, 2016. The exhibition was a survey of contemporary Indigenous art from Australia, exploring the ways in which time is embedded within Indigenous artistic, social, historical, and philosophical life. The exhibition included more than seventy works drawn from public and private collections in Australia and the United States, and featured many works that have never been seen outside Australia. Everywhen is Gilchrist’s second major exhibition in the United States, following Crossing Cultures: The Owen and Wagner Collection of Contemporary Aboriginal Australian Art at the Hood Museum of Art in 2012. Conducted on April 22, 2016, this conversation considers the position of Indigenous art in the museum, and the active ways in which curators and institutions can work to “indigenize” their institutions. Gilchrist discusses the evolution of Everywhen, along with the curatorial strategies employed to change the status of object-viewer relations in the exhibition. The transcription has been edited for clarity.
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Flores-Marcial, Xóchitl M. "Getting Community Engagement Right." Latin American and Latinx Visual Culture 3, no. 1 (January 1, 2021): 98–108. http://dx.doi.org/10.1525/lavc.2021.3.1.98.
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Greater Mexico refers both to the geographic region encompassing modern Mexico and its former territories in the United States, and to the Mexican cultural diaspora. Exhibitions of visual and material culture from greater Mexico have played an important role in articulating identities and affiliations that transcend limited definitions of citizenship. Following an introductory text by Jennifer Josten, five scholars offer firsthand insights into the intellectual, diplomatic, and logistical concerns underpinning key border-crossing exhibitions of the “NAFTA era.” Rubén Ortiz-Torres writes from his unique perspective as a Mexico City–based artist who began exhibiting in the United States in the late 1980s, and as a curator of recent exhibitions that highlight the existence of multiple Mexicos and Americas. Clara Bargellini reflects on a paradigm-shifting cross-border exhibition of the viceregal arts of the missions of northern New Spain. Kim N. Richter considers how the arts of ancient Mesoamerica and the Americas writ large figured within the Getty Foundation’s 2017 Pacific Standard Time: LA/LA initiative. Xóchitl M. Flores-Marcial offers insights into productive institutional collaborations with transnational Indigenous stakeholders, focusing on two recent Southern California exhibitions of the Oaxaca-based Tlacolulokos collective. Luis Vargas-Santiago discusses how Chicana/o/x art entered Mexico City’s Palacio de Bellas Artes in 2019 as a crucial component of an exhibition about how Mexican revolutionary Emiliano Zapata’s image has migrated through visual culture. Together, these texts demonstrate how exhibitions can act in the service of advancing more nuanced understandings of cultural and political interactions across greater Mexico.
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Vargas-Santiago, Luis. "Emiliano." Latin American and Latinx Visual Culture 3, no. 1 (January 1, 2021): 109–19. http://dx.doi.org/10.1525/lavc.2021.3.1.109.
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Greater Mexico refers both to the geographic region encompassing modern Mexico and its former territories in the United States, and to the Mexican cultural diaspora. Exhibitions of visual and material culture from greater Mexico have played an important role in articulating identities and affiliations that transcend limited definitions of citizenship. Following an introductory text by Jennifer Josten, five scholars offer firsthand insights into the intellectual, diplomatic, and logistical concerns underpinning key border-crossing exhibitions of the “NAFTA era.” Rubén Ortiz-Torres writes from his unique perspective as a Mexico City–based artist who began exhibiting in the United States in the late 1980s, and as a curator of recent exhibitions that highlight the existence of multiple Mexicos and Americas. Clara Bargellini reflects on a paradigm-shifting cross-border exhibition of the viceregal arts of the missions of northern New Spain. Kim N. Richter considers how the arts of ancient Mesoamerica and the Americas writ large figured within the Getty Foundation’s 2017 Pacific Standard Time: LA/LA initiative. Xóchitl M. Flores-Marcial offers insights into productive institutional collaborations with transnational Indigenous stakeholders, focusing on two recent Southern California exhibitions of the Oaxaca-based Tlacolulokos collective. Luis Vargas-Santiago discusses how Chicana/o/x art entered Mexico City’s Palacio de Bellas Artes in 2019 as a crucial component of an exhibition about how Mexican revolutionary Emiliano Zapata’s image has migrated through visual culture. Together, these texts demonstrate how exhibitions can act in the service of advancing more nuanced understandings of cultural and political interactions across greater Mexico.
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Ortiz-Torres, Rubén. "Mexicos and Americas." Latin American and Latinx Visual Culture 3, no. 1 (January 1, 2021): 70–79. http://dx.doi.org/10.1525/lavc.2021.3.1.70.
