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Journal articles on the topic 'New Mexico Museum of Art'
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1
Fagerström, Linda, and Elisabet Haglund. "Mexican Art in Lund’s Museum of Sketches, Sweden." Art and Architecture, no. 42 (2010): 34–43. http://dx.doi.org/10.52200/42.a.2j2whvgo.
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The Mexican collection at Lund’s Museum of Sketches in is an unusual and valuable collection both from a Mexican and from an international perspective: the collection was built by Gunnar Bråhammar in the late 1960s, and counts works by David Alfaro Siqueiros, Diego Rivera, José Clemente Orozco and Juan O’Gorman but also Francisco Eppens, Rufino Tamayo, González Camarena, Raul Angiano, Leopoldo Méndez and Desiderio Xochitiotzin. The article discusses especially “the New Deal” by Rivera, “the Image of Mexico” at the Museo Nacional de Antropología e Historia in Mexico City by Morado Chavez, and “El Pájaro Amarillo” by Goertiz, and the great stone mosaic at the Central Library of the National Autonomous University of Mexico by O’Gorman.
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Russell, Marilyn, and Thomas E. Young. "Selected resources on Native American art." Art Libraries Journal 33, no. 2 (2008): 34–38. http://dx.doi.org/10.1017/s0307472200015339.
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This review of selected paper and electronic resources on Native American art describes what is available at the Haskell Indian Nations University Library and Archives in Lawrence, Kansas; the Institute of American Indian Arts Library and Archives in Santa Fe, New Mexico; the H.A. & Mary K. Chapman Library and Archives at the Philbrook Museum of Art in Tulsa, Oklahoma; and the Billie Jane Baguley Library and Archives at the Heard Museum Library in Phoenix, Arizona. These four institutions develop and maintain resources and collections on Native American art and make the information they contain about indigenous groups available not only to their users and other scholars but also to the wider world.
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Hertz, Carrie. "This is Not a Costume." Museum Anthropology Review 16, no. 1-2 (October 5, 2022): 62–114. http://dx.doi.org/10.14434/mar.v16i1.31694.
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This reflective essay describes the research design for Dressing with Purpose: Belonging and Resistance in Scandinavia, an exhibition and publication for the Museum of International Folk Art in Santa Fe, New Mexico. This essay outlines the theoretical, conceptual, and collaborative foundations supporting the project and explores their implications for the future of collecting, categorizing, and representing dress in museum contexts.
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Mewburn, Charity. "Oil, Art, And Politics. The Feminization of Mexico." Anales del Instituto de Investigaciones Estéticas 20, no. 72 (August 6, 1998): 73. http://dx.doi.org/10.22201/iie.18703062e.1998.72.1804.
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World War II and the new pan-American discourse of the United States, the New Deal and the political-cultural interests of the Rockefellers are sorne of the factors that explain how and why the 1940 Muscum Of Modern Art exhibition, Twenty Centuries of Mexican Art, offered an exotic and "ernasculated" image of Mexican art and, by extesion, of the Mexico of President Lázaro Cárdenas. The design of the catalogue, which is one of the central focuses of this article, permits a reconstruction of this political and cultural history.
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Burganova, Maria A. "THE UNDERWATER MUSEUM BY JASON DECAIRES TAYLOR. FROM ENVIRONMENTAL ISSUES TO DIALOGUES ABOUT ART." Scientific and analytical journal Burganov House. The space of culture 19, no. 4 (September 10, 2023): 10–22. http://dx.doi.org/10.36340/2071-6818-2023-19-4-10-22.
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The article highlights topical issues in the development of new museums on the example of the work of Jason deCaires Taylor — the creator of a variety of underwater expositions: Museo Atlántico — a sculpture museum at the bottom of the ocean off the coast of Lanzarote, which is part of the Canary Islands; the MUSA Underwater Museum in Cancun off the coast of Mexico; a museum off the coast of Cannes on the French Riviera, and others. New underwater park-museums immediately attract a lot of attention from specialists and the general public around the world; however, the largest number of comments are related to the topic of ecology, issues of harmless technologies. Commenting on his sculptural works, it is this that Taylor emphasises, prioritising this aspect. The artistic image of the works remains outside the discussion. Perhaps this is due to the fact that the basis of Taylor’s creative method is not the creation of an original plastic form but a banal copying by making plaster moulds of living people, frozen at the artist’s request in one position or another. However, further, the artist combines copies into complex multi-figure compositions, and here, they acquire artistic meaning and emotional intensity. The article draws much attention to the inclusion of contemporary art in the general historical context of the cultural space. Dialogues in art is a broad topic that received a special meaning in the work of artists of the 20th 21st centuries. It presupposes the presence of an extraordinary situation, implying not only formal similarities between works. No less important is the underlined new context through which the ideas and images, meanings and differences of the works are interpreted. The author of the article highlights these issues on the examples of Taylor’s creative dialogues with T. Géricault and G. Vigeland.
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Kempe, Deborah, Deirdre E. Lawrence, and Milan R. Hughston. "Latin American art resources north of the border: an overview of the collections of the New York Art Resources Consortium (NYARC)." Art Libraries Journal 37, no. 4 (2012): 5–14. http://dx.doi.org/10.1017/s0307472200017673.
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The New York Art Resources Consortium (NYARC), consisting of The Frick Art Reference Library and the libraries of the Brooklyn Museum and the Museum of Modern Art (MoMA), houses significant collections of material on Latin American art that document the cultural history of Mexico, Central America, the Caribbean and South America, as well as the foundation of New York City as an epicenter of US Latino and Latin American cultural production since the 19th century. Ranging from historic archeological photographs to contemporary artists’ books, the holdings of the NYARC libraries are varied in their scope and record the contributions of Latin American and Latino artists to the international art scene. With the creation of Arcade, the shared online catalog of the Frick, MoMA and Brooklyn Museum, the ‘collective collection’ of material about and from Latin America has been strengthened in ways both expected and unanticipated. Techniques for integrating Latin American bibliographic information into discovery platforms, strategies for increasing the visibility of these collections, and ideas for providing improved access to the Latin American subset of the NYARC collections are being explored, and many further opportunities exist to engage in co-operative collection development in this area, across the NYARC consortium and with other peer institutions.
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James, N. "Maya milestone." Antiquity 85, no. 327 (February 2011): 281–83. http://dx.doi.org/10.1017/s0003598x00067624.
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Fiery pool: the Maya and the mythic sea is a travelling exhibition of nearly 100 finds that, together, imply a specific concept of the environment, physical and spiritual, for the Maya of Mesoamerica. As usual, the majority are from ‘public’ contexts, more or less aristocratic; but the exhibition generalises about Maya culture. Most of the exhibits are of the Classic period (c. AD 250–900), predominantly Late Classic, but there are some earlier pieces and several of the Postclassic (to the Spanish Conquest). Some are well known and there are striking new finds too. Curated by Daniel Finamore & Stephen Houston, Fiery pool draws from more than 40 collections in the USA, Mexico, Central America and further afield. It was shown at the Peabody Essex Museum, in Salem, Massachusetts, in 2010, and the Kimbell Art Museum, Fort Worth, Texas, in 2010–11. It is now in Missouri, at the St Louis Art Museum, where its tour finishes on 8 May 2011.
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Kirking, Clayton C. "Both sides of the fence, librarian and curator: forming a Latin American library collection." Art Libraries Journal 20, no. 3 (1995): 11–14. http://dx.doi.org/10.1017/s0307472200009445.
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The Department of Latin American Art at the Phoenix Art Museum was established on 1st January 1992, and the Librarian of the Museum accepted the additional role of Curator of the Department. Although the Museum has always collected Mexican art, the new Department is concerned with all of Latin America and especially with the 20th century. Similarly, the Library, which has long-established interests in Mexican art, is now expanding its coverage to reflect the scope of the new Department. Grant support has been forthcoming, and Library purchasing has been enhanced by the generosity of a private donor and by a strategy of using a proportion of each exhibition budget for Library acquisitions. Specialist suppliers have been identified, but it has also been necessary to travel. Better networking is needed between professionals in Latin America and the USA; exchange programs have the potential to be mutually beneficial. (The text of a paper presented to the IFLA Section of Art Libraries at the IFLA General Conference at Havana, August 1994).
