Journal articles on the topic 'Painting – United States – Exhibitions'
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Matallana, Andrea. "BUILDING ART DIPLOMACY: THE CASE OF CONTEMPORARY AMERICAN ART EXHIBITION IN LATIN AMERICA, 1941." ShodhKosh: Journal of Visual and Performing Arts 3, no. 2 (October 20, 2022): 272–86. http://dx.doi.org/10.29121/shodhkosh.v3.i2.2022.172.
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This article analyzes the construction of the visual narrative expressed in the exhibition Contemporary North American Painting in 1941. During the II World War, the U.S. government recovered the initiative to build a strong tight with Latin American countries by relaunching the Good Neighbor Policy. Cultural diplomacy was an important branch of this policy. With the purpose of winning friends in the continent, the government created the Office of Inter-American Affairs, led by Nelson Rockefeller, and he sent artists, intellectuals, and exhibitions to make North America known in the other Americas. The Contemporary North American Painting projected an image of the United States as a modern and industrialized society to South Americans. This narrative was one of the devices developed by the U.S. government as part of the soft diplomacy carried out in the 1940s.In this article, we delve into the construction of the visual narrative about the U.S as part of the Good Neighbor exhibition complex, and we will analyze how the exhibition process was thought of as part of representational and ideological machinery.The article was based on reading, analysis, and cataloging of primary sources. The sources were letters, catalogs, photos, and notes from the main characters of the Office of Inter-American Affairs. Likewise, the exhibited works of art were operationalized.
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Kulakova, Olga Yu. "Dutch Flower Still Life of 17th Century: Interest and Oblivion through the Centuries." Observatory of Culture 18, no. 5 (October 29, 2021): 496–505. http://dx.doi.org/10.25281/2072-3156-2021-18-5-496-505.
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Over three and a half centuries, the genre of flower still life created by Dutch artists experienced ups of interest and oblivion. There were the maximum assessment of society in the form of high fees of the 17th century artists; the criticism of connoisseurs and art theorists; the neglect in the 19th century and the rise of auction prices and close attention of art critics, manifested from the middle of the 20th century to the present day. In the middle of the 17th century, there was already a hierarchy of genres, based on both the subject and the size of the paintings, which was reflected in the price. Still lifes and landscapes were cheaper than allegorical and historical scenes, but there were exceptions, for example, in the works of Jan Brueghel the Elder and Jan Davidsz. de Heem. Art theorists Willem van Hoogstraten and Arnold Houbraken, resting upon academic tastes, downplayed the importance of still-life painting. Meanwhile, the artists themselves, determining the worth of their paintings, sought for maximum naturalism, and such paintings were sold well.In the 20th century, this genre attracted the attention of collectors in Europe and the United States. A revival of interest in Dutch still lifes in general, and in flower ones in particular, began in the 20th century, the paintings rose in price at auctions, and collecting them became almost a fashion. Art societies and art dealers of the Netherlands and Belgium organized several small exhibitions of still lifes. The course for studying symbolic messages in still lifes, presented by Ingvar Bergström, is continued by Eddie de Jong, who emphasizes the diverse nature of symbolism in Dutch painting of the 17th century. Svetlana Alpers, on the contrary, criticizes the iconological method and presents the Dutch painting of that period as an example of visual culture. Norman Bryson’s view of Dutch still lifes is formed against the background of the development of a consumer society, economic prosperity and abundance. Finally, there has been an increasing interest in the natural science aspects of flower still-life painting in the researches of the last twenty years. Curiosity, skill, and admiration for nature are the impulses that can still be felt in the images of bouquets and fruits.
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Iswahyudi. "Towards Remediation of Indonesian New Fine Arts." Britain International of Linguistics Arts and Education (BIoLAE) Journal 2, no. 3 (November 12, 2020): 797–809. http://dx.doi.org/10.33258/biolae.v2i3.332.