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Greater Mexico refers both to the geographic region encompassing modern Mexico and its former territories in the United States, and to the Mexican cultural diaspora. Exhibitions of visual and material culture from greater Mexico have played an important role in articulating identities and affiliations that transcend limited definitions of citizenship. Following an introductory text by Jennifer Josten, five scholars offer firsthand insights into the intellectual, diplomatic, and logistical concerns underpinning key border-crossing exhibitions of the “NAFTA era.” Rubén Ortiz-Torres writes from his unique perspective as a Mexico City–based artist who began exhibiting in the United States in the late 1980s, and as a curator of recent exhibitions that highlight the existence of multiple Mexicos and Americas. Clara Bargellini reflects on a paradigm-shifting cross-border exhibition of the viceregal arts of the missions of northern New Spain. Kim N. Richter considers how the arts of ancient Mesoamerica and the Americas writ large figured within the Getty Foundation’s 2017 Pacific Standard Time: LA/LA initiative. Xóchitl M. Flores-Marcial offers insights into productive institutional collaborations with transnational Indigenous stakeholders, focusing on two recent Southern California exhibitions of the Oaxaca-based Tlacolulokos collective. Luis Vargas-Santiago discusses how Chicana/o/x art entered Mexico City’s Palacio de Bellas Artes in 2019 as a crucial component of an exhibition about how Mexican revolutionary Emiliano Zapata’s image has migrated through visual culture. Together, these texts demonstrate how exhibitions can act in the service of advancing more nuanced understandings of cultural and political interactions across greater Mexico.
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Bargellini, Clara. "Looking Back at The Arts of the Missions of Northern New Spain, 1600–1821." Latin American and Latinx Visual Culture 3, no. 1 (January 1, 2021): 80–87. http://dx.doi.org/10.1525/lavc.2021.3.1.80.
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Greater Mexico refers both to the geographic region encompassing modern Mexico and its former territories in the United States, and to the Mexican cultural diaspora. Exhibitions of visual and material culture from greater Mexico have played an important role in articulating identities and affiliations that transcend limited definitions of citizenship. Following an introductory text by Jennifer Josten, five scholars offer firsthand insights into the intellectual, diplomatic, and logistical concerns underpinning key border-crossing exhibitions of the “NAFTA era.” Rubén Ortiz-Torres writes from his unique perspective as a Mexico City–based artist who began exhibiting in the United States in the late 1980s, and as a curator of recent exhibitions that highlight the existence of multiple Mexicos and Americas. Clara Bargellini reflects on a paradigm-shifting cross-border exhibition of the viceregal arts of the missions of northern New Spain. Kim N. Richter considers how the arts of ancient Mesoamerica and the Americas writ large figured within the Getty Foundation’s 2017 Pacific Standard Time: LA/LA initiative. Xóchitl M. Flores-Marcial offers insights into productive institutional collaborations with transnational Indigenous stakeholders, focusing on two recent Southern California exhibitions of the Oaxaca-based Tlacolulokos collective. Luis Vargas-Santiago discusses how Chicana/o/x art entered Mexico City’s Palacio de Bellas Artes in 2019 as a crucial component of an exhibition about how Mexican revolutionary Emiliano Zapata’s image has migrated through visual culture. Together, these texts demonstrate how exhibitions can act in the service of advancing more nuanced understandings of cultural and political interactions across greater Mexico.
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Richter, Kim N. "Golden Kingdoms at Getty." Latin American and Latinx Visual Culture 3, no. 1 (January 1, 2021): 88–97. http://dx.doi.org/10.1525/lavc.2021.3.1.88.
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Greater Mexico refers both to the geographic region encompassing modern Mexico and its former territories in the United States, and to the Mexican cultural diaspora. Exhibitions of visual and material culture from greater Mexico have played an important role in articulating identities and affiliations that transcend limited definitions of citizenship. Following an introductory text by Jennifer Josten, five scholars offer firsthand insights into the intellectual, diplomatic, and logistical concerns underpinning key border-crossing exhibitions of the “NAFTA era.” Rubén Ortiz-Torres writes from his unique perspective as a Mexico City–based artist who began exhibiting in the United States in the late 1980s, and as a curator of recent exhibitions that highlight the existence of multiple Mexicos and Americas. Clara Bargellini reflects on a paradigm-shifting cross-border exhibition of the viceregal arts of the missions of northern New Spain. Kim N. Richter considers how the arts of ancient Mesoamerica and the Americas writ large figured within the Getty Foundation’s 2017 Pacific Standard Time: LA/LA initiative. Xóchitl M. Flores-Marcial offers insights into productive institutional collaborations with transnational Indigenous stakeholders, focusing on two recent Southern California exhibitions of the Oaxaca-based Tlacolulokos collective. Luis Vargas-Santiago discusses how Chicana/o/x art entered Mexico City’s Palacio de Bellas Artes in 2019 as a crucial component of an exhibition about how Mexican revolutionary Emiliano Zapata’s image has migrated through visual culture. Together, these texts demonstrate how exhibitions can act in the service of advancing more nuanced understandings of cultural and political interactions across greater Mexico.
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Josten, Jennifer. "Dialogues." Latin American and Latinx Visual Culture 3, no. 1 (January 1, 2021): 60–69. http://dx.doi.org/10.1525/lavc.2021.3.1.60.