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Barlow, CK. "Thomas DeLio: amounts. to. John Donald Robb Composers' Symposium/University Art Museum, University of New Mexico, Albuquerque, New Mexico, USA, 30 March–2 April 2003." Computer Music Journal 27, no. 4 (December 2003): 91–93. http://dx.doi.org/10.1162/comj.2003.27.4.91.
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Kabylinskii, Boris Vasilievich. "Totem symbols in decorative traditions of the peoples of pre-Columbian America: conflict or harmony?" Культура и искусство, no. 7 (July 2020): 1–12. http://dx.doi.org/10.7256/2454-0625.2020.7.32827.
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The object of this research is a totem symbol in decorative tradition of the peoples of pre-Columbian America. The subject of this research is the images of jaguar in the art of the Aztecs of Mesoamerica. The images of a human and jaguar are captured on the metal, stone and clay artifacts of pre-Columbian civilizations that are available to the public in Mexico City National Museum of Anthropology, Peruvian Museum of the Nation in Lima, Metropolitan Museum of Art in New York, and Smithsonian National Museum of Natural History in Washington, D. C. The research methodology is based on compilation of the results of fundamental research of the leading scholars of North American School of Anthropology. The article conduct a general systematization and brief analytics of scientific records on the specificity of Mesoamerican decorative tradition of totem symbols throughout an extensive period of time: 1500 BC – 400 AD (Olmec Civilization), III century BC – VII century AD (Teotihuacan Civilization), 900 BC – 200 AD (Chavín Civilization), 750 BC – 100 AD (Paracas Civilization), 2300 – 1200 BC (Kotosh Civilization), 1250 – 1470 AD (Chimú Civilization). The presented materials substantiate the thesis that jaguar as a totem symbol carried out the functions of unification and identification of ethnoses of Mesoamerica, reflecting relevant sociocultural trends at various stages of anthropogenesis. The novelty of this work consists in scientific systematization of the facts that the nuances of fusion of the images of human and jaguar in art objects of Aztec culture reflect a harmonious or turbulent frame of mind in pre-Columbian era.
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Leimer, Ann Marie. "La Conquistadora: A Conquering Virgin Meets Her Match." Religion and the Arts 18, no. 1-2 (2014): 245–68. http://dx.doi.org/10.1163/15685292-01801013.
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The Mexican Museum in San Francisco commissioned Delilah Montoya to produce a contemporary codex for the 1992 exhibition “The Chicano Codices: Encountering Art of the Americas,” which sought to critique Quincentennial observances erasing indigenous presence. The artist created a seven-page book, Codex Delilah, Six-Deer: Journey from Mexicatl to Chicana, that depicted the consequences of the initial American-European encounter, and she used the heroine Six-Deer to visually record women’s contributions to this 500-year history. In the codex’s fourth panel, Six-Deer comes across Adora-la-Conquistadora, the artist’s revisioning of the New Mexican Catholic icon of Our Lady of the Rosary, La Conquistadora, the oldest figure of Marian devotion in the United States. Six-Deer contests the designs of the Virgin, who intends to forcefully convert the native peoples of New Mexico. Rather than capitulate, Six-Deer refuses to participate in New Mexico’s Reconquista of 1692. Although Montoya appropriated La Conquistadora’s traditional sartorial splendor, she proposed an alternate reading of this Conquering Virgin. This article reads Montoya’s depiction within the dimensions of La Conquistadora’s historical, religious, cultural, and iconographic contexts.
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Miramontes Olivas, Adriana, Juan De Dios Mora, and Deborah Caplow. "Exodus to the “Promised Land:” Of the Devil and Other Monsters in Juan de Dios Mora’s Artworks." Contemporaneity: Historical Presence in Visual Culture 6 (November 30, 2017): 58–72. http://dx.doi.org/10.5195/contemp.2017.222.
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Juan de Dios Mora is a printmaker and a senior lecturer at The University of Texas at San Antonio, where he began teaching painting, drawing, and printmaking in 2010. Mora is a prolific artist whose prints have been published in numerous venues including the catalogs New Arte Nuevo: San Antonio 2010 and New Art/Arte Nuevo San Antonio 2012. In 2017, his work was exhibited at several venues, including the McNay Art Museum in San Antonio, Texas in Juan Mora: Culture Clash (June 8–August 13, 2017) and at The Cole Art Center, Reavley Gallery in Nacogdoches, Texas, in Juan de Dios Mora (organized by the Art Department at the Stephen F. Austin State University School of Art, January 26–March 10, 2017). In 2016, Mora participated in the group show Los de Abajo: Garbage as an Artistic Source (From the Bottom: Garbage as an Artistic Source) at the Guadalupe Cultural Arts Center in San Antonio (June 10–July 29, 2016). Mora also curates the show Print It Up, which he organizes in the downtown area of San Antonio, thereby granting unprecedented exposure to numerous artists. For this exhibition, Mora mentors both students and alumni, guiding them through the exhibition process—from how to create a portfolio, frame and install artworks, to contracting with gallery owners, and selling artworks to the public. Adriana Miramontes Olivas is a doctoral student in the Department of the History of Art and Architecture at the University of Pittsburgh. She earned her BA at the University of Texas at El Paso and her MA at the University of Texas at San Antonio. Her research is in modern and contemporary global art with a focus on Latin America, gender studies, sexuality, and national identity.Dr. Deborah Caplow is an art historian and curator, and the author of a book about the Mexican printmaker, Leopoldo Méndez (Leopoldo Méndez: Revolutionary Art and the Mexican Print, University of Texas Press). She teaches art history at the University of Washington, Bothell. Areas of scholarship include twentieth-century Mexican art, the intersections between art and politics, and the history of photography. Currently, she is researching contemporary printmaking in Oaxaca, Mexico.
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Kieffer, C. L., Julia Clifton, and Lisa Mendoza. "Moving and Transforming Care of One of the Largest Southwest Archaeological Collections: The Museum of Indian Arts and Culture's Move to the Center for New Mexico Archaeology." Collection Forum 31, no. 1-2 (September 1, 2017): 34–52. http://dx.doi.org/10.14351/0831-4985-31.1.34.
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Abstract After over two decades of planning and five years of conserving, packing, and moving, the Museum of Indian Arts and Culture has finished the first two phases of the largest move of archaeological artifacts in the museum's history and quite possibly in the American Southwest. Framed within the historical background of evolving collection storage over many decades, the Archaeological Research Collections were moved from the Laboratory of Anthropology and another off-site storage location to a new state of the art off-site facility at the Center for New Mexico Archaeology (CNMA). Decisions that eased the overall move, including issues resulting from the move and how they were remedied, are discussed. Overall, this particular collections move demonstrates the capabilities that a small staff can have if given enough time, volunteers, and grant resources.
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Bahn, Paul G. "Pleistocene Images outside Europe." Proceedings of the Prehistoric Society 57, no. 01 (1991): 91–102. http://dx.doi.org/10.1017/s0079497x00004904.
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At first sight it may seem a pointless exercise to produce a survey of late Pleistocene ‘artistic activity’ around the world, but there are two specific aims involved here: first, to show that human beings in different parts of the world were producing ‘art’ at roughly the same time, i.e. from about 40,000 BC onward, and particularly at the end of the Pleistocene, from about 12,0000 BC, and second, to show that the well known Ice Age art of Europe is no longer unique, but part of a far more widespread phenomenon (Bahn 1987; Bahn and Vertut 1988, 26–32). The European art remains supreme in its quantity and its ‘quality’ (i.e. its realism and its wide range of techniques), but that situation may well alter in the next decade or two as new discoveries are made elsewhere and new dating methods are refined and extended.Ironically, the first clue to Pleistocene art outside Europe was found as long ago as 1870, only a few years after Edouard Lartet's and Henry Christy's discoveries in southern France were authenticated. Unfortunately, the object in question was badly published, and dis-appeared from 1895 until its rediscovery in 1956, and consequently very few works on Pleistocene art mention it. This mineralized sacrum of an extinct fossil camelid was found at Tequixquiac in the northern part of the central basin of Mexico. The bone is carved and engraved (two nostrils have been cut into the end) so as to represent the head of a pig-like or dog-like animal (pl. 18a). The circumstances of its discovery are unclear, but it is thought to be from a late Pleistocene bone bed, and to be at least 11,000 or 12,000 years old (Aveleyra 1965; Messmacher 1981,94). At present it is on exhibit in Mexico's National Museum of Anthropology.