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Modern Indonesian painting mainly developed from the situation of the Dutch East Indies and Mooi-Indie art that was dominant at that time. The independence of the Republic of Indonesia became a very important milestone in the development of modern Indonesian painting. This is inseparable from the occurrence of a high dynamics and change through various political regimes in power starting from the leadership of Sukarno, Suharto and subsequent presidents. Each of these political regimes also played an important role in the development of modern art that occurred so as to bring out its own characteristics. Until the early 1990s, talking about art was something that seemed synonymous with painting. Although works of art with a combination of mediums have been included in exhibitions since the 1970s, but works in the form of paintings are still very dominant, even in some writings on art the imaginary boundary between painting and other art is discussed explicitly, but the term "Painting" is usually interchangeable with the term "fine art". The development of art that has become increasingly hybrid has helped to shape the climate and new audience, affirming real ideas that are at odds with painting that has already been established. Being different from established art knowledge, hybrid art agents become newcomers who find a place in the struggle in the realm of Indonesian art. Western characters which are an important consideration for painters become subject to change in the fourth phase. This change is caused by a variety of things, including the emphasis on the use of traditional forms, symbolic and decorative, because as a reaction to the political situation. Since 1942-1965, Indonesians have produced more figurative art. The pioneers in this field are artists who when abroad are like in the United States, Europe, and Japan already acquainted with traditional non-Western art in the arena of modern and international circuits.
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Thakur, Meenakshi. "MITHILA- A GLOBALIZED ART FORM." International Journal of Research -GRANTHAALAYAH 5, no. 2 (February 28, 2017): 208–12. http://dx.doi.org/10.29121/granthaalayah.v5.i2.2017.1725.
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India has long been a focal point of art. From the traditional to the contemporary, India is fast developing itself as a key destination for those who love art. India is marked by its rich traditional heritage of Tribal/Folk Arts and Culture. Since the days of remote past, the diversified art and cultural forms generated by the tribal and rural people of India have continued to evince their creative magnificence. Apart from their outstanding brilliance from the perspective of aesthetics, the tribal/folk art and culture forms have played an instrumental role in reinforcing national integrity, crystallizing social solidarity, fortifying communal harmony, intensifying value-system and promoting the elements of humanism among the people of the country. Folk and tribal arts are relatively less exposed forms of narrative Indian art and contain within them a gamut of styles originating from various geographical regions in India.
Women in the Mithila region of Bihar in north India have painted colorful auspicious images on the interior walls of their homes on the occasion of domestic rituals since at least the 14th century. This ancient tradition, especially elaborated for marriages, continues today. Madhubani painting or Mithila is a style of Indian painting, practiced in the Mithila region of Bihar state, India, and the adjoining parts of Terai in Nepal. Painting on paper for sale has changed this dramatically. Aside from generating important new family income, individual women have gained local, national, and even international recognition. Artists are being invited to exhibitions across India, and to Europe, the United States, and Japan - no longer as "folk artists," but now as "contemporary artists." Mithila's contemporary arts offer astonishingly vital -- and long overlooked -- depth and diversity, ranging from wondrous elaborations of traditional themes and styles to more experimental depictions of new, topical subject matter.
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Romanenkova, Julia V. "Archetypes of Boris Smotrov`s works as a tool for national self-identification of the individual in chaotic conditions of the turn of the 21st century." Vestnik slavianskikh kul’tur [Bulletin of Slavic Cultures] 60 (2021): 237–48. http://dx.doi.org/10.37816/2073-9567-2021-60-237-248.
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The paper discusses the works of Moscow artist Boris Smotrov. It provides a general analysis of the tools of his artistic style as well as the data on his main vectors of creative activity (painting, poster graphics). The author dwells on the master’s works in the field of painting, focusing on national themes. The study distinguishes dominant blocks of the painter's works (landscape, thematic painting), detects specifics of the artistic language, methods of working with color, his mastering of the line and pays attention to the interaction of painting and graphics in B. Smotrov’s creative baggage and his decorative manner. The paper addressees the main archetypes in the works of Smotrov (firebird, cow, apple, spring, Maslenitsa, etc.). The propensity for allegorical language is explained by his competent use of artistic means of creating a poster. The author analyzes individual features of B. Smotrov’s work with color, the creation of his own author's “patchwork” style as a result of creative transformation and rethinking of the influence of various styles and manners of individual artists, from A. Matisse to K. Petrov-Vodkin. The art of the master acts as an effective tool for debunking myths about the cheap popular character of Russian national motifs, and for combating superficial perceptions of them. The paper highlights worldview universals in culture as well as main problems of the art of the turning periods, one of which includes the creative path of B. Smotrov. The author pays special attention to the works of B. Smotrov as a tool for national self-identification of a creative person in conditions of cultural chaos at the turn of the century since they are on display at personal and collective exhibitions not only in Russia, but also in Austria, China, Korea, the United States and stored not only in Russian museums (Moscow, Perm, Tula), but also in private collections in China, USA, Switzerland. The study comes to the conclusion that “patchwork style” by Boris Smotrov is a quintessence of the Russian in his works.