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Greater Mexico refers both to the geographic region encompassing modern Mexico and its former territories in the United States, and to the Mexican cultural diaspora. Exhibitions of visual and material culture from greater Mexico have played an important role in articulating identities and affiliations that transcend limited definitions of citizenship. Following an introductory text by Jennifer Josten, five scholars offer firsthand insights into the intellectual, diplomatic, and logistical concerns underpinning key border-crossing exhibitions of the “NAFTA era.” Rubén Ortiz-Torres writes from his unique perspective as a Mexico City–based artist who began exhibiting in the United States in the late 1980s, and as a curator of recent exhibitions that highlight the existence of multiple Mexicos and Americas. Clara Bargellini reflects on a paradigm-shifting cross-border exhibition of the viceregal arts of the missions of northern New Spain. Kim N. Richter considers how the arts of ancient Mesoamerica and the Americas writ large figured within the Getty Foundation’s 2017 Pacific Standard Time: LA/LA initiative. Xóchitl M. Flores-Marcial offers insights into productive institutional collaborations with transnational Indigenous stakeholders, focusing on two recent Southern California exhibitions of the Oaxaca-based Tlacolulokos collective. Luis Vargas-Santiago discusses how Chicana/o/x art entered Mexico City’s Palacio de Bellas Artes in 2019 as a crucial component of an exhibition about how Mexican revolutionary Emiliano Zapata’s image has migrated through visual culture. Together, these texts demonstrate how exhibitions can act in the service of advancing more nuanced understandings of cultural and political interactions across greater Mexico.
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Bellido Gant, María Luisa. "El Arte Latinoamericano en los Estados Unidos durante el siglo XX. Exposiciones, coleccionismo, museología." Illapa Mana Tukukuq, no. 14 (February 18, 2019): 118–29. http://dx.doi.org/10.31381/illapa.v0i14.1885.
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Este texto reflexiona sobre la presencia del arte latinoamericano en Estados Unidos desde la década de los veinte hasta los años noventa, con el llamado boom del mercado de arte latinoamericano. Nuestro objetivo es presentar de una manera sintética diferentes momentos que jalonaron los vínculos artísticos entre Latinoamérica y Estados Unidos, en especial la presencia, en este país, de artistas de aquella región. Analizaremos las exposiciones individuales y colectivas, el coleccionismo público y privado, la acción institucional, el papel de las galerías de arte y la incidencia de la crítica de arte.
Palabras clave: Arte Latinoamericano, coleccionismo, exposiciones, XX, Estados Unidos.
AbstractThis text considers the presence of Latin American art in the United States from 1920 to 1990 with the so called Latin American art market boom. Our goal is to present in a synthetic way different moments that marked the artistic links between Latin America and the United States, especially the presence, in this country, of artists from Latin America. We will analyze individual and collective exhibitions, public and private collecting, institutional action, the role of art galleries and the incidence of art criticism.
Keywords: Latin American Art. collecting. exhibitions. XX. United States.
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Tolvaisas, Tomas. "Cold War “Bridge-Building”: U.S. Exchange Exhibits and Their Reception in the Soviet Union, 1959–1967." Journal of Cold War Studies 12, no. 4 (October 2010): 3–31. http://dx.doi.org/10.1162/jcws_a_00068.
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Following the presentation of the American National Exhibition in Moscow in 1959, nine exhibits organized by the United States Information Agency traveled in the Soviet Union from 1961 to 1967. This article discusses the aims, preparation, content, and reception of these exhibits, which attracted more than five million visitors and provoked diverse reactions. The exhibitions and their guides served as a unique form of communication with Soviet citizens, informing them about U.S. achievements and freedoms and the American way of life. The initiatives offset Soviet Communist propaganda, advanced popular understanding of the United States, and promoted popular goodwill toward Americans. The low-key interactions between the guides and the visitors shed valuable light on the mindset and experiences of ordinary citizens in the USSR, who were a major target audience of these exhibitions, and also, more broadly, on U.S. public diplomacy during the Cold War.
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Stelmashchuk, Halyna. "Prince Vsevolod Karmazyn-Kakovsky scientist, teacher, artist." Vìsnik Harkìvsʹkoi deržavnoi akademìi dizajnu ì mistectv 2022, no. 1 (January 15, 2022): 137–52. http://dx.doi.org/10.33625/visnik2022.01.137.