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Ludovici, Ginevra. "Expanding the public space through art. A conversation with Pablo Helguera." Annales Universitatis Paedagogicae Cracoviensis. Studia de Arte et Educatione 17, no. 375 (November 30, 2023): 117–27. http://dx.doi.org/10.24917/20813325.17.9.
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Pablo Helguera (Mexico City, 1971) is a New York based artist working with installation, sculpture, photography, drawing, socially engaged art and performance. Helguera’s work focuses in a variety of topics ranging from history, pedagogy, sociolinguistics, ethnography, memory and the absurd, in formats that are widely varied including the lecture, museum display strategies, musical performances and written fiction. His work as an educator has usually intersected his interest as an artist. This intersection is best exemplified in his project, The School of Panamerican Unrest (2003–2006), a nomadic think-tank that physically crossed the American continent by car from Anchorage, Alaska to Tierra del Fuego, making 40 stops in between. Covering almost 20,000 miles, it is considered one of the most extensive public art projects on record as well as a pioneering work for the new generation of artworks regarded under the area of socially engaged art. The contribution, in the form of a conversation, will retrace Helguera’s work to focus on questions of publicness, art and participation in a moment in which socially engaged practices are increasingly established in the contemporary art realm. By articulating the artist’s strategies and operating methodologies, the aim is to shed light on ways in which art can contribute to widen the public discourse on the social and political life and create accessible spaces of meeting, confrontation and dialogue, in which a counter- narrative to the dominant neoliberal frame work can take place.
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Krieger, Peter. "Geo-Aesthetics, a concept of interdisciplinary research and artistic practice: the exposition STRATUM in Mexico City, in 2022." Quaderni Culturali IILA 4, no. 4 (February 19, 2023): 53–63. http://dx.doi.org/10.36253/qciila-2062.
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This article presents ideas about the function of the image, particularly in the fine arts, in the discourses on the current environmental crisis, determined by geological factors, which have a fundamental importance for the definition of the new epoch of the Anthropocene. Exemplified by an art installation in the University Museum of Sciences and Arts (MUCA, at the National Autonomous University of Mexico, UNAM), the visual strategies will be revised of how to present an alternative access to the understanding of the geomorphological destruction via the hyper-urbanization in the basin of Mexico City, i.e. the mega city and its agglomerations. The artistic geo-aesthetical intervention STRATUM, realized by artist Luis Carrera-Maul in summer/autumn of 2022, is an artificial landscape composed by ceramic and Styrofoam waste, as well as the cultivation of wild vegetation. The relation of these elements, as well as the support of the related disciplines, humanities and sciences, will be revised, focusing on the epistemic synergies materialized in this paradigmatic expression of the aesthetics of the Anthropocene.
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Cummins, Thomas B. F. "Pre-Columbia: Wherefore Art Thou Art?" Latin American and Latinx Visual Culture 1, no. 1 (January 1, 2019): 94–99. http://dx.doi.org/10.1525/lavc.2019.000007a.
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Following an introductory essay, six short contributions by academics and museum curators in the United States (US) and Europe tackle the current state and future of Pre-Columbian visual culture studies. They explore the field’s impressive growth in this century, as well as some of the dangers it currently faces as a result of that growth. Several trace its present state to its origins and the part played by early Mexican and US nationalism, the popularity of world’s fairs, and the civil rights movement, among other factors. Also considered are problems inherent in the late nineteenth- and early twentieth-century separation of the preconquest past from the newly labeled colonial period, as well as the concurrent embrace of the term “Pre-Columbian.” Other essays take a hard look at the present and future relation of art history to archaeology and cross-disciplinary studies within the field, which is defined in part by their dependence on, or skepticism regarding, iconography. Whereas academics wrestle in these essays with the implications of a declining job market, museum curators struggle with limited funding. Nonetheless, possible new strategies and opportunities for the future are proposed, including engagement with issues posed by the rising interest in decoloniality and global indigeneity. RESUMEN Luego de un ensayo introductorio, seis contribuciones cortas de académicos y conservadores de museos en los Estados Unidos y Europa abordan el estado actual y el futuro de los estudios de cultura visual precolombina. Se explora el impresionante crecimiento del campo en este siglo, así como algunos de los peligros que enfrenta actualmente como resultado de este crecimiento. Varios colaboradores trazan el estado actual del campo hasta sus orígenes y notan la influencia en él de las primeras manifestaciones de los nacionalismos de México y los Estados Unidos, la popularidad de las ferias mundiales y el Movimiento por los derechos civiles, entre otros factores. También se consideran los problemas inherentes a la separación entre el pasado precolombino y el llamado período colonial que se establecía entre fines del siglo XIX y principios del siglo XX, así como la aceptación simultánea del término “precolombino”. Otros ensayos analizan detenidamente la relación presente y futura de la historia del arte con la arqueología y los estudios interdisciplinarios dentro del campo, que se define en parte por su dependencia o escepticismo con respecto a la iconografía. Mientras que los académicos discuten en estos ensayos las implicaciones de un mercado de trabajo decreciente, los curadores de museos abordan las restricciones presupuestarias. No obstante, se proponen posibles nuevas estrategias y oportunidades para el futuro, como la participación futura en cuestiones planteadas por el creciente interés en la descolonialidad y la indigeneidad global. RESUMO Após um ensaio introdutório, seis curtas contribuições de acadêmicos e curadores de museus nos Estados Unidos e na Europa abordam o estado atual e o futuro dos estudos da cultura visual pré-colombiana. O impressionante crescimento do campo neste século, bem como alguns dos perigos que atualmente enfrenta como resultado desse crescimento, são explorados. Diversos colaboradores traçam o estado atual do campo até suas origens e o papel desempenhado pelo nacionalismo inicial do México e dos Estados Unidos, a popularidade das feiras mundiais e o Movimento dos direitos civis, entre outros fatores. Também são considerados os problemas inerentes à separação, no final do século XIX e início do século XX, entre o passado pré-conquista e o recém-rotulado período colonial, bem como a aderência simultânea ao termo “pré-colombiano”. Outros ensaios dedicam olhar atento à relação presente e futura da história da arte com a arqueologia e estudos interdisciplinares dentro do campo, que é definida em parte por sua dependência ou ceticismo em relação à iconografia. Enquanto os acadêmicos lutam nesses ensaios com as implicações de um mercado de trabalho em declínio, os curadores de museus lutam com recursos limitados. No entanto, são propostas possíveis novas estratégias e oportunidades para o futuro, incluindo o envolvimento futuro com questões levantadas pelo crescente interesse na decolonialidade e na indigeneidade global.
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BURNS, CHELSEA. "Reiterating Hierarchy and the Failed Promise of the Global." Twentieth-Century Music 20, no. 3 (October 2023): 378–401. http://dx.doi.org/10.1017/s147857222300018x.
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AbstractThe idea of global modernisms rests upon freighted power relationships. Far from decolonizing, this concept reinscribes values of Euro- and US-centric discourses. This article addresses the inherent friction of global musical modernisms through Carlos Chávez's 1940 composition La paloma azul, written for concerts at New York's Museum of Modern Art. Tasked with appealing to a US audience, Chávez created work that participates in modernism's hierarchical frame, where Mexico provides exotic fantasy for bourgeois New Yorkers.Chávez was not alone in having been positioned as ‘modernism's shadow’ – the negative counterexample that confirms modernism's progressive image. Global musical modernism suggests that modernism can shed its exclusionary identity and encompass more. But it hides how modernism has always been international, and how composers such as Chávez have been central to its construction. By ignoring modernism's historical realities, global musical modernism shores up existing understandings and maintains the marginal status of whatever is categorized as ‘global’.
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Roberts, Jodi. "Diego Rivera: Moscow Sketchbook." October 145 (July 2013): 85–114. http://dx.doi.org/10.1162/octo_a_00149.