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Lesničenoka, Agnija. "Student Fraternity of the Art Academy of Latvia “Dzintarzeme”: Latvian National Art Conservation Policy in Exile (1958–1987)." Art History & Criticism 15, no. 1 (December 1, 2019): 57–70. http://dx.doi.org/10.2478/mik-2019-0004.
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Summary After the proclamation of the Republic of Latvia in 1918, Latvia experienced a rapid influx of youth into its capital city of Riga, looking to obtain education in universities. Students began to build their academic lives and student societies. In 1923, students of the Art Academy of Latvia founded the “Dzintarzeme” (“Amberland”) fraternity. The aim of “Dzintarzeme” was to unite nationally minded students of the Art Academy of Latvia and to promote the development of national art and self-education. Most “Dzintarzeme” members were faithful to the old masters and Latvian art. This phenomenon is significant, because “Dzintarzeme” members grew up with Latvian painting traditions, which are a remarkable heritage of interwar Latvia. In 1940, when Latvia was occupied by the Soviet Union, “Dzintarzeme” was banned. A part of “Dzintarzeme” members were deported, killed in war, went missing, or stayed in the Latvian SSR; the remaining chose exile. Although scattered throughout the United States of America, Canada, and Australia, some members were able to rebuild and sustain the fraternity’s life, gathering its members, organising trips and anniversary art exhibitions. The aim of this research is to reflect on “Dzintarzeme’s” activities in exile (1958–1987), focusing on the main factors of Latvian national art conservation policy: first, the ability of “Dzintarzeme’s” ideology to preserve the values of Latvian national art in an international environment, and second, the problem of generational change and the enrollment of young Latvian artists who continued to maintain “Dzintarzeme” values in exile.
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Rosellini, Anna. "Principi della didattica di Mies nei progetti di Brenner, Jansone e Lippert per un museo d’arte." Opus Incertum 9 (December 13, 2023): 86–99. http://dx.doi.org/10.36253/opus-14843.
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When Mies began teaching at the Armour Institute, he defined a programme that would make technical and industrial developments in the United States problematic and theoretical. Some of the exercises concerned the relationship between painting, sculpture and architecture, and were transformed into museum projects. In the paper, the projects for exhibition spaces drawn up by Brenner, Jansone and Lippert for the Master of Science in Architecture are analysed from archive documents. The spatial, structural and material characteristics of these projects are reconstructed, as are their relationships to the programmes of the Department of Architecture, the design processes suggested by Mies, Le Corbusier’s projects for museums, and the Museum for a Small City designed by Mies together with Danforth. The theses of Brenner, Jansone and Lippert, united by the choice of a museum system that transfigured Le Corbusier’s model in the light of Mies’s vision, appear to be decisive documents not only for understanding the Department of Architecture’s didactic orientations, but also for accessing Mies’s unspeakable art of tracing and arranging lines and planes in space.
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Neglinskaya, Marina Aleksandrovna. "“Gunpowder painting” of Cai Guo-Qiang: Chinese artistic tradition in the era of postmodernism." Культура и искусство, no. 2 (February 2020): 44–50. http://dx.doi.org/10.7256/2454-0625.2020.2.29690.
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The subject of this research is the art of Cai Guo-Qiang (born in 1957) – the modern Chinese painter who lives and works in China and the United States (New York). The object of this research is the storyline fireworks of Cai and his innovative technique of “gunpowder painting”. The first works of the painter were canvasses in oil painting, and by 1980’s he invented a new “gunpowder” technique, which was first applied in combination with oil on the canvas, and since 1990’s – with ink on the paper, as a version of modern traditional painting guo-hua. His works evolved from social realism to a distinct variation of modern expressionism, as demonstrated the first in Russia retrospective exhibition of the works of Cai Guo-Qiang that took place in the Phuskin State Museum of Fine Arts (“October”, Moscow, 2017). Authors of the exhibition catalogue justifiably note the “cosmopolitan mission” of his art, but leave out of account the traditional context. The proposed methodology, which integrates art and culturological analysis, allows seeing in the works of this prominent modern painter the version of mass art that retains mental and reverse connection with the Chinese tradition. The scientific novelty of the article is defined by the following conclusions: the art of Cai Guo-Qiang is addressed to the international audience, but concords with the traditional paradigm due to Buddhist mentality deeply rooted in the painter’s consciousness. The traditional aspect is his proclivity for harmonization of social environment. This mass art that possesses formal and substantive novelty is associated with the modern international artistic market, as well as market version of “Chinese style” (Chinoiserie) of the XVIII century.
