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Published: 27 July 2024

Last updated: 30 July 2024

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1

Martinez, Katharine. "The Research Libraries Group: new initiatives to improve access to art and architecture information." Art Libraries Journal 23, no. 1 (1998): 30–37. http://dx.doi.org/10.1017/s0307472200010798.

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This survey of the achievements of the Research Libraries Group (RLG) and its Art and Architecture Group shows the effectiveness of a collaborative approach in developing best practices and standards, and implementing new methodologies and technologies, to benefit the international art library and research communities. RLG members in Europe, North America and Australia include many of the major art research libraries. RLG offers services such as the RLIN bibliographic database and the MARCADIA retrospective conversion service in conjunction with projects documenting sales catalogue records (SCIPIO), preserving serials (the Art Serials Preservation Project) and facilitating the interloan of material between members. More recently the partnership between the RLG and the Getty Information Institute has made available an enormous range of art documentation work carried out by the Getty: standards and authority control work such as the Art & Architecture Thesaurus, the Union List of Artists’ Names and the Thesaurus of Geographic Names. In the 1980s the RLG conducted a survey identifying information needs in the humanities, which has led to resources such as the Bibliography of the History of Art becoming widely accessible, with the Provenance Index to follow shortly. This partnership is now active in the museum field, attempting to bridge the gap between the domains of secondary and primary materials in the field of art research. The REACH project (Record Export for Art and Cultural Heritage) is experimenting with the export of existing machine-readable data from heterogeneous museum collection systems, and testing the feasibility of designing a common interface for access which will complement RLG’s other resources.

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2

WHITE, HARRY. "American Musicology and “The Archives of Eden”." Journal of American Studies 32, no. 1 (April 1998): 1–18. http://dx.doi.org/10.1017/s0021875898005775.

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In his T. S. Eliot Memorial Lectures delivered at the University of Kent in March, 1971, and subsequently published as In Bluebeard's Castle or Some Notes Towards A Re-definition of Culture, George Steiner apostrophized the condition of American culture in the following way:America is the representative and premonitory example [of the democratization of high culture]. Nowhere has the debilitation of genuine literacy gone further (consider the recent surveys of reading-comprehension and recognition in American high schools). But nowhere, also, have the conservation and learned scrutiny of the art or literature of the past been pursued with more generous authority. American libraries, universities, archives, museums, centres for advanced study, are now the indispensable record and treasure-house of civilization. It is here that the European artist and scholar must come to see the cherished after-glow of his culture. Though often obsessed with the future, the United States is now, certainly in regard to the humanities, the active watchman of the classic past.So far, so good. But Steiner's encomium (notwithstanding that second sentence) carried with it a conditional scrutiny which was less attractive in its implications.

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3

KOWALSKI, PHILIP J. "From Memory to Memorial: Representative Men in the Sculpture of Daniel Chester French." Journal of American Studies 41, no. 1 (March 8, 2007): 49–66. http://dx.doi.org/10.1017/s002187580600274x.

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The civilized and genteel tone of art critic Adeline Adams captures a fading historical and cultural moment that she recovers in this memory of American beaux-arts sculpture, fitfully described in a contemporary exhibition brochure as employing “the classical or Renaissance figural type, stripped of idealization and infused with baroque exuberance in composition,” and “combined with a purely nineteenth-century insistence on accuracy in surface detail.” Despite this sculptural syncretism, Adams's assessment evokes the high civic and didactic role that American public sculpture played toward the end of the nineteenth century, and her memory is even more poignant given the fact that Daniel Chester French, born in 1850, would be dead within two years of her commentary. A modest and contemporary survey of his sculpture thus might help us understand the totalizing effect that the City Beautiful Movement held for a short time in terms of aesthetic urban planning. French ranked among Frederick Law Olmstead, Augustus Saint-Gaudens, and other architects and artists “to influence the heart, mind, and purse of the citizen,” as William H. Wilson simply puts it. Confronted by industry, urbanization, and immigrants, those harried and long-time residents of Adeline Adams's American urbs were reminded as they rounded street corners and ascended the steps of civic institutions that a kind of classical beauty and simplicity still existed, and that a small corps of artists and urban planners wanted to keep it that way.

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Ahsani, S. A. H. "The State of Research on Islamic Spain." American Journal of Islam and Society 9, no. 4 (January 1, 1992): 556–62. http://dx.doi.org/10.35632/ajis.v9i4.2541.