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The article is devoted to the creative work of the Ukrainian Diaspora scientist, teacher, historian of art, architect and graphic artist, Prince Vsevolod Karmazyn-Kakovsky (1898–1988), about whom there is very little information in Ukraine. The study emphasizes his Ukrainian roots. The publication is based on materials from the home archive of Ph.D., sculptor and artist Kristina Kishakevich-Kachaluba from Switzerland. Prince Vsevolod Karmazyn-Kakovsky studied and lived in Ukraine until 1944. In 1944 he left Ukraine for permanent residence in Romania. As a teacher he organized faculties of landscape architecture in universities in Ukraine (Odessa, Kharkiv) and Romania (Iasi). From 1978, professor lived and worked in Italy, then in France, Germany, lectured on the history of Ukrainian art, cooperated with Ukrainian research institutions in Western countries. As an artist he created and implemented the projects of health and recreational complexes on the Black Sea coast in Ukraine and Romania, which combined architecture with natural landscape, contributing to human health and longevity, and embodied the principles he established for enriching the expressiveness of landscapes. The Prince founded the Research Institute of Landscape Architecture (1921–1981), which worked in Ukraine, and then in Romania. This institution was focused on combining and harmonizing endogenous (internal) factors of human longevity with exogenous (external) factors — the synthesis of nature with art. The scientist argued that the tree crown shapes (triangular, ellipse-like, round) differently influence the mood and psychological state of a person, therefore, developed special health boxets in sanatorium complexes. This method of healing people, proposed by V. Karmazyn-Kakovsky in 1971–1981, was adopted in Czechoslovakia, Poland, France, Italy, Germany, and the United States of America. As a scientist he published more than 200 scientific works, including Monographs devoted to Ukrainian art, Lemkivska and Boykovska churches, art of Ukrainian houses, Ukrainian books. He designed his own works and covers for his books. He was skilled in the technique of pencil, sepia, watercolor, skillfully conveyed the space in the landscape, was perfect in the technique of pen and ink. The artist’s graphics is dominated by subjects closely related to his scientific works in the field of art history. Karmazyn-Kakovsky supplements almost all of his works with illustrations, headpieces, stylized folk motifs, architectural historical monuments of Romanian and Ukrainian cultures, valuable for the history of Ukrainian art, and landscape projects. V. Karmazyn-Kakovsky made more than 1200 drawings of wooden Ukrainian churches. He had personal exhibitions in Warsaw, Rome, Paris, Munich.
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Goff, Sheila, Betsy Chapoose, Elizabeth Cook, and Shannon Voirol. "Collaborating Beyond Collections: Engaging Tribes in Museum Exhibits." Advances in Archaeological Practice 7, no. 3 (May 28, 2019): 224–33. http://dx.doi.org/10.1017/aap.2019.11.
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AbstractThere has been—and continues to be—tension between Native peoples and museums in the United States due to past collecting practices and exhibitions that strive to interpret their culture and history without their involvement. Previously, many of these exhibitions stereotyped and lumped Native peoples together, depicting their cultures as static and interpreting them and their material culture from a Western scientific perspective. Changes are being made. Collaboration between Native peoples and museums in all areas of museum work, including exhibitions, is beginning to be considered by many as a best practice. Exhibitions developed in collaboration with Native peoples, with shared curatorial authority, decidedly help ease the historic tension between the two, and they are much more vibrant and accurate than when collaboration is lacking. This article will provide three examples of collaboration, defined with our tribal partners, to develop exhibitions at History Colorado, the state history museum, concluding with lessons learned.
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Sánchez Arteaga, Juanma, and Charbel Niño El-Hani. "Physical anthropology and the description of the 'savage' in the Brazilian Anthropological Exhibition of 1882." História, Ciências, Saúde-Manguinhos 17, no. 2 (June 2010): 399–414. http://dx.doi.org/10.1590/s0104-59702010000200008.
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This paper discusses attempts to popularize scientific knowledge about anthropology through exhibitions of natives in the United States and Brazil from the nineteenth century to the beginnings of the twentieth century. In the First Brazilian Anthropological Exposition (Rio de Janeiro, 1882), a group of Botocudos was characterized in a manner that can be related to the reification of the myth of the savage, an important part of the European culture that played a significant role in the construction of anthropological knowledge in the nineteenth century. From the analyses of such exhibitions, we derive implications for science popularization and education, concerning the ideological undertones of scientific knowledge.
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Altman, Dana. "Contemporary Romanian Art in the United States." American, British and Canadian Studies Journal 22, no. 1 (August 15, 2014): 87–93. http://dx.doi.org/10.2478/abcsj-2014-0023.
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Abstract The article discusses the recent international interest in contemporary Romanian art and its growth in market share, with a focus on the United States. The theme is followed thorough in numerous museum exhibitions, increased collector following, art fair presence, gallery representation and auction activity initially in Europe and the United States. The phenomenon is discussed both in the context of the larger international movement conducive to the contemporary art price bubble, and in that of the local socio-economic changes. My chief interest lies in the factors leading up to the entry of post 1989 Romanian art in the global arena as a manifestation of market forces in the field. The analysis follows its grass roots local emergence through non-profit institutions, individual artists, small publications, low budget galleries, as well as the lack of contribution (with few notable exceptions) of state institutions, while pointing out the national context of increasing deregulation of social support systems resulting in lack of focus on cultural manifestations. The conclusion is that the recent ascent of contemporary Romanian art (and coincidentally, the award winning contemporary Romanian cinematography) is a fortuitous convergence of various factors, among which, increased international mobility and sharing. At the same time, it is also the result of the evolution of various individual artists that pursued a form of art rooted in Romanian artistic tradition but with a focus on the symbolic figurative. The result is a personal semiotics of raising the mundane to extraordinary levels that reconfigured the anxiety of entering a new system into an unmistakable and lasting visual language.
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Mansbach, Steven. "Delayed Discovery or Willful Forgetting? The Reception of Polish Classical Modernism in America." Slavic Review 71, no. 3 (2012): 489–515. http://dx.doi.org/10.5612/slavicreview.71.3.0489.