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Milligan, Barry. "LUKE FILDES'STHE DOCTOR, NARRATIVE PAINTING, AND THE SELFLESS PROFESSIONAL IDEAL." Victorian Literature and Culture 44, no. 3 (August 30, 2016): 641–68. http://dx.doi.org/10.1017/s1060150316000097.
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Since its introductionat the Royal Academy exhibition of 1891, Luke Fildes's paintingThe Doctorhas earned that often hyperbolic adjective “iconic.” Immediately hailed as “the picture of the year” (“The Royal Academy,” “The Doctor,” “Fine Arts”), it soon toured the nation as part of a travelling exhibition, in which it “attracted most attention” (“Liverpool Autumn Exhibition”) and so affected spectators that one was even struck dead on the spot (“Sudden Death”). Over the following decades it spawned a school of imitations, supposed companion pictures, poems, parodies, tableaux vivants, an early Edison film, and a mass-produced engraving that graced middle-class homes and doctors' offices in Britain and abroad for generations to come and was reputedly the highest-grossing issue ever for the prominent printmaking firm of Agnew & Sons (Dakers 265–66). When Fildes died in 1927 after a career spanning seven decades and marked by many commercial successes and even several royal portraits, hisTimesobituary nonetheless bore “The Doctor” as its sub-headline (“Sir Luke Fildes”) and sparked a lively discussion of the painting in the letters column for several issues thereafter (“Points From Letters” 2, 4, 5 Mar. 1927). Although the animus against things Victorian in the early twentieth century shadowedThe Doctorit never eclipsed it; by the middle of the century the painting was still being held up as the quasi-Platonic ideal of medical practice (“Bedside Manner,” “98.4”), gracing postage stamps, and serving ironically as the logo for both a celebration of Britain's National Health Service and a campaign against its equivalent in the United States. Appreciation of the painting in mid-century art historical circles was echoed in the popular press (“Victorian Art”), andThe Doctorwas singled out as a highlight of the reorganized Tate Gallery in 1957 (“Tate Gallery”), after which it settled into a sort of dowager status as a cornerstone of that eminent collection, where it is still in the regular rotation for public display. Since the mid-1990s it has been a recurring focus of discussion in both Medical Humanities journals and prominent medical professional organs such as theLancetand theBritish Medical Journal, where a steady stream of articles still cite it as a sort of prelapsarian benchmark for the role and demeanor of the ideal medical practitioner.
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Romero, Ramón Espejo. "When Young Playwrights Are Kept Awake Because of History: Cultural Memory and Amnesia in Recent American Plays." Journal of Contemporary Drama in English 9, no. 2 (October 23, 2021): 263–80. http://dx.doi.org/10.1515/jcde-2021-0023.
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Abstract Borrowing from both a painting and the retrospective exhibition of David Wojnarowicz, History Keeps Me Awake at Night, this paper targets two recent American plays: Annie Baker’s The Flick (2013) and Matthew Lopez’s The Inheritance (2018). In both, the playwrights point to the neglect of history, or rather cultural memory, as I will insist on calling it, as one of the ills affecting a “historicidal” society such as that of the United States. An immersion into the present and concurrent obliteration of one’s cultural inheritance results in a populace easily manipulated in the interests of corporate control, and more importantly for the plays under consideration, into unhappiness and disconnection, an erlebnis, in sum, which proves lethal for individuals and the larger groups of which they form part. Both plays further seem to argue that the most troublesome of such a thing is how little consciousness of the problem there is, a surefire indication that induced amnesia is making alarming headway among the younger generations.
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Rudanko, Juhani. "“[T]his most unnecessary, unjust, and disgraceful war”." Understanding Historical (Im)Politeness 12, no. 1-2 (May 23, 2011): 82–103. http://dx.doi.org/10.1075/jhp.12.1-2.04rud.