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The era of Muslim rule in Spain (711-1491 CE) witnessed great contributionsin many areas of knowledge and learning. Rapid strides weremade in such diverse fields as art and architecture, agriculture and handicrafts,linguistics and literature, humanities and Social studies, music andpoetry, and the physical and mechanical sciences. In fact, Islamic Spain,known to the Muslim world as al Andalus, served as a bridge for thetransfer of the knowledge and wisdom of Classical Greece to Europe, aprocess that eventually led to the European Renaissance.The achievements of al Andalus will not be discussed in this paper.Rather, a survey of current research activities focusing on al Andaluswill be presented. The areas covered are Europe, North America, NorthAfrica, and parts of Asia. Latin American activities have not been surveyeddue to the nonavailability of sources.EuropeEurope has been the center of research on al Andalus. Various periodicalshave served as major sources of information: Al-Andalus (Madrid1933), Hesperis (Paris 1921-59), Hesperis-Tamuda (Rabat 1960), Miscellanceade Estudios Arabes y Hebraicos (Granda 1952), Revista de InstitutoEgypcio de Studios Islamicos (Madrid 1953), Revue de la OccidentMusulman et la Mediterranee (Aix-en-Provence 1966), Boletin de laAssociation Espaniola de Orientalistas (Madrid 1965), and Cuadernos dela Alhambra (Granada 1965).Certain important books have also appeared, such as Peres: la PoisieAndalousie, which includes a history of that period. Introductions to editionsof texts and translations relate important infonnation about al Andalusunder the al Murabitun and the al Mu’ahhidun dynasties. Hourani(1961) has written an excellent book: Averroes: On the Harmony of Religionand Philosophy. Memorial volumes in honor of E. Levi-Provencal,G. and W. Marcais, Menendes Pidal, Millas Vallicrosa y Parya, A. H. andR. Basset, H. A. R. Gibb and H. Wehr also contain much valuable data.Mention must be made of translations by institutes devoted to thestudy of al Andalus: Dar al Thaqafah (Beirut) has published valuablebooks, as have several Spanish and North African organizations (i.e.,Conjeyo Superior de Investigaciones Cientificas Madrid], Instituto deStudios Islambs [Madrid], Institute des Haut-Etudes Marocaines Paris ...

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5

Peng, Z. Ellen, Sebastian Waz, Emily Buss, Yi Shen, Virginia Richards, Hari Bharadwaj, G. Christopher Stecker, et al. "FORUM: Remote testing for psychological and physiological acoustics." Journal of the Acoustical Society of America 151, no. 5 (May 2022): 3116–28. http://dx.doi.org/10.1121/10.0010422.

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Acoustics research involving human participants typically takes place in specialized laboratory settings. Listening studies, for example, may present controlled sounds using calibrated transducers in sound-attenuating or anechoic chambers. In contrast, remote testing takes place outside of the laboratory in everyday settings (e.g., participants' homes). Remote testing could provide greater access to participants, larger sample sizes, and opportunities to characterize performance in typical listening environments at the cost of reduced control of environmental conditions, less precise calibration, and inconsistency in attentional state and/or response behaviors from relatively smaller sample sizes and unintuitive experimental tasks. The Acoustical Society of America Technical Committee on Psychological and Physiological Acoustics launched the Task Force on Remote Testing ( https://tcppasa.org/remotetesting/ ) in May 2020 with goals of surveying approaches and platforms available to support remote testing and identifying challenges and considerations for prospective investigators. The results of this task force survey were made available online in the form of a set of Wiki pages and summarized in this report. This report outlines the state-of-the-art of remote testing in auditory-related research as of August 2021, which is based on the Wiki and a literature search of papers published in this area since 2020, and provides three case studies to demonstrate feasibility during practice.

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6

Efland, Arthur, and Peter Smith. "The History of American Art Education: Learning about Art in American Schools." Journal of Aesthetic Education 32, no. 3 (1998): 117. http://dx.doi.org/10.2307/3333315.

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7

Borgatti, Jean M., Warren M. Robbins, and Nancy Ingram Nooter. "African Art in American Collections: Survey 1989." International Journal of African Historical Studies 23, no. 4 (1990): 730. http://dx.doi.org/10.2307/219528.

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8

Abiodun, Rowland, Warren M. Robbins, and Nancy Ingram Nooter. "African Art in American Collections: Survey 1989." African Arts 24, no. 4 (October 1991): 28. http://dx.doi.org/10.2307/3337040.