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Diego Rivera made the following sketches during a seven-to-eight-month stay in the Soviet Union between 1927 and 1928. A prominent member of the Partido Comunista de México (Communist Party of Mexico), Rivera traveled to Moscow to participate in the tenth-anniversary celebrations of the 1917 Revolution. Word of Rivera's dedication to muralism as a politically potent art form preceded his arrival, and he quickly became embroiled in debates about Soviet art's ideological aims and physical characteristics. He lectured on monumental painting at the Komakademiia (Communist Academy) and joined the Oktiabr' (October) group, a body of artists—many former Constructivists—working in varied media but united in their rejection of easel painting in favor of works intended for public display and mass audiences. Rivera also received a commission from Anatolli Lunacharsky, the first Soviet Commissar of Enlightenment, for a fresco cycle (ultimately unrealized) at the Red Army's headquarters. As Maria Gough argues in this issue, the group of drawings, long assumed to be from a single notebook, is likely an amalgamation of sketches created during two distinct events, the tenth-anniversary celebrations in November 1927 and the May Day festivities of the following year. Rivera's sketches capture his reaction to these officially mandated public demonstrations—spectacles so large in scale that they defined a new type of mass political event. In January 1928, Rivera met two young American scholars—Alfred H. Barr Jr. and Jere Abbott, the future director and associate director of the Museum of Modern Art, New York, respectively—who were on the Russian leg of a European tour designed as an education in contemporary artistic developments. The three met regularly, visiting exhibitions and the studios of Moscow-based artists. The fruits of this unlikely friendship between a radical art-world celebrity and two fledgling art historians were seen in Rivera's one-man show at MoMA in the winter of 1931–32, a blockbuster that decimated the young museum's existing attendance records. In support of the exhibition, Abby Aldrich Rockefeller, a founding trustee of the Museum, purchased the sketches to help defray the cost of the artist's stay in New York. She donated the works to MoMA in 1935.
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Caballero-Ochoa, Andrea Alejandra, Alejandra Martínez-Melo, Carlos Andrés Conejeros-Vargas, Francisco Alonso Solís-Marín, and Alfredo Laguarda-Figueras. "Diversidad, patrones de distribución y “hotspots” de los equinoideos irregulares (Echinoidea: Irregularia) de México." Revista de Biología Tropical 65, no. 1-1 (December 8, 2017): 42. http://dx.doi.org/10.15517/rbt.v65i1-1.31666.
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Diversity, distribution patterns and hotspots of the irregular equinoids (Echinoidea: Irregularia) of Mexico.Irregular echinoids can be found in almost all marine habitats, from the polar to the equatorial regions, and from the intertidal zone to great depths; some species have a cosmopolitan distribution, but most are geographically restricted, and all live in very particular habitats to a greater or lesser degree in Mexico has 153 species distributed within the coastal limits. Geographic barriers (terrestrial barriers and large ocean basins) and ocean current patterns act as primary modulators of the distribution of echinoids; however, there are factors that define the local distribution. The purpose of this work is to analyze the diversity of irregular echinoids in Mexico, as well as to explain the patterns of distribution and to explore the hotspots through panbiogeography as units of high richness. The study area covers all the territorial waters of Mexico in the Pacific Ocean, Atlantic and Caribbean Sea. To obtain the geographical coordinates we used the distribution data of 68 species of irregular echinoids recorded at different depths. We reviewed the specimens deposited in five scientific collections, in addition to the revision of other records from online databases: 1. National Collection of Echinoderms “Ma. Elena Caso Muñoz” of the Instituto de Ciencias del Mar y Limnología (ICML), of the Universidad Nacional Autónoma de México (UNAM); 2. Regional Collection of Invertebrates of the Academic Unit Mazatlán, ICML, UNAM. 3. Invertebrate Zoology Collection, Smithsonian Museum of Natural History, Washington, D.C., United States of America, (USA); 4. Invertebrate Collection, Museum of Comparative Zoology, University of Harvard, Boston, Massachusetts; 5. Invertebrate Zoology, Peabody Museum, Yale University, New Haven, Connecticut; National Information System on Biodiversity (SNIB-CONABIO) and Global Biodiversity Information (GBIF). The generalized tracks were performed by the analysis of endemicity based on the optimization method, using the NDM/VNDM program with a 2° x 2° latitude/longitude grid. Hotspots were obtained by overlapping the generalized tracks using the ArcView program. The best represented was family Brissidae, with 15 species, most of them belonging to the genus Brissopsis, followed by the family Mellitidae (with 12 species), half of them belongs to the genus Encope. The families of irregular sea urchins with a smaller number of species were: Echinoneidae, Plexechinidae, Palaeotropidae and Paleopneustidae, each represented by a single species. The following general patterns of distribution were recognized: 1) groups of widely distributed species and 2) restricted species living in the first few meters of depth (0-20m). Nine consensus areas or generalized tracks were obtained in the Endemicity Analysis and 47 hotspots were recognized. Three areas with high specific wealth were obtained: West Coast of the Gulf of Mexico, Bank of Campeche/Mexican Caribbean and Gulf of California. The Gulf of California area has the highest diversity of irregular echinoids. This is the first approximation in the study of the panbiogeography of echinoderms of Mexico. Rev. Biol. Trop. 65(Suppl. 1): S42-S59. Epub 2017 November 01.
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Schriber, Abbe. "Mapping a New Humanism in the 1940s: Thelma Johnson Streat between Dance and Painting." Arts 9, no. 1 (January 11, 2020): 7. http://dx.doi.org/10.3390/arts9010007.
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Thelma Johnson Streat is perhaps best known as the first African American woman to have work acquired by the Museum of Modern Art. However, in the 1940s–1950s she inhabited multiple coinciding roles: painter, performer, choreographer, cultural ethnographer, and folklore collector. As part of this expansive practice, her canvases display a peculiar movement and animacy while her dances transmit the restraint of the two-dimensional figure. Drawing from black feminist theoretical redefinitions of the human, this paper argues that Streat’s exploration of muralism, African American spirituals, Native Northwest Coast cultural production, and Yaqui Mexican-Indigenous folk music established a diasporic mapping forged through the coxtension of gesture and brushstroke. This transmedial work disorients colonial cartographies which were the products of displacement, conquest, and dispossession, aiding notions of a new humanism at mid-century.
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Liebmann, Matthew. "Cultural convergence in New Mexico: interactions in art, history & archaeology, honoring William Wroth Cultural convergence in New Mexico: interactions in art, history & archaeology, honoring William Wroth , edited by Robin Farwell Gavin and Donna Pierce. Santa Fe, Museum of New Mexico Press, 2021, 320 pp., including 18 color plates, color and black-and-white figures. (ISBN 9780890136638)." Colonial Latin American Review 32, no. 4 (October 2, 2023): 603–4. http://dx.doi.org/10.1080/10609164.2023.2282881.
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Trever, Lisa. "Pre-Columbian Art History in the Age of the Wall." Latin American and Latinx Visual Culture 1, no. 1 (January 1, 2019): 100–104. http://dx.doi.org/10.1525/lavc.2019.000007b.