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This article focuses on face-threatening attacks on the Madison Administration during the War of 1812. The discussion is framed by the First Amendment to the United States Constitution, with the language of the Amendment protecting freedom of speech, and also by the Sedition Act of 1798, which, if it had been made permanent, would have seriously curtailed freedom of speech. The War of 1812 was intensely unpopular among members of the Federalist Party, and their newspapers did not shy away from criticising it. This article investigates writings published in the Boston Gazette and the Connecticut Mirror during the war. It is shown that the criticism took different forms, ranging from accusing President Madison of “untruths” to painting a picture of what was claimed to be the unmitigated hopelessness of his position, both nationally and internationally, and that the criticism also included harsh personal attacks on his character and motives. It is suggested that some of the attacks may be characterised as exhibiting aggravated impoliteness. The article also considers President Madison’s attitude in the face of the attacks.
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Maza, Carlos. "Ccopacatty: perfil de un creador relámpago." Illapa Mana Tukukuq, no. 16 (December 28, 2019): 98–111. http://dx.doi.org/10.31381/illapa.v0i16.2588.
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ResumenPeruko Ccopacatty es un escultor egresado de la Escuela Nacional Superior Autónoma de Bellas Artes del Perú (Ensabap) a principios de la década de 1980 emigró a los Estados Unidos, donde ha realizado una incansable labor de producción escultórica y mural especialmente en espacios públicos. Reconocida por instituciones públicas y privadas de su país de residencia, e incluso por la misma Organización de las Naciones Unidas, su obra ha pasado injustamente inadvertida en el Perú. Este artículo describe su proceso a la luz de las escasas fuentes disponibles y a partir de la exposición homenaje, realizada en mayo y junio del 2019 en el Centro Cultural de Bellas Artes como parte de las actividades de conmemoración del Centenario de la Ensabap. Se revisan su estilo, su simbolismo y su trayectoria, y se proponen líneas de investigación hacia el rescate de un corpus disperso y el reconocimiento de su sorprendente trayectoria.Palabras clave: tradición aymara, arte en espacios públicos, Ensabap, escultura en metal, multiculturalidad, muralismo, Pedro Peruko Ccopacatty.
AbstractPeruko Ccopacatty is a sculptor who graduated from the Ensabap, who emigrated to the United States in the early '80s, where he has carried out a tireless work of sculptural and mural production, especially in public spaces. Recognized by public and private institutions in his country of residence, and even by the United Nations itself, his work has gone unjustly unnoticed in Peru. This article describes his process in light of the scarce sources available and the homage exhibition held in May and June 2019 at the Centro Cultural de Bellas Artes as part of the activities to commemorate the Centennial of Ensabap. Its style, symbolism, and trajectory are reviewed, and lines of investigation are proposed towards the rescue of a dispersed corpus and the recognition of its amazing trajectory.Keywords: art in public spaces, aymara tradition, Ensabap, metal sculpture, monumental art, multiculturality, mural painting, Pedro Peruko Ccopacatty.
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Grzybkowska, Teresa. "PROFESSOR ZDZISŁAW ŻYGULSKI JR.: AN OUTSTANDING PERSON, A GREAT PERSONALITY, A MUSEUM PROFESSIONAL, A RESEARCHER ON ANTIQUE WEAPONS, ORIENTAL ART AND EUROPEAN PAINTING (1921–2015)." Muzealnictwo 58, no. 1 (February 13, 2017): 2–13. http://dx.doi.org/10.5604/01.3001.0009.5602.