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Polish modern art was collected by leading figures within America's cultural vanguard. Most prized the art's stylistic innovation; they were likely unaware of the ideological charge that animated modernism's makers. By the end of the 1930s, numerous exhibitions of Polish art had been mounted in the United States; however, few concentrated on strikingly innovative works, preferring instead traditional themes, genres, and styles. Nonetheless, Poland's modernist efforts garnered popular success at the New York World's Fair of 1939. The modern art from other central and eastern European nations was actively promoted by its makers, who had immigrated to the United States. Poland's modern art did not benefit from a similar presence, its modernists having mostly elected to remain in their native land. The paucity of Polish artists in 1930s America compromised their chance to exercise an influential role just as the United States was consolidating an international canon of modern art.
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Hartmann, Julia. "From gunshots to hashtags: Transcultural curating in the #MeToo era." Journal of Contemporary Chinese Art 9, no. 3 (November 1, 2022): 333–51. http://dx.doi.org/10.1386/jcca_00070_1.
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After the #MeToo movement kicked off in the United States in 2018, it found its way to China and has triggered a number of exhibition projects around the country, organized by young activists, artists and curators, which have galvanized transnational feminist exchanges in the past few years. The article analyses exhibitions such as The Voiceless Rise Up: #MeToo in China, Her Story: Eliminating Gender Violence 2020, Above Ground: 40 Moments of Transformation and Stand by Her, which consisted of works documenting sexual assault and the #MeToo movement in China, as well as of artworks that are dealing with issues concerning sexual assault, the One Child Policy, motherhood, queerness and empowerment. These exhibitions and the #MeToo movement, respectively, demonstrate a growing transnational interconnectedness among activists fighting towards common feminist goals. What is more, these exhibitions are under constant scrutiny and fear of being cancelled, which is evidence of an exhaustive struggle for the official acceptance of women’s rights and ‘radical’ artworks. This article gives an overview of these projects, their transnational interconnectedness, as well as their perception and reaction of the general public, the press and censors. The article argues for a shift from women-centred exhibitions to exhibitions with a strong activist/feminist agenda that are also part of an unprecedented transnational framework.
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Putcha, Rumya S. "Orientalism and Wellness in the United States." Prism 19, no. 1 (March 1, 2022): 193–202. http://dx.doi.org/10.1215/25783491-9645982.
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Abstract This article explores how consumer practices tether Orientalism to wellness. Relying on ethnographic research, the author uncovers how racialization and racialized expressions of gender are produced by and through performative and discursive practices of wellness. Such practices, which are also sometimes described as mindfulness techniques, encourage participants to understand wellness as a state of mind wherein if a person mirrors the behavior or speech of what qualifies as wellness, then they will also become well themselves. Drawing on methods from critical consumer studies as well as critical race feminist theory, the author argues that contemporary wellness practices expose somatic, rather than literary, forms of Orientalism.
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Reed, Jeri L. "The Corn King of Mexico in the United States: A South-North Technology Transfer." Agricultural History 78, no. 2 (April 1, 2004): 155–65. http://dx.doi.org/10.1215/00021482-78.2.155.
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Abstract The activities of Mexican banker and hacendado Zeferino Dominguez in the early twentieth century raise questions about the assumption that Mexico was merely the beneficiary of modern agricultural science developed in the United States. Dominguez was a banker and large landowner who turned his haciendas into private agricultural experiment stations, conducting research on better methods of growing corn, cotton, wheat, and beans with the labor of his peones. He shared his results through lecture tours and published works in Mexico and traveled extensively in the United States, speaking to groups of farmers and agricultural scientists about his methods of dry farming and corn propagation. He exhibited at agricultural fairs and exhibitions, attended Farmers’s Institutes and conferences, and published a manual for use by average American farmers. Like many agricultural reformers in the United States, he addressed the problems of rural poverty and land concentration not with socialism, but with visions of a Mexico filled with small, capitalistic, home-owning farmers producing with scientific methods and business efficiency.
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Castañeda, Luis M. "Kubler's Sarcophagus: Cold War Archaeologies of the Olmec Periphery." ARTMargins 4, no. 1 (February 2015): 3–26. http://dx.doi.org/10.1162/artm_a_00103.
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This article examines conflicting racial, archaeological and art historical interpretations of Olmec art produced in the United States in the early 1960s. It inscribes shifting approaches to the study of monumental Olmec art by figures like George Kubler within the contexts of violent modernization of the Olmec ‘heartland’ of Veracruz and Tabasco, the politicized display of this artistic tradition in museums and traveling exhibitions, and the unstable horizons of U.S.-Mexico diplomatic relations during that period.
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de Ceglia, Francesco Paolo. "The Importance of Being Florentine: A Journey around the World for Wax Anatomical Venuses." Nuncius 26, no. 1 (2011): 83–108. http://dx.doi.org/10.1163/182539111x569775.
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AbstractThis article reconstructs the 19th century history of events regarding a few female wax anatomical models made in Florence. More or less faithful copies of those housed in Florence's Museum of Physics and Natural History, these models were destined for display in temporary exhibitions. In their travels through Europe and the United States, they transformed the expression "Florentine Venus" into a sort of brand name used to label and offer respectability to pieces of widely varying quality.