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Following an introductory essay, six short contributions by academics and museum curators in the United States (US) and Europe tackle the current state and future of Pre-Columbian visual culture studies. They explore the field’s impressive growth in this century, as well as some of the dangers it currently faces as a result of that growth. Several trace its present state to its origins and the part played by early Mexican and US nationalism, the popularity of world’s fairs, and the civil rights movement, among other factors. Also considered are problems inherent in the late nineteenth- and early twentieth-century separation of the preconquest past from the newly labeled colonial period, as well as the concurrent embrace of the term “Pre-Columbian.” Other essays take a hard look at the present and future relation of art history to archaeology and cross-disciplinary studies within the field, which is defined in part by their dependence on, or skepticism regarding, iconography. Whereas academics wrestle in these essays with the implications of a declining job market, museum curators struggle with limited funding. Nonetheless, possible new strategies and opportunities for the future are proposed, including engagement with issues posed by the rising interest in decoloniality and global indigeneity. RESUMEN Luego de un ensayo introductorio, seis contribuciones cortas de académicos y conservadores de museos en los Estados Unidos y Europa abordan el estado actual y el futuro de los estudios de cultura visual precolombina. Se explora el impresionante crecimiento del campo en este siglo, así como algunos de los peligros que enfrenta actualmente como resultado de este crecimiento. Varios colaboradores trazan el estado actual del campo hasta sus orígenes y notan la influencia en él de las primeras manifestaciones de los nacionalismos de México y los Estados Unidos, la popularidad de las ferias mundiales y el Movimiento por los derechos civiles, entre otros factores. También se consideran los problemas inherentes a la separación entre el pasado precolombino y el llamado período colonial que se establecía entre fines del siglo XIX y principios del siglo XX, así como la aceptación simultánea del término “precolombino”. Otros ensayos analizan detenidamente la relación presente y futura de la historia del arte con la arqueología y los estudios interdisciplinarios dentro del campo, que se define en parte por su dependencia o escepticismo con respecto a la iconografía. Mientras que los académicos discuten en estos ensayos las implicaciones de un mercado de trabajo decreciente, los curadores de museos abordan las restricciones presupuestarias. No obstante, se proponen posibles nuevas estrategias y oportunidades para el futuro, como la participación futura en cuestiones planteadas por el creciente interés en la descolonialidad y la indigeneidad global. RESUMO Após um ensaio introdutório, seis curtas contribuições de acadêmicos e curadores de museus nos Estados Unidos e na Europa abordam o estado atual e o futuro dos estudos da cultura visual pré-colombiana. O impressionante crescimento do campo neste século, bem como alguns dos perigos que atualmente enfrenta como resultado desse crescimento, são explorados. Diversos colaboradores traçam o estado atual do campo até suas origens e o papel desempenhado pelo nacionalismo inicial do México e dos Estados Unidos, a popularidade das feiras mundiais e o Movimento dos direitos civis, entre outros fatores. Também são considerados os problemas inerentes à separação, no final do século XIX e início do século XX, entre o passado pré-conquista e o recém-rotulado período colonial, bem como a aderência simultânea ao termo “pré-colombiano”. Outros ensaios dedicam olhar atento à relação presente e futura da história da arte com a arqueologia e estudos interdisciplinares dentro do campo, que é definida em parte por sua dependência ou ceticismo em relação à iconografia. Enquanto os acadêmicos lutam nesses ensaios com as implicações de um mercado de trabalho em declínio, os curadores de museus lutam com recursos limitados. No entanto, são propostas possíveis novas estratégias e oportunidades para o futuro, incluindo o envolvimento futuro com questões levantadas pelo crescente interesse na decolonialidade e na indigeneidade global.
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Robb, Matthew H. "Lords of the Underworld—and of Sipán: Comments on the University Museum and the Study of Ancient American Art and Archaeology." Latin American and Latinx Visual Culture 1, no. 1 (January 1, 2019): 115–20. http://dx.doi.org/10.1525/lavc.2019.000007e.
Full textAbstract:
Following an introductory essay, six short contributions by academics and museum curators in the United States (US) and Europe tackle the current state and future of Pre-Columbian visual culture studies. They explore the field’s impressive growth in this century, as well as some of the dangers it currently faces as a result of that growth. Several trace its present state to its origins and the part played by early Mexican and US nationalism, the popularity of world’s fairs, and the civil rights movement, among other factors. Also considered are problems inherent in the late nineteenth- and early twentieth-century separation of the preconquest past from the newly labeled colonial period, as well as the concurrent embrace of the term “Pre-Columbian.” Other essays take a hard look at the present and future relation of art history to archaeology and cross-disciplinary studies within the field, which is defined in part by their dependence on, or skepticism regarding, iconography. Whereas academics wrestle in these essays with the implications of a declining job market, museum curators struggle with limited funding. Nonetheless, possible new strategies and opportunities for the future are proposed, including engagement with issues posed by the rising interest in decoloniality and global indigeneity. RESUMEN Luego de un ensayo introductorio, seis contribuciones cortas de académicos y conservadores de museos en los Estados Unidos y Europa abordan el estado actual y el futuro de los estudios de cultura visual precolombina. Se explora el impresionante crecimiento del campo en este siglo, así como algunos de los peligros que enfrenta actualmente como resultado de este crecimiento. Varios colaboradores trazan el estado actual del campo hasta sus orígenes y notan la influencia en él de las primeras manifestaciones de los nacionalismos de México y los Estados Unidos, la popularidad de las ferias mundiales y el Movimiento por los derechos civiles, entre otros factores. También se consideran los problemas inherentes a la separación entre el pasado precolombino y el llamado período colonial que se establecía entre fines del siglo XIX y principios del siglo XX, así como la aceptación simultánea del término “precolombino”. Otros ensayos analizan detenidamente la relación presente y futura de la historia del arte con la arqueología y los estudios interdisciplinarios dentro del campo, que se define en parte por su dependencia o escepticismo con respecto a la iconografía. Mientras que los académicos discuten en estos ensayos las implicaciones de un mercado de trabajo decreciente, los curadores de museos abordan las restricciones presupuestarias. No obstante, se proponen posibles nuevas estrategias y oportunidades para el futuro, como la participación futura en cuestiones planteadas por el creciente interés en la descolonialidad y la indigeneidad global. RESUMO Após um ensaio introdutório, seis curtas contribuições de acadêmicos e curadores de museus nos Estados Unidos e na Europa abordam o estado atual e o futuro dos estudos da cultura visual pré-colombiana. O impressionante crescimento do campo neste século, bem como alguns dos perigos que atualmente enfrenta como resultado desse crescimento, são explorados. Diversos colaboradores traçam o estado atual do campo até suas origens e o papel desempenhado pelo nacionalismo inicial do México e dos Estados Unidos, a popularidade das feiras mundiais e o Movimento dos direitos civis, entre outros fatores. Também são considerados os problemas inerentes à separação, no final do século XIX e início do século XX, entre o passado pré-conquista e o recém-rotulado período colonial, bem como a aderência simultânea ao termo “pré-colombiano”. Outros ensaios dedicam olhar atento à relação presente e futura da história da arte com a arqueologia e estudos interdisciplinares dentro do campo, que é definida em parte por sua dependência ou ceticismo em relação à iconografia. Enquanto os acadêmicos lutam nesses ensaios com as implicações de um mercado de trabalho em declínio, os curadores de museus lutam com recursos limitados. No entanto, são propostas possíveis novas estratégias e oportunidades para o futuro, incluindo o envolvimento futuro com questões levantadas pelo crescente interesse na decolonialidade e na indigeneidade global.
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Lail, Warren K., David Sammeth, Shannon Mahan, and Jason Nevins. "A Non-Destructive Method for Dating Human Remains." Advances in Archaeological Practice 1, no. 2 (November 2013): 91–103. http://dx.doi.org/10.7183/2326-3768.1.2.91.
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AbstractThe skeletal remains of several Native Americans were recovered in an eroded state from a creek bank in northeastern New Mexico. Subsequently stored in a nearby museum, the remains became lost for almost 36 years. In a recent effort to repatriate the remains, it was necessary to fit them into a cultural chronology in order to determine the appropriate tribe(s) for consultation pursuant to the Native American Grave Protection and Repatriation Act (NAGPRA). Because the remains were found in an eroded context with no artifacts or funerary objects, their age was unknown. Having been asked to avoid destructive dating methods such as radiocarbon dating, the authors used Optically Stimulated Luminescence (OSL) to date the sediments embedded in the cranium. The OSL analyses yielded reliable dates between A.D. 1415 and A.D. 1495. Accordingly, we conclude that the remains were interred somewhat earlier than A.D. 1415, but no later than A.D. 1495. We believe the remains are from individuals ancestral to the Ute Mouache Band, which is now being contacted for repatriation efforts. Not only do our methods contribute to the immediate repatriation efforts, they provide archaeologists with a versatile, non-destructive, numerical dating method that can be used in many burial contexts.
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Head, Genevieve N. "Before Pecos: Settlement Aggregation at Rowe, New Mexico. Linda S. Cordell. 1999. Anthropological Papers, No. 6, Maxwell Museum of Anthropology, University of New Mexico, Albuquerque, ix + 219 pp., 56 figures, 26 tables, references cited, index. $28.00 (paper). ISBN 0-912535-12-1." American Antiquity 65, no. 3 (July 2000): 595–96. http://dx.doi.org/10.2307/2694554.
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Cannon, William J. "Rock Art in New Mexico. Polly Schaafsma. Museum of New Mexico Press, Santa Fe, 1992. vii + 175 pp., photographs, maps, works cited, index. ’29.95 (paper). - A Field Guide to Rock Art Symbols of the Greater Southwest. Alex Patterson. Johnson Books, Boulder, Colorado, 1992. xv + 256 pp., illustrations, indexes, bilblography. ’15.95 (paper). - Indian Rock Art of the Columbia Plateau. James D. Keyser. University of Washington Press, Seattle, 1992. 139 pp., photographs, maps, figures, glossary, bibliography, index. ’35.00 (cloth); ’17.50 (paper)." American Antiquity 59, no. 2 (April 1994): 379–80. http://dx.doi.org/10.2307/281943.