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Professor Zdzisław Żygulski Jr. (1921–2015) was one of the most prominent Polish art historians of the second half of the 20th century. He treated the history of art as a broadly understood science of mankind and his artistic achievements. His name was recognised in global research on antique weapons, and among experts on Rembrandt and Leonardo da Vinci. He studied museums and Oriental art. He wrote 35 books, about 200 articles, and numerous essays on art; he wrote for the daily press about his artistic journeys through Europe, Japan and the United States. He illustrated his publications with his own photographs, and had a large set of slides. Żygulski created many exhibitions both at home and abroad presenting Polish art in which armour and oriental elements played an important role. He spent his youth in Lvov, and was expatriated to Cracow in 1945 together with his wife, the pottery artist and painter Eva Voelpel. He studied English philology and history of art at the Jagiellonian University (UJ), and was a student under Adam Bochnak and Vojeslav Molè. He was linked to the Czartoryski Museum in Cracow for his whole life; he worked there from 1949 until 2010, for the great majority of time as curator of the Arms and Armour Section. He devoted his whole life to the world of this museum, and wrote about its history and collections. Together with Prof. Zbigniew Bocheński, he set up the Association of Lovers of Old Armour and Flags, over which he presided from 1972 to 1998. He set up the Polish school of the study of militaria. He was a renowned and charismatic member of the circle of international researchers and lovers of militaria. He wrote the key texts in this field: Broń w dawnej Polsce na tle uzbrojenia Europy i Bliskiego Wschodu [Weapons in old Poland compared to armaments in Europe and the Near East], Stara broń w polskich zbiorach [Old weapons in Polish armouries], Polski mundur wojskowy [Polish military uniforms] (together with H. Wielecki). He was an outstanding researcher on Oriental art to which he dedicated several books: Sztuka turecka [Turkish art], Sztuka perska [Persian art], Sztuka mauretańska i jej echa w Polsce [Moorish art and its echoes in Poland]. Prof. Zdzisław Żygulski Jr. was a prominent educator who enjoyed great respect. He taught costume design and the history of art and interiors at the Academy of Fine Arts in Cracow, as well as Mediterranean culture at the Mediterranean Studies Department and at the Postgraduate Museum Studies at the UJ. His lectures attracted crowds of students, for whose needs he wrote a book Muzea na świecie. Wstęp do muzealnictwa [Museums in the world. Introduction to museum studies]. He also lectured at the Florence Academy of Art and at the New York University. He was active in numerous Polish scientific organisations such as PAU, PAN and SHS, and in international associations such as ICOMAM and ICOM. He represented Polish art history at general ICOM congresses many times. He was also active on diverse museum councils all over Poland.
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Myzgina, V. "Memories in memoirs: Mykhailo (Moisey) Fradkin." Vìsnik Harkìvsʹkoi deržavnoi akademìi dizajnu ì mistectv 2021, no. 02 (October 2021): 306–28. http://dx.doi.org/10.33625/visnik2021.02.306.
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The artist Moisey Fradkin (1904–1974) was a bright talented person in a brilliant galaxy of Ukrainian artists of the late 1920s – mid 1930s. He was a direct participant in the process of forming a special national “face” of graphic art. His works, which were exhibited at numerous foreign exhibitions in Europe and the United States, were noted as “strong and magical.” However, the further Fradkin’s creative destiny was not triumphant – after a very bright surge of original talent, his art was muted in the Procrustean bed of the Stalinist ideology, from about the end of the 1930s to the 1960s. He did not lose his skills, but only at the end of his life, full of wise experience, Fradkin again acquired bright energy and youthful enthusiasm in his work. Fradkin was a widely educated person, he taught at the Kharkiv Art Institute, was an active illustrator, author of easel compositions and graphic miniatures-exlibrises, worked in the field of industrial graphics for many years, headed the section of decorative and applied arts of the Kharkiv Club of Exlibrisists, collected a huge library. He and his wife, H. Krieger put together a unique collection of paintings, graphics and decorative and applied arts (more than 4000 items), which was later inherited by the Kharkiv Art Museum. The museum’s archives contain scattered sheets with fragments of Fradkin’s memoirs about his years of study at the Kharkiv Art College-Institute, which emotionally describe the time of the rapid reform of art education, which was full of contradictions. The article is based on these, not completely deciphered notes, and on the personal memoirs of the author of the article, who was familiar with the artist in the last four years of his life.
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Little, Stephen. "Art and Science in LACMA’s Cosmologies Exhibition." Culture and Cosmos 27, no. 0102 (October 2023): 159–71. http://dx.doi.org/10.46472/cc.01227.0219.