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Abel, Douglas, and R. H. Thomson. "Drawing Strength from Within." Canadian Theatre Review 62 (March 1990): 42–49. http://dx.doi.org/10.3138/ctr.62.007.
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Since his return to Canada from studies in England in 1973, R. H. Thomson has advanced steadily from being a rising young star to one of Canada’s most praised and respected actors. He has performed on the stage, on television and in film. Despite having success here, in the United States, and in England, his career choices demonstrate a fiercely passionate commitment to the development of the performing arts in Canada.
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Goss, Jacqueline. "Drawing Voices." Animation 6, no. 3 (November 2011): 247–58. http://dx.doi.org/10.1177/1746847711416563.
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This article presents a series of images, transcriptions, and musings on the making of Stranger Comes To Town (2007): an animated documentary that centers on the stories of six immigrants and visitors to the United States who describe their experiences crossing the border. The author chooses 10 images that are accompanied by transcriptions of each interviewee’s statements. She follows each pairing with a musing on either the process of making the animation – what she gleaned about the interviewee from the process of syncing a fabricated image to a ‘real’ voice, the different ways voice and text can play off each other in animation – or the (still surprisingly) subversive gesture of using subjective hand-drawn animations in documentary form.
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Topinka, Daniel, and Jakub Havlíček. "Politika identit v čínských enklávách amerických měst: muzejní narace." HISTORICKÁ SOCIOLOGIE 15, no. 1 (May 24, 2023): 73–88. http://dx.doi.org/10.14712/23363525.2023.6.
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This text deals with ethnopolitical identities as presented to visitors to Chinese enclaves by their inhabitants themselves in museums of Chinese enclaves in the United States. We focus on three locations: San Francisco, New York, and Chicago. The text briefly introduces the history of Chinese immigration and the establishment of the Chinese as a minority within the American nation. It focuses on the content of the permanent exhibitions, it describes and analyzes the forms of representing Chinese identities in these museums. At a theoretical level, we draw on the concept of identity politics. We apply a syntagmatic approach, using a method of narrative analysis of the exhibitions, comparing the sequential development of the museum narrative in the order it is intended to be presented to museum visitors. We identify the various elements of the design of the exhibitions and the themes presented. Our research was conducted during field trips of the authors between 2013–2019. The exhibitions come with a so-called canonical narrative that is linearly conceived and introduces the “harmony” of Chinese and American identities. The canonical narrative is coherently and logically conceived, the presented themes support the whole narrative. The canonical narrative illuminates the presence of Chinese immigrants as a journey from exclusion to full emancipation and recognition of their equality, with reference to cultural specifics of Chinese sociocultural identities.
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Vamanu, Iulian. "Indigenous Museum Curatorship in the United States and Canada: Roles and Responsibilities." Libri 70, no. 1 (March 26, 2020): 65–79. http://dx.doi.org/10.1515/libri-2018-0155.
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AbstractIndigenous curatorship has become an increasingly visible presence in the public sphere as part of the long process of North American Native people’s efforts to regain control over the representations and uses of their cultures in Western societies. Even though scholars consider this profession fundamental to Native American struggles for sovereignty, many do not have a clear understanding of what it involves. In the context of scarce scholarship on Indigenous curatorship, this qualitative study relies on interview and textual data to articulate Indigenous curators’ understandings of their work of preserving and promoting Indigenous knowledge. It emphasizes the uniqueness of Indigenous curatorship by mapping out this profession’s specific roles and responsibilities within the broader arena of museum curatorship. The study identifies two main directions Indigenous curators take in their work, namely activism and engagement of the public. Activism consists in Indigenous curators’ efforts to critique oppressive knowledge structures, raise awareness of controversial topics of public interest related to Indigeneity, and support Native artists and tribal communities. Engagement of the public refers to Indigenous curators’ strategies of involving source communities in the design of exhibits and diverse audiences in the interpretation of exhibitions.
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Gardner, James B. "Trust, Risk and Public History: A View from the United States." Public History Review 17 (December 22, 2010): 52–61. http://dx.doi.org/10.5130/phrj.v17i0.1852.
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In the public history and museum communities today there is much difference of opinion over the concept of ‘radical trust,’ which basically argues for us to give up control and trust the public to develop content for our websites and exhibitions and provide direction for our work. Most public historians and curators are happy to share authority with the public, but are we now expected to yield all authority? Are we now taking historian Carl Becker’s well-known phrase ‘everyman his own historian’ and updating it to ‘every person his or her own curator’? What is the role of historical knowledge in a world of opinion? Unfortunately, at the same time that many of us are embracing risk online, in a world we have little control or even influence over, we seem to be stepping back from risk taking in our museums, on our own turf. We’ve become risk averse—afraid to make mistakes, afraid of trying new approaches and tackling the historically controversial or the ambiguous. Rather than the ‘safe place for unsafe ideas’ that Elaine Gurian proposed, we have become no more than safe places for safe ideas. We need to push back on both fronts. Public historians should be thought leaders, not followers—not wait to see what the future holds for us but rather try to shape that future.