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Prażmowska-Marcinowska, Karolina. "Repatriation of Indigenous Peoples’ Cultural Property: Could Alternative Dispute Resolution Be a Solution? Lessons Learned from the G’psgolox Totem Pole and the Maaso Kova Case." Santander Art and Culture Law Review 8, no. 2 (December 30, 2022): 115–38. http://dx.doi.org/10.4467/2450050xsnr.22.015.17028.
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Considering that the vast majority of the objects constituting Indigenous Peoples’ cultural heritage are now located outside their source communities, the restitution of cultural property has become a pressing issue among Indigenous Peoples worldwide and should be understood as part of Indigenous Peoples’ historical (as well as current) encounter with colonization and its consequences. As such, this article investigates whether international cultural heritage law offers any possibilities for successful repatriation and to what extent the shortcomings of the framework in place could be complemented by alternative dispute resolution (ADR) mechanisms and the new mandate of the Expert Mechanism on the Rights of Indigenous Peoples (Expert Mechanism). First, crucial concepts in the repatriation debates are explained. Next the factual background of the case studies of the G’psgolox Totem Pole and Maaso Kova are presented. This is followed by a discussion of the most pertinent mechanisms of international cultural heritage law and the place of Indigenous Peoples’ rights within such a framework. Subsequently, the concept of ADR is introduced, and the details of the negotiation processes between the Haisla First Nation (Canada) and the Yaqui People (Mexico, the United States) – both with the Museum of Ethnography in Stockholm (Sweden) – are presented. Finally, the article evaluates to what extent ADR could be an appropriate mechanism for the settlement of disputes concerningIndigenous Peoples’ cultural property, andwhether the Expert Mechanism is a well-suited body for facilitating the process of repatriating Indigenous Peoples’ cultural heritage.
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Katzew, Ilona, and Rachel Kaplan. "“Like the Flame of Fire”." Latin American and Latinx Visual Culture 3, no. 1 (January 1, 2021): 4–29. http://dx.doi.org/10.1525/lavc.2021.3.1.4.
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The so-called Hearst Chalice at the Los Angeles County Museum of Art (LACMA) is widely regarded as one the most significant works of Mexican silversmithing from the sixteenth century. Its style, technique, and above all its unique combination of materials—including precious metals, feathers, wood carvings, and rock crystal—have led scholars to describe it as the perfect fusion of European and Ancient American (or pre-Columbian) traditions. Surprisingly, despite the consensus about the chalice’s importance, the cultural and artistic conditions that led to the creation of this singular object have not been thoroughly analyzed. By closely examining the different material components of the imposing artifact—which though carefully assembled also stand as independent units—we can better understand its uniqueness and symbolic potential. This essay espouses a synoptic approach by considering a range of agencies, perspectives, and sources—documentary and material—to restore the “Hearst” Chalice to its rightful context, without aspiring to a totalizing view of the past or a definitive decoding of its system of meaning. Categorizing its form and function as purely Indigenous and European poses a distinct set of challenges and limits its hermeneutic possibilities. The work—like many others created during the volatile period following the fall of Tenochtitlan—encodes a new visual language that reveals the highly subtle process of negotiation of these two cultures in a particular space and time. Moving away from the reductive concept of syncretism, the essay offers a fresh look at this impressive contact period work and its shifting values over time.
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Freter, AnnCorinne. "MULTISCALAR MODEL OF RURAL HOUSEHOLDS AND COMMUNITIES IN LATE CLASSIC COPAN MAYA SOCIETY." Ancient Mesoamerica 15, no. 1 (January 2004): 93–106. http://dx.doi.org/10.1017/s0956536104151109.
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A variety of models contribute to our understanding of Classic Maya sociopolitical structure. Few, however, consider the variability that existed within Maya systems, and the temporal and spatial scales of analysis have often been limited, especially with respect to the commoner segment of society. One model that has focused attention on this component of the Maya is thesian otot, described by Charles Wisdom (1940The Chorti Indians of Guatemala. University of Chicago Press) and introduced for the Copan Maya by William Fash (1983 Deducing Social Organization from Classic Maya Settlement Patterns: A Case Study from the Copan Valley. InCivilization in the Ancient Americas: Essays in Honor of Gordon R. Willey. University of New Mexico Press and Peabody Museum of Archaeology and Ethnology, Harvard University). Based on data from a 135-km2regional settlement survey and excavations of the Copan Valley in Honduras, it is argued that this model, in conjunction with other, broader models of Classic Maya society, offers a useful perspective from which to construct a multiscalar model of ancient Copan social organization. The variability amongsian otot, particularly in terms of economic production, is considered. The ceramic data from Copan suggest that ceramic production among commoner units was communal, and the possibility for community cooperatives is raised. Finally, the dynamic scale and productive relations among the commoners are considered in light of broader sociopolitical changes in the processual history of the Copan polity. It is concluded that the intersection of social, political, and economic institutional frameworks needs to be more comprehensively investigated from varied scales, both temporal and settlement, to appreciate fully the diversity of Maya social organization during the Late Classic/Terminal Classic transition.
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Imajo, Motoi. "New lighting for museum and museum of art." JOURNAL OF THE ILLUMINATING ENGINEERING INSTITUTE OF JAPAN 74, Appendix (1990): 177. http://dx.doi.org/10.2150/jieij1980.74.appendix_177.
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Feder, Toni. "Nuclear museum reopens in New Mexico." Physics Today 62, no. 6 (June 2009): 25. http://dx.doi.org/10.1063/1.3156327.
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Slawson, Laurie V. "A Sixteenth-Century Spanish Campsite in the Tiguex Province. Bradley J. Vierra. Laboratory of Anthropology Notes No. 475. Museum of New Mexico, Santa Fe, 1989. xiii + 264 pp., figures, tables, references, appendix. ’26.00 (paper)." American Antiquity 56, no. 4 (October 1991): 752–53. http://dx.doi.org/10.2307/281582.
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Yuliasari, Yuliasari, and Yeptadian Sari. "Penerapan Konsep Arsitektur Kontemporer pada Art 1 : New Museum and Art Space." Journal of Architectural Design and Development 1, no. 1 (June 30, 2020): 37. http://dx.doi.org/10.37253/jad.v1i1.718.
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Museum merupakan bangunan yang diperuntukkan sebagai tempat untuk pameran benda-benda karya seni yang memiliki nilai sejarah, seni dan ilmu. Namun pada kenyataannya, museum tidak lagi dianggap tempat penting karena kondisi beberapa museum di Indonesia kurang diperhatikan. Sehingga tingkat kunjungan masyarakat ke museum semakin menurun. Berdasarkan latar belakang tersebut maka perlu penerapan arsitektur kontemporer agar tempat yang tadinya dianggap demikian menjadi tempat yang menarik untuk dikunjungi masyarakat tanpa mengenal umur dan kalangan. Penelitian ini bertujuan untuk memahami penerapan prinsip-prinsip konsep arsitektur kontemporer pada bangunan museum dan penerapannya jika mengacu pada prinsip ruang yang terkesan terbuka. Metode dalam penelitian ini menggunakan prinsip konsep arsitektur kontemporer menurut Ogin Schirmbeck. Penerapan arsitektur kontemporer pada bangunan museum menghasilkan desain bangunan yang tidak biasa dan berbeda dari museum-museum pada umumnya.
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Lueth, Virgil W. "New Mexico Mineral Museum moves to new quarters." New Mexico Geology 18, no. 2 (1996): 37. http://dx.doi.org/10.58799/nmg-v18n2.37.
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Euler, Robert C. "The Galaz Ruin: A Prehistoric Mimbres Village in Southwestern New Mexico. Roger An Yon and Steven Leblanc with contributions by P. Minnis, M. Nelson, and J. Lancaster, and edited by P. Sabloff. Maxwell Museum of Anthropology Publication Series, The University of New Mexico Press, Albuquerque, 1984. xi + 612 pp., figures, tables, references, appendices, plates. $35.00 (paper)." American Antiquity 51, no. 4 (October 1986): 879–80. http://dx.doi.org/10.2307/280881.