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9

MUNSON, MARIT. ":Discovering North American Rock Art." American Anthropologist 109, no. 4 (December 2007): 772–73. http://dx.doi.org/10.1525/aa.2007.109.4.772.

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10

Richardson, John Adkins. "Art Watch: The American Grain, Crosscut." Journal of Aesthetic Education 21, no. 4 (1987): 145. http://dx.doi.org/10.2307/3332838.

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11

Smith, Jaune Quick-to-See. "Celebrate 40,000 Years of American Art." Frontiers: A Journal of Women Studies 23, no. 2 (2002): 154–55. http://dx.doi.org/10.1353/fro.2002.0042.

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12

Squire, Michael. "Art and Archaeology." Greece and Rome 68, no. 2 (September 8, 2021): 329–41. http://dx.doi.org/10.1017/s0017383521000127.

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For many, the era of COVID-19 has been short of colour. All the more reason, perhaps, to welcome this round-up's starter for ten: a multihued survey of polychromy in Roman portraiture. Facing the Colours of Roman Portraiture is a book that really does lend itself to being judged by its cover: as we turn the volume from back to front, a marble portrait magically metamorphoses between battered original and technicolour reconstruction.

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13

Doss, Erika. "American Art Matters: Rethinking Materiality in American Studies." Open Cultural Studies 3, no. 1 (February 1, 2019): 75–84. http://dx.doi.org/10.1515/culture-2019-0007.

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Abstract The “material” turn has steadily gained currency in cultural studies and the humanities, with scholars increasingly attentive to theorising things and examining their presence, power, and meaning in any number of fields and disciplines. This essay stems from the keynote lecture given at the conference MatteReality: Historical Trajectories and Conceptual Futures for Material Culture Studies, held on March 23, 2017, at the Freiburg Institute for Advanced Studies, University of Freiburg. Focused in particular on the meaning of materiality in American art history and American Studies today, it opens with an examination of the factors of monetisation and mobility and segues to a consideration of more efficacious ways to assess, theorise, and critique the material turn. Two areas that are particularly relevant in terms of rethinking, and mediating, materiality in American art and American Studies are those of technological process and affect: how things are made and how things make us feel.

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14

Elkins, David E., and Sarah P. Deaver. "American Art Therapy Association, Inc.: 2011 Membership Survey Report." Art Therapy 30, no. 1 (January 2013): 36–45. http://dx.doi.org/10.1080/07421656.2013.757512.

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Elkins, David E., and Sarah P. Deaver. "American Art Therapy Association, Inc.: 2013 Membership Survey Report." Art Therapy 32, no. 2 (April 3, 2015): 60–69. http://dx.doi.org/10.1080/07421656.2015.1028313.

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16

Elkins, David E., and Sarah P. Deaver. "American Art Therapy Association, Inc.: 2009 Membership Survey Report." Art Therapy 27, no. 3 (January 2010): 141–47. http://dx.doi.org/10.1080/07421656.2010.10129665.

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17

Berlo, Janet Catherine. "The Persistence of Vision: Current Issues in Native American Art and Art History." American Indian Culture and Research Journal 10, no. 3 (January 1, 1986): 65–70. http://dx.doi.org/10.17953/aicr.10.3.4558m744x23j77n1.

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18

Davis, Mary B. "Through native eyes: American Indians write about their art." Art Libraries Journal 17, no. 4 (1992): 5–12. http://dx.doi.org/10.1017/s030747220000804x.

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During the 20th century, and particularly since its adoption of easel painting, the continuing development of American Indian art has resisted attempts to contain and circumscribe it within definitions and categories imposed by outsiders — art critics, art historians, and the authors of many of the most readily available books on the subject. Native Americans are determined not only to remain in control of their art but also to have a say in how it is interpreted. A bibliography of sources follows an introductory survey of Native American statements about Native American art.

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19

Dormor, Catherine. "String, Felt, Thread: the Hierarchy of Art and Craft in American Art, Elissa Auther." TEXTILE 9, no. 2 (July 2011): 269–71. http://dx.doi.org/10.2752/175183511x13055600095905.

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20

Griffith, James S., Pat Jasper, and Kay Turner. "Art among Us / Arte Entre Nosotros: Mexican American Folk Art of San Antonio." Journal of American Folklore 101, no. 399 (January 1988): 126. http://dx.doi.org/10.2307/540286.