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Luce, Bryan, and Rebecca Singer Cohen. "Health technology assessment in the United States." International Journal of Technology Assessment in Health Care 25, S1 (July 2009): 33–41. http://dx.doi.org/10.1017/s0266462309090400.
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Objectives: To describe and explore the reasons for the current health technology assessment (HTA) landscape in the United States.Methods: Relying on multiple historical literature and other documents as well as drawing on personal experiences and observations, we describe, evaluate, and explain the evolving and dynamic HTA-related evidence landscape.Results: The present HTA-related landscape is a product of a dynamic, somewhat turbulent path in the United States. Many early aggressive federal efforts beginning in the 1970s were rejected in the 1980s only to be revived by the mid-1990s and continue to strengthen today, likely due to diffusing private sector political opposition from de-linking HTA from policy decisions (e.g., coverage, clinical guidelines) and omitting economic evaluation. Meanwhile, private sector HTA efforts have remained active during the entire period.Conclusions: The current HTA-related landscape is at least as dynamic as it has been at any point in its turbulent 30-year history and is likely to continue as health reform in the US is debated once again.
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Gradinskaitė, Vilma. "In Search of Missing Collection: The Case of Artist Albert Rappaport." Art History & Criticism 17, no. 1 (November 15, 2021): 31–42. http://dx.doi.org/10.2478/mik-2021-0003.
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Summary The artist Albert Rappaport was born in Anykščiai in 1898. In 1911, the family emigrated to New York. Rappaport became an American citizen in 1925 and began to travel widely. He studied fine art in New York, Paris, Dresden and Munich. He visited South America, Africa and traveled extensively through Europe (1925–1927, 1933, 1937–1939), returning to the United States now and again. The artist participated in several dozen exhibitions. He showed his work in Paris, Rome, Florence, Barcelona, Palma de Mallorca, Copenhagen, Mexico City, Havana, New York, Calgary and Montreal, in addition to his solo exhibitions in 1937 in Warsaw and Vilnius, and in Kaunas, Riga and Tallinn in 1938. After Rappaport’s death, in March 17, 1969 in Montreal, his collection of artworks disappeared and has thus far not been found. To date, two of his painted portraits are known to exist – one belongs to the private collection of Jonathan C. Rappaport, another is on display at the Jewish Public Library in Montreal.
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Mount, Sigrid Docken. "Evolutions in exhibition catalogues of African art." Art Libraries Journal 13, no. 3 (1988): 14–19. http://dx.doi.org/10.1017/s0307472200005769.
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Since their appearance in the early 20th century, catalogues prepared for exhibitions of African art have undergone a gradual transformation. Beginning as mere checklists many of these publications have, in the 1970s and 80s, evolved into major scholarly works whose significance transcends their original purpose as guides to the exhibitions. Changes occurring over the years are traced through examination of the form and content of representative catalogues and by review of the reception by art historians of many of these works into the corpus of literature of African art. The growing importance of exhibition catalogues as important art historical documents is also demonstrated by a chronological analysis of bibliographic citations in the major scholarly journal of African art in the United States. Finally, scrutiny of sources and annotations included in an important bibliographic guide to the literature of African art indicates how firmly established the exhibition catalogue has become as one of the most important publication forms for the dissemination of scholarly writing on African art.[This paper won the ARLIS/NA Gerd Muehsam Award for 1986. We hope to publish a sequel in a future issue, on exhibitions of African art in Africa and the development of catalogues written by Africans. Editor].
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Mickiewicz, Ellen. "Efficacy and Evidence: Evaluating U.S. Goals at the American National Exhibition in Moscow, 1959." Journal of Cold War Studies 13, no. 4 (October 2011): 138–71. http://dx.doi.org/10.1162/jcws_a_00171.
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The American National Exhibition in Moscow (ANEM) in 1959 during the administration of Dwight Eisenhower was intended to show the adversary “a corner of America” and the abundance and technological advances produced by the United States. Neither before nor since has a cultural-diplomatic initiative of similar scale, cost, and bureaucratic and international complexity been attempted. Some former U.S. officials maintain to this day that the success of the venture cannot be determined and that “the jury is still out.” This article not only contributes the assessment of a working participant at the ANEM throughout its duration but also draws on a wealth of archival materials. This analysis “from below” and simultaneously “from above” reveals new perspectives that challenge many of the conclusions drawn by diplomatic and cultural historians concerning the events in Moscow and their aftermath. The article offers a more nuanced and informed understanding of the most ambitious U.S. cultural-diplomatic self-portrayal.
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Shigematsu, Keiichi, and Larry Sowder. "Drawings for Story Problems: Practices in Japan and the United States." Arithmetic Teacher 41, no. 9 (May 1994): 544–47. http://dx.doi.org/10.5951/at.41.9.0544.
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The problem-solving strategy “Make a drawing” is used in both the United States and Japan but with different degrees and varying amounts of success in each country. The purposes of this article are to compare what seem to be Japanese and United States practices in promoting the use of drawings in solving story problems and to use that comparison to suggest some teaching approaches.