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Shelley, Phillip H. "Economy and Interaction along the Lower Chaco River: The Navajo Mine Archeological Program, Mining Area III, San Juan County, New Mexico. Patrick Hogan and Joseph C. Winter, editors, Juneel Piper, associate editor. Office of Contract Archeology and the Maxwell Museum of Anthropology, University of New Mexico, Albuquerque, 1983. xxiii + 616 pp., references, appendices, illustrations, tables. $25.00 (paper)." American Antiquity 53, no. 2 (April 1988): 439. http://dx.doi.org/10.2307/281046.
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Creel, Darrell. "Life on the Periphery: Economic Change in Late Prehistoric Southeastern New Mexico. John Speth, editor. 2004. Museum of Anthropology, University of Michigan Michigan, Ann Arbor, xvii + 429 pp. $44.00 (paper), ISBN 0-915703-54-8." American Antiquity 70, no. 2 (April 2005): 395–96. http://dx.doi.org/10.2307/40035715.
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Gilpin, Dennis, and Polly Schaafsma. "Rock Art in New Mexico." American Indian Quarterly 18, no. 3 (1994): 424. http://dx.doi.org/10.2307/1184759.
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Sauer‐raussmüller, Christel. "A new art museum at Schaffhausen." Museum International 39, no. 2 (June 1987): 68–73. http://dx.doi.org/10.1111/j.1468-0033.1987.tb00670.x.
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Kovács, Ágnes Zsófia. "Reinscribing Malinche in Contemporary Visual Art." Acta Hispanica 28 (December 19, 2023): 131–47. http://dx.doi.org/10.14232/actahisp.2023.28.131-147.
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Malinche was an indigenous slave woman who helped Cortés communicate with and understand native chiefs during the conquest of Mexico. This paper analyzes the way the Denver Art Museum represented cultural metaphors of Malinche in visual culture in its 2022 show titled “Traitor, Survivor, Icon: The Legacy of La Malinche.” The exhibition distinguishes five key metaphors in the reception of Malinche from the sixteenth century through today. The paper highlights the theme of Malinche as the mother of the nation and its diverse appearances in visual culture among the images displayed. The paper surveys the ways in which images of motherhood interact in museum space.
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VALENTICH-SCOTT, PAUL, and EUGENE V. COAN. "A new species of Chama (Bivalvia, Chamidae) from Mexico." Zootaxa 2446, no. 1 (May 6, 2010): 65. http://dx.doi.org/10.11646/zootaxa.2446.1.3.
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While preparing a review of the bivalve mollusk fauna of the Panamic Province, we encountered a conspicuous, colorful species of the genus Chama Linnaeus, 1758, that could not be identified with any named species. After examining type specimens at The Natural History Museum, London (BMNH), the United States National Museum of Natural History (USNM), the Academy of Natural Sciences, Philadelphia (ANSP), the California Academy of Sciences (CAS), the Natural History Museum of Los Angeles County (LACM), and the Santa Barbara Museum of Natural History (SBMNH), we have concluded that this species is new to science.
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Nielsen, Jesper. "Crossing Borders? A Cross-Disciplinary Perspective on the Study of Mesoamerican Visual Culture." Latin American and Latinx Visual Culture 1, no. 1 (January 1, 2019): 105–10. http://dx.doi.org/10.1525/lavc.2019.000007c.
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Following an introductory essay, six short contributions by academics and museum curators in the United States (US) and Europe tackle the current state and future of Pre-Columbian visual culture studies. They explore the field’s impressive growth in this century, as well as some of the dangers it currently faces as a result of that growth. Several trace its present state to its origins and the part played by early Mexican and US nationalism, the popularity of world’s fairs, and the civil rights movement, among other factors. Also considered are problems inherent in the late nineteenth- and early twentieth-century separation of the preconquest past from the newly labeled colonial period, as well as the concurrent embrace of the term “Pre-Columbian.” Other essays take a hard look at the present and future relation of art history to archaeology and cross-disciplinary studies within the field, which is defined in part by their dependence on, or skepticism regarding, iconography. Whereas academics wrestle in these essays with the implications of a declining job market, museum curators struggle with limited funding. Nonetheless, possible new strategies and opportunities for the future are proposed, including engagement with issues posed by the rising interest in decoloniality and global indigeneity. RESUMEN Luego de un ensayo introductorio, seis contribuciones cortas de académicos y conservadores de museos en los Estados Unidos y Europa abordan el estado actual y el futuro de los estudios de cultura visual precolombina. Se explora el impresionante crecimiento del campo en este siglo, así como algunos de los peligros que enfrenta actualmente como resultado de este crecimiento. Varios colaboradores trazan el estado actual del campo hasta sus orígenes y notan la influencia en él de las primeras manifestaciones de los nacionalismos de México y los Estados Unidos, la popularidad de las ferias mundiales y el Movimiento por los derechos civiles, entre otros factores. También se consideran los problemas inherentes a la separación entre el pasado precolombino y el llamado período colonial que se establecía entre fines del siglo XIX y principios del siglo XX, así como la aceptación simultánea del término “precolombino”. Otros ensayos analizan detenidamente la relación presente y futura de la historia del arte con la arqueología y los estudios interdisciplinarios dentro del campo, que se define en parte por su dependencia o escepticismo con respecto a la iconografía. Mientras que los académicos discuten en estos ensayos las implicaciones de un mercado de trabajo decreciente, los curadores de museos abordan las restricciones presupuestarias. No obstante, se proponen posibles nuevas estrategias y oportunidades para el futuro, como la participación futura en cuestiones planteadas por el creciente interés en la descolonialidad y la indigeneidad global. RESUMO Após um ensaio introdutório, seis curtas contribuições de acadêmicos e curadores de museus nos Estados Unidos e na Europa abordam o estado atual e o futuro dos estudos da cultura visual pré-colombiana. O impressionante crescimento do campo neste século, bem como alguns dos perigos que atualmente enfrenta como resultado desse crescimento, são explorados. Diversos colaboradores traçam o estado atual do campo até suas origens e o papel desempenhado pelo nacionalismo inicial do México e dos Estados Unidos, a popularidade das feiras mundiais e o Movimento dos direitos civis, entre outros fatores. Também são considerados os problemas inerentes à separação, no final do século XIX e início do século XX, entre o passado pré-conquista e o recém-rotulado período colonial, bem como a aderência simultânea ao termo “pré-colombiano”. Outros ensaios dedicam olhar atento à relação presente e futura da história da arte com a arqueologia e estudos interdisciplinares dentro do campo, que é definida em parte por sua dependência ou ceticismo em relação à iconografia. Enquanto os acadêmicos lutam nesses ensaios com as implicações de um mercado de trabalho em declínio, os curadores de museus lutam com recursos limitados. No entanto, são propostas possíveis novas estratégias e oportunidades para o futuro, incluindo o envolvimento futuro com questões levantadas pelo crescente interesse na decolonialidade e na indigeneidade global.
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Baquedano, Elizabeth. "Visual Culture: Ancient Mexico’s Heritage." Latin American and Latinx Visual Culture 1, no. 1 (January 1, 2019): 111–14. http://dx.doi.org/10.1525/lavc.2019.000007d.