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21

Jackson, Jason Baird, and William M. Clements. "Native American Verbal Art: Texts and Contexts." Journal of the Royal Anthropological Institute 4, no. 4 (December 1998): 833. http://dx.doi.org/10.2307/3034873.

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22

Korzenik, Diana. "Arnheim and the Diversity of American Art." Journal of Aesthetic Education 27, no. 4 (1993): 143. http://dx.doi.org/10.2307/3333507.

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23

Efland, Arthur D., and Foster Wygant. "School Art in American Culture: 1820-1970." Journal of Aesthetic Education 29, no. 3 (1995): 109. http://dx.doi.org/10.2307/3333545.

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24

Langa, Helen, Patricia Trenton, Melanie Anne Herzog, Elizabeth Sussman, Barbara J. Bloemink, Linda Nochlin, Kathleen D. McCarthy, Ellen Wiley Todd, and Kirsten Swinth. "Recent Feminist Art History: An American Sampler." Feminist Studies 30, no. 3 (October 1, 2004): 705. http://dx.doi.org/10.2307/20458996.

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25

Young, M. Jane, and Simon J. Bronner. "American Folk Art: A Guide to Sources." Journal of American Folklore 98, no. 389 (July 1985): 362. http://dx.doi.org/10.2307/539956.

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26

O'Sullivan, Sue, and Camille Paglia. "Camille Paglia's "Sex, Art, and American Culture"." Feminist Review, no. 49 (1995): 108. http://dx.doi.org/10.2307/1395331.

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27

O'Sullivan, Sue. "Camille Paglia's Sex, Art, and American Culture." Feminist Review 49, no. 1 (March 1995): 108–14. http://dx.doi.org/10.1057/fr.1995.9.

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28

Staub, Shalom. ""The Jewish Heritage in American Folk Art"." Journal of American Folklore 100, no. 396 (April 1987): 200. http://dx.doi.org/10.2307/540922.

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29

Hudson, Charles, David S. Brose, James A. Brown, and David W. Penney. "Ancient Art of the American Woodland Indians." American Antiquity 52, no. 1 (January 1987): 206. http://dx.doi.org/10.2307/281083.

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30

González Fraile, Eduardo Miguel. "WHITNEY MUSEUM OF AMERICAN ART (MET BREUER)." Proyecto, Progreso, Arquitectura 23 (November 19, 2020): 28–45. http://dx.doi.org/10.12795/ppa.2020.i23.02.

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El museo de arte Whitney de Breuer se ubica en la isla de Manhattan, en Nueva York, próximo a varios museos muy importantes: al Museo Americano de Historia Natural, al Museo Metropolitano de Arte y al Museo Guggenheim, la obra más conocida de Franz Lloyd Wright. En la génesis del proyecto influirán las características del lugar, la geometría de la parcelación, las metáforas concomitantes con la fachada del anterior Museo Whitney, la emulación de la aérea volatilidad del Museo Guggenheim y la bien engrasada disposición del programa funcional, condensadas en una sección principal que se hunde bajo la línea de tierra y busca allí las raíces del diseño. El plano del terreno original separa arquitecturas distintas respecto al programa, la estructura y la morfología: transparencia de la parte inferior de la fachada frente a la opacidad y masividad de los volúmenes que avanzan hacia el exterior. El patio mediterráneo subyace en el esquema de la disposición de la planta y el complejo patio inglés aporta la sección generadora y da forma literal a las fachadas, contenidas por una envolvente abstracta y poseedoras de un contenido encriptado.

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31

Rauch, Trudy Manning, and David E. Elkins. "American Art Therapy Association, Inc.: 1996-1997 Membership Survey Report." Art Therapy 15, no. 3 (July 1998): 191–202. http://dx.doi.org/10.1080/07421656.1989.10759322.

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32

Brie, Gwynne La, and Cindy Rosa. "American Art Therapy Association, Inc. 1992–93 Membership Survey Report." Art Therapy 11, no. 3 (July 1994): 206–13. http://dx.doi.org/10.1080/07421656.1994.10759086.

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33

Elkins, David E., and Kay Stovall. "American Art Therapy Association, Inc.: 1998-1999 Membership Survey Report." Art Therapy 17, no. 1 (January 2000): 41–46. http://dx.doi.org/10.1080/07421656.2000.10129431.