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Wright, Gerald C., and Michael B. Berkman. "Candidates and Policy in United States Senate Elections." American Political Science Review 80, no. 2 (June 1986): 567–88. http://dx.doi.org/10.2307/1958274.
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This analysis demonstrates that policy issues play an important role in the selection of members of Congress. We differ with the conclusion of much of the existing research on congressional elections, which indicates that policy considerations are of minor importance. We have conducted an analysis of the 1982 U.S. Senate elections, drawing on data from the CBS News/New York Times 1982 congressional poll and from 23 statewide exit polls. We demonstrate that (1) candidates behave as though they believe issues are important to voters; (2) candidates' policy positions systematically influence voters' decisions; and (3) candidates' issue positions and voters' evaluations of the president and the economy interact to provide clear patterns of policy effects on Senate election outcomes. Policy effects are substantial and systematic in Senate elections, and cannot be omitted if we are to appreciate the importance of congressional elections in the national policy-making process.
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Sharone, Ofer. "Social Capital Activation and Job Searching: Embedding the Use of Weak Ties in the American Institutional Context." Work and Occupations 41, no. 4 (June 30, 2014): 409–39. http://dx.doi.org/10.1177/0730888414538432.
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By comparing job seekers’ use of weak ties in Israel and the United States, this article shows that Granovetter’s canonical findings are rooted in the particular institutional context of the American white-collar labor market. Drawing on in-depth interviews with three distinct groups of white-collar job seekers: Americans searching in the United States, Israelis searching in Israel, and Israelis searching in the United States, this article untangles cultural and institutional factors underlying the use of weak ties and shows how labor market institutions and processes of hiring shape systematic variations in job seekers’ utilization of weak ties.
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Hochberg, Joshua. "CHURCH ATTENDANCE AND PROTEST PARTICIPATION IN THE UNITED STATES." Politics and Religion Journal 17, no. 2 (October 25, 2023): 383–409. http://dx.doi.org/10.54561/prj1702383h.
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While church attendance is linked to many forms of civic and political engagement, the relationship between church attendance and protest participation is underexplored. Drawing on three waves of the Cooperative Election Study, I examine whether church attendance is positively and significantly associated with protest participation among both the general US adult population and specific religious traditions. I find that church attendance is a positive and significant predictor of protest participation among the general population, Catholics, Mainline Protestants, Black Protestants, and Jews. However, church attendance is only moderately associated with protest participation for Evangelicals. These findings further our understanding of the relationship between church attendance and protest participation and civic engagement more broadly.
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Subkhan, Imam. "Public Anthropology in the United States and Indonesia." Jurnal Humaniora 31, no. 2 (December 2, 2019): 107. http://dx.doi.org/10.22146/jh.43598.
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This paper discusses the development of public anthropology in the United States and Indonesia. Drawing on literature reviews and archive studies, this article argues that public anthropology needs to be considered as a pragmatic strategy to elevate the position of anthropology in the public realm, and make it relevant to society. As a scholarly concept, public anthropology in Indonesia is not as popular as in the United States relative to applied anthropology. However, its individual and institutional practices have been flourishing in the last decade, including collaborative works and community engagement, publishing scholarship beyond conventional academic forms, active involvement in contemporary human problems, and efforts to influence public policies. To foster Indonesian public anthropology, an academic promotion system that gives more appreciation to public scholarship should be encouraged. Academic anthropologists may also take the initiative to include public anthropology in the anthropology curriculum. Moreover, the Indonesian Anthropological Association (AAI) can facilitate and promote public anthropology in broader public debates, and maintain its active role in defending humanity.
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Subkhan, Imam. "Public Anthropology in the United States and Indonesia." Jurnal Humaniora 31, no. 2 (May 28, 2019): 107. http://dx.doi.org/10.22146/jh.v31i2.43598.
Full textAbstract:
This paper discusses the development of public anthropology in the United States and Indonesia. Drawing on literature reviews and archive studies, this article argues that public anthropology needs to be considered as a pragmatic strategy to elevate the position of anthropology in the public realm, and make it relevant to society. As a scholarly concept, public anthropology in Indonesia is not as popular as in the United States relative to applied anthropology. However, its individual and institutional practices have been flourishing in the last decade, including collaborative works and community engagement, publishing scholarship beyond conventional academic forms, active involvement in contemporary human problems, and efforts to influence public policies. To foster Indonesian public anthropology, an academic promotion system that gives more appreciation to public scholarship should be encouraged. Academic anthropologists may also take the initiative to include public anthropology in the anthropology curriculum. Moreover, the Indonesian Anthropological Association (AAI) can facilitate and promote public anthropology in broader public debates, and maintain its active role in defending humanity.
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Battista, Renaldo N., and Matthew J. Hodge. "The Development of Health Care Technology Assessment:An International Perspective." International Journal of Technology Assessment in Health Care 11, no. 2 (1995): 286–300. http://dx.doi.org/10.1017/s0266462300006905.
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AbstarctWe consider the nature of technology assessment and then briefly summarize technology assessment activities in five countries: Canada, France, the Netherlands, the United Kingdom, and the United States. Drawing from these examples, we then identify determinants of the emergence and impact of technology assessment.