Full textAbstract:
Following an introductory essay, six short contributions by academics and museum curators in the United States (US) and Europe tackle the current state and future of Pre-Columbian visual culture studies. They explore the field’s impressive growth in this century, as well as some of the dangers it currently faces as a result of that growth. Several trace its present state to its origins and the part played by early Mexican and US nationalism, the popularity of world’s fairs, and the civil rights movement, among other factors. Also considered are problems inherent in the late nineteenth- and early twentieth-century separation of the preconquest past from the newly labeled colonial period, as well as the concurrent embrace of the term “Pre-Columbian.” Other essays take a hard look at the present and future relation of art history to archaeology and cross-disciplinary studies within the field, which is defined in part by their dependence on, or skepticism regarding, iconography. Whereas academics wrestle in these essays with the implications of a declining job market, museum curators struggle with limited funding. Nonetheless, possible new strategies and opportunities for the future are proposed, including engagement with issues posed by the rising interest in decoloniality and global indigeneity. RESUMEN Luego de un ensayo introductorio, seis contribuciones cortas de académicos y conservadores de museos en los Estados Unidos y Europa abordan el estado actual y el futuro de los estudios de cultura visual precolombina. Se explora el impresionante crecimiento del campo en este siglo, así como algunos de los peligros que enfrenta actualmente como resultado de este crecimiento. Varios colaboradores trazan el estado actual del campo hasta sus orígenes y notan la influencia en él de las primeras manifestaciones de los nacionalismos de México y los Estados Unidos, la popularidad de las ferias mundiales y el Movimiento por los derechos civiles, entre otros factores. También se consideran los problemas inherentes a la separación entre el pasado precolombino y el llamado período colonial que se establecía entre fines del siglo XIX y principios del siglo XX, así como la aceptación simultánea del término “precolombino”. Otros ensayos analizan detenidamente la relación presente y futura de la historia del arte con la arqueología y los estudios interdisciplinarios dentro del campo, que se define en parte por su dependencia o escepticismo con respecto a la iconografía. Mientras que los académicos discuten en estos ensayos las implicaciones de un mercado de trabajo decreciente, los curadores de museos abordan las restricciones presupuestarias. No obstante, se proponen posibles nuevas estrategias y oportunidades para el futuro, como la participación futura en cuestiones planteadas por el creciente interés en la descolonialidad y la indigeneidad global. RESUMO Após um ensaio introdutório, seis curtas contribuições de acadêmicos e curadores de museus nos Estados Unidos e na Europa abordam o estado atual e o futuro dos estudos da cultura visual pré-colombiana. O impressionante crescimento do campo neste século, bem como alguns dos perigos que atualmente enfrenta como resultado desse crescimento, são explorados. Diversos colaboradores traçam o estado atual do campo até suas origens e o papel desempenhado pelo nacionalismo inicial do México e dos Estados Unidos, a popularidade das feiras mundiais e o Movimento dos direitos civis, entre outros fatores. Também são considerados os problemas inerentes à separação, no final do século XIX e início do século XX, entre o passado pré-conquista e o recém-rotulado período colonial, bem como a aderência simultânea ao termo “pré-colombiano”. Outros ensaios dedicam olhar atento à relação presente e futura da história da arte com a arqueologia e estudos interdisciplinares dentro do campo, que é definida em parte por sua dependência ou ceticismo em relação à iconografia. Enquanto os acadêmicos lutam nesses ensaios com as implicações de um mercado de trabalho em declínio, os curadores de museus lutam com recursos limitados. No entanto, são propostas possíveis novas estratégias e oportunidades para o futuro, incluindo o envolvimento futuro com questões levantadas pelo crescente interesse na decolonialidade e na indigeneidade global.
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Pillsbury, Joanne. "Pre-Columbian: Perspectives and Prospects." Latin American and Latinx Visual Culture 1, no. 1 (January 1, 2019): 121–27. http://dx.doi.org/10.1525/lavc.2019.000007f.
Full textAbstract:
Following an introductory essay, six short contributions by academics and museum curators in the United States (US) and Europe tackle the current state and future of Pre-Columbian visual culture studies. They explore the field’s impressive growth in this century, as well as some of the dangers it currently faces as a result of that growth. Several trace its present state to its origins and the part played by early Mexican and US nationalism, the popularity of world’s fairs, and the civil rights movement, among other factors. Also considered are problems inherent in the late nineteenth- and early twentieth-century separation of the preconquest past from the newly labeled colonial period, as well as the concurrent embrace of the term “Pre-Columbian.” Other essays take a hard look at the present and future relation of art history to archaeology and cross-disciplinary studies within the field, which is defined in part by their dependence on, or skepticism regarding, iconography. Whereas academics wrestle in these essays with the implications of a declining job market, museum curators struggle with limited funding. Nonetheless, possible new strategies and opportunities for the future are proposed, including engagement with issues posed by the rising interest in decoloniality and global indigeneity. RESUMEN Luego de un ensayo introductorio, seis contribuciones cortas de académicos y conservadores de museos en los Estados Unidos y Europa abordan el estado actual y el futuro de los estudios de cultura visual precolombina. Se explora el impresionante crecimiento del campo en este siglo, así como algunos de los peligros que enfrenta actualmente como resultado de este crecimiento. Varios colaboradores trazan el estado actual del campo hasta sus orígenes y notan la influencia en él de las primeras manifestaciones de los nacionalismos de México y los Estados Unidos, la popularidad de las ferias mundiales y el Movimiento por los derechos civiles, entre otros factores. También se consideran los problemas inherentes a la separación entre el pasado precolombino y el llamado período colonial que se establecía entre fines del siglo XIX y principios del siglo XX, así como la aceptación simultánea del término “precolombino”. Otros ensayos analizan detenidamente la relación presente y futura de la historia del arte con la arqueología y los estudios interdisciplinarios dentro del campo, que se define en parte por su dependencia o escepticismo con respecto a la iconografía. Mientras que los académicos discuten en estos ensayos las implicaciones de un mercado de trabajo decreciente, los curadores de museos abordan las restricciones presupuestarias. No obstante, se proponen posibles nuevas estrategias y oportunidades para el futuro, como la participación futura en cuestiones planteadas por el creciente interés en la descolonialidad y la indigeneidad global. RESUMO Após um ensaio introdutório, seis curtas contribuições de acadêmicos e curadores de museus nos Estados Unidos e na Europa abordam o estado atual e o futuro dos estudos da cultura visual pré-colombiana. O impressionante crescimento do campo neste século, bem como alguns dos perigos que atualmente enfrenta como resultado desse crescimento, são explorados. Diversos colaboradores traçam o estado atual do campo até suas origens e o papel desempenhado pelo nacionalismo inicial do México e dos Estados Unidos, a popularidade das feiras mundiais e o Movimento dos direitos civis, entre outros fatores. Também são considerados os problemas inerentes à separação, no final do século XIX e início do século XX, entre o passado pré-conquista e o recém-rotulado período colonial, bem como a aderência simultânea ao termo “pré-colombiano”. Outros ensaios dedicam olhar atento à relação presente e futura da história da arte com a arqueologia e estudos interdisciplinares dentro do campo, que é definida em parte por sua dependência ou ceticismo em relação à iconografia. Enquanto os acadêmicos lutam nesses ensaios com as implicações de um mercado de trabalho em declínio, os curadores de museus lutam com recursos limitados. No entanto, são propostas possíveis novas estratégias e oportunidades para o futuro, incluindo o envolvimento futuro com questões levantadas pelo crescente interesse na decolonialidade e na indigeneidade global.
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Merkel, Jayne. "SANAA's New Museum of Contemporary Art, New York." Architectural Design 78, no. 3 (2008): 98–101. http://dx.doi.org/10.1002/ad.684.
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Montgomery, John. "Economy and Interaction along the Lower Chaco River. Patrick Hogan and Joseph Winter, editors. Office of Contract Archaeology and Maxwell Museum of Anthropology, University of New Mexico, Albuquerque, 1983. xxiii + 616 pp., illustrations, references cited, appendices. $25.00 (paper)." American Antiquity 53, no. 1 (January 1988): 200–201. http://dx.doi.org/10.2307/281172.
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Bernstein, Bruce. "Repatriation and Collaboration: The Museum of New Mexico." Museum Anthropology 15, no. 3 (August 1991): 19–21. http://dx.doi.org/10.1525/mua.1991.15.3.19.
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Helen Parsons. "The Georgia O'Keeffe Museum, Santa Fe, New Mexico." Antipodes 27, no. 2 (2013): 175. http://dx.doi.org/10.13110/antipodes.27.2.0175.
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Fillis, Ian, Kim Lehman, and Morgan P. Miles. "The museum of old and new art." Journal of Vacation Marketing 23, no. 1 (August 1, 2016): 85–96. http://dx.doi.org/10.1177/1356766716634153.
Full textAbstract:
Entrepreneurial marketing is used to understand new venture creation in the vacation tourism sector through a case study of private art museum in Tasmania that has become a tourist destination of major international significance. The Museum of Old and New Art (MONA) has emerged as a major driver of tourism in the region. Interrogation of the arts and cultural tourism literature sets up a key research proposition – in arts and cultural tourism, the unique artistic tastes of the entrepreneur often trump customer needs and preferences by shaping the visitor’s experience through creative artistic innovation. The findings support our proposition, with additional grounding through the impact of the owner/manager and associated entrepreneurial marketing and effectuation impacts.