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34

Elkins, David E., Kay Stovall, and Cathy A. Malchiodi. "American Art Therapy Association, Inc.: 2001-2002 Membership Survey Report." Art Therapy 20, no. 1 (January 2003): 28–34. http://dx.doi.org/10.1080/07421656.2003.10129631.

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35

Greet, Michele. "Occupying Paris: The First Survey Exhibition of Latin American Art." Journal of Curatorial Studies 3, no. 2 (June 1, 2014): 212–36. http://dx.doi.org/10.1386/jcs.3.2-3.212_1.

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36

Carrier, David. "Artforum, Andy Warhol, and the Art of Living: What Art Educators Can Learn from the Recent History of American Art Writing." Journal of Aesthetic Education 39, no. 1 (2005): 1–12. http://dx.doi.org/10.1353/jae.2005.0004.

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37

Astvatsaturov, Andrey A., Pavel V. Balditsyn, Sergei N. Zenkin, Artem A. Zubov, Julia B. Idlis, Grigorii M. Kruzhkov, Mikhail S. Makeev, Natalia K. Polosina, and Anna V. Shvets. "Verbal Art & TD: Tatiana Venediktova Anniversary." Literature of the Americas, no. 14 (2023): 420–42. http://dx.doi.org/10.22455/2541-7894-2023-14-420-442.

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The anniversary collection of essays compiled and edited by Nataliia Polosina, Anna Shvets and Artem Zubov pays tribute to Tatiana Venediktova — Doctor of Philology, professor of American studies, founder and chair of the Department of Discourse and Communication studies at the Philological Faculty of Lomonosov Moscow University, member of the LoA editorial board. Her colleagues, friends and students contributed to the collection. Pavel Balditsyn, Julia Idlis, Mikhail Makeev, Grigoriy Kruzhkov recall the experience of cooperating with Tatiana Venediktova and working on major joint projects like the History of Literature of the United States (1997–2013) and editions of American poets in the academic book series “Literturnye Pamiatniki”. They focus on her work as a researcher, teacher, translator, publisher, academic administrator. The essays by Andrey Astvatsaturov and Sergei Zenkin commemorate the 20th anniversary of her seminal book Conversation in American: Discourse of Bargaining in the American Literary Tradition (2003). They reflect upon the impact the book had in the Russian academia back in the 2000s and its relevance for the humanities scholarship in the 2020s. The anniversary collection is a symbol of gratitude, love and respect towards Tatiana Venediktova, a recognition of her valuable contribution to the American studies and humanities in general in Russia and beyond.

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38

Keyser, James D., and David S. Whitley. "Sympathetic Magic in Western North American Rock Art." American Antiquity 71, no. 1 (January 2006): 3–26. http://dx.doi.org/10.2307/40035319.

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Much rock art worldwide was traditionally interpreted in terms of “hunting magic,” in part based on the related concept of “sympathetic magic” In the last forty years, these interpretations were disproven in many regions and now are largely ignored as potential explanations for the origin and function of the art. In certain cases this may be premature. Examination of the ethnographic and archaeological evidence from western North America supports the origin of some art in sympathetic magic (often related to sorcery) in both California and the Plains and provides a case for hunting magic as one of a series of ritual reasons for making rock art in the Columbia Plateau. Both case studies emphasize the potential diversity in origin, function, and symbolism of shamanistic rock art.

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39

Geertz, Hildred. "American Muse: Anthropological Excursions into Art and Aesthetics:American Muse: Anthropological Excursions into Art and Aesthetics." American Anthropologist 104, no. 2 (June 2002): 667–68. http://dx.doi.org/10.1525/aa.2002.104.2.667.

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40

Rosenthal, Nicolas G. "Painting Native America in Public: American Indian Artists and the New Deal." American Indian Culture and Research Journal 42, no. 3 (July 1, 2018): 47–70. http://dx.doi.org/10.17953/aicrj.42.3.rosenthal.

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The New Deal represents a critical period in the development of American Indian art. Shifts in policy created opportunities for American Indians to study art, and New Deal commissions for murals in post offices and other public spaces enabled artists to develop skills, establish their reputations, and make a living. American Indian artists also faced challenges in the form of dominant expectations for Native art and paternalism from officials and administrators. The benefits of New Deal commissions and the struggles with their limitations nonetheless formed a foundation for subsequent generations of Native artists who claimed more control over their art.

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41

DiBlasio, Margaret, and Foster Wygant. "Art in American Schools in the Nineteenth Century." Journal of Aesthetic Education 20, no. 2 (1986): 109. http://dx.doi.org/10.2307/3332701.

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42

Dobbs, Stephen M., and Elliot W. Eisner. "The Uncertain Profession: Educators in American Art Museums." Journal of Aesthetic Education 21, no. 4 (1987): 77. http://dx.doi.org/10.2307/3332832.

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Delacruz, Elizabeth Manley. "Outside In: Deliberations on American Contemporary Folk Art." Journal of Aesthetic Education 34, no. 1 (2000): 77. http://dx.doi.org/10.2307/3333656.

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44

GEORGI, KAREN L. "James Jackson Jarves's Art Criticism: Aesthetic Classifications and Historiographic Consequences." Journal of American Studies 42, no. 2 (August 2008): 215–35. http://dx.doi.org/10.1017/s0021875808004660.

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Looking at the methodological principles and rhetorical forms that structure James Jackson Jarves's often-cited 1864 book The Art-Idea, this essay reconsiders Jarves's role in the historiography of American art. Jarves has long been associated with post-Civil War shifts toward international aesthetic trends, which eroded the native bias in favor of verisimilitude and anecdote. He is thought to mark a turning point. His texts, however, only partially corroborate the reputation. Here, firstly, I reread Jarves's art theory to suggest what were the aesthetic preferences he hoped to foster among Americans, and why. Secondly, I propose that the reputed Jarves fulfills an apparently unrecognized need in the subdiscipline of American art history – a fundamental understanding of American art as automatically, necessarily, indexical. It is primarily a manifestation of American culture, and more specifically American culture as defined by change, growth, disruption, reintegration.

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45

Stillman, Damie, and Irma Jaffe. "The Italian Presence in American Art, 1760-1860." Eighteenth-Century Studies 25, no. 2 (1991): 247. http://dx.doi.org/10.2307/2738827.

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46

Emans, Charlotte M., and John Michael Vlach. "Plain Painters, Making Sense of American Folk Art." Journal of American Folklore 104, no. 412 (1991): 218. http://dx.doi.org/10.2307/541241.

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47

Davis, Rachel E., Timothy P. Johnson, Sunghee Lee, and Christopher Werner. "Why Do Latino Survey Respondents Acquiesce? Respondent and Interviewer Characteristics as Determinants of Cultural Patterns of Acquiescence Among Latino Survey Respondents." Cross-Cultural Research 53, no. 1 (May 16, 2018): 87–115. http://dx.doi.org/10.1177/1069397118774504.

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Research indicates that Latino survey respondents are more likely to acquiesce than non-Latino European Americans (EAs), thereby decreasing the potential for measurement invariance across cultural groups. To better understand what drives this culturally patterned response style, we examined the influence of respondent and interviewer characteristics on acquiescence. Data were obtained from a telephone survey of 400 Mexican American, Puerto Rican, Cuban American, and non-Latino EA respondents, and a self-administered survey of 21 interviewers. Higher acquiescence was associated with several respondent characteristics: older age, lower education, stronger Latino cultural orientation, Spanish use, Latino ethnicity, and, among Latinos, Cuban American ethnicity. In contrast, acquiescence was not influenced by respondent–interviewer social distance, social deference, or interviewer characteristics (e.g., education, gender, acculturation, interviewer experience). These findings indicate that acquiescence differs across Latino ethnic subgroups and that respondent and language factors are more influential determinants of acquiescence than survey interviewers.

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48

Uzendoski, Michael A. "Translating Native Latin American Verbal Art: Ethnopoetics and Ethnography of Speaking:Translating Native Latin American Verbal Art: Ethnopoetics and Ethnography of Speaking." American Anthropologist 104, no. 3 (September 2002): 995–96. http://dx.doi.org/10.1525/aa.2002.104.3.995.

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49

Kehoe, Alice Beck. "Disciplined Hearts: History, Identity, and Depression in art American Indian Community:Disciplined Hearts: History, Identity, and Depression in art American Indian Community." American Anthropologist 99, no. 1 (March 1997): 184–85. http://dx.doi.org/10.1525/aa.1997.99.1.184.

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Root, Regina A., and Haley R. Conde. "Roser Bru, Latin American Art, and the University." Middle Atlantic Review of Latin American Studies 5, no. 2 (December 16, 2021): 60. http://dx.doi.org/10.23870/marlas.357.

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