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This paper presents an overview of the Cosmologies exhibition that will be presented by the Los Angeles County Museum of Art (LACMA) in late 2024 – early 2025. Created in collaboration with scientists at the Carnegie Observatories and the Griffith Observatory, and a global array of consulting scholars, Cosmologies presents a group of one hundred twenty rare artworks, stone, ceramic, and metal sculptures; paintings; works on paper; manuscripts; astronomical instruments; and computer visualizations. The exhibition’s goal is to explore the variety of human attempts to explain the universe’s origins, mechanics, and meaning. Cosmologies is an aesthetically and intellectually ambitious exhibition that explores the history of multiple cosmologies around the globe from the Neolithic period to the present day, as they have developed across a wide range of regions and cultures, including Indigenous North and South America, Mesoamerica, Neolithic Europe, Mesopotamia, Greece, Rome, South and Southeast Asia, East Asia (China, Korea, and Japan), the Islamic Middle East, Europe, and the United States, ending with an exploration of the current and future state of cosmology. The exhibition explores the development of cosmologies not only as scientific (i.e., astronomical and observable) systems of understanding, but also as ontological systems of belief that provided models for human beings’ place and purpose in the cosmos.
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Тsymbal, Tetiana. "UKRAINIANS IN St. PETERSBURG IN SCIENTIFIC AND PUBLIC ACTIVITY OF TETIANA LEBEDYNSKA." Almanac of Ukrainian Studies, no. 28 (2021): 114–20. http://dx.doi.org/10.17721/2520-2626/2021.28.18.
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The article presents the results of a study of scientific, educational and ascetic activities of one of the brightest representatives of the modern Ukrainian diaspora in Russia - Tetiana Lebedynska, a daughter of Ukrainian writer Mykola Shpak. T.M. Lebedynska is PhD in Philosophy, translator, writer, member of the Ukrainian Union of Writers, author of exhibitions dedicated to Ukrainian St. Petersburg, holder of the Order of Princess Olga III degree. The multifaceted scientific and educational activity of Tetiana Mykolajivna is considered. It is emphasized that she initiated and organized the International Scientific Seminar «St. Petersburg – Ukraine», which resulted in the publication of twenty collections of articles from 2000 to 2020. T.M. Lebedynska is the author of more than 200 scientific works, including unique publications: «Shevchenko's places of St. Petersburg», «St. Petersburg and Ukraine», «M.P. Hrebinka - town-planning of St. Petersburg», «Ukrainian necropolis of St. Petersburg», «I. Mazepa - Commander of the Order of St. Andrew the First-Called», dictionary»Outstanding figures of science and culture of Russia who came from Ukraine», etc.. T.M. Lebedynska was published in Western Europe, the United States, and Arab countries. It is noted that the heroine of our intelligence pays most attention to the study of the life and work of the Great Kobzar, who had many life events in St. Petersburg: here he studied and worked, gained freedom and communicated with many prominent cultural figures, wrote poems and paintings and became an academician of arts. It was Tetiana Mykolajivna who was one of the initiators of the installation in St. Petersburg of the monument to Taras Shevchenko by Canadian sculptor Leo Mol (Leonid Molodozhanin), she collected signatures against the relocation of the site from the city center near the university to the outskirts, also she initiated and participated in the installation of a memorial to Kobzar at the Smolensk cemetery. Among other things Tetiana Lebedynska‟s ascetic activity is represented, by a study of the Ukrainian necropolis of St. Petersburg, as most graves and tombstones are in a state of destruction and may disappear for the future without restoration. And with them the memory of our compatriots who found eternal peace in the land of North Palmira will be destroyed. The article states that today, when Crimea is annexed and the Russian occupation of Donbass continues, it is very important to study the experience of our contemporaries - Ukrainians in Russia, who do not lose their identity in conditions of strong informational, ideological and linguistic pressure.
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Sarmiento, Sergio Munoz, and Lauren van Haaften-Schick. "Cariou v. Prince." 2013 Fall Intellectual Property Symposium Articles 1, no. 4 (March 2014): 941–57. http://dx.doi.org/10.37419/lr.v1.i4.6.
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In the winter of 2008, Richard Prince had a major exhibition of new and controversial paintings at Gagosian Gallery in New York titled Canal Zone. For the exhibition, Prince, an early member of the appropriationist art group known as The Pictures Generation, presented a body of artworks that incorporated reproductions of published photographs protected by the United States Copyright Act of 1976 The original published photographs were taken by the artist Patrick Cariou for his book, Yes Rasta, which consisted of a series of portraits of Rastafarians in Jamaica.
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Beck, James. "RECENT DONATELLO EXHIBITIONS IN ITALY AND THE UNITED STATES." Source: Notes in the History of Art 5, no. 3 (April 1986): 2–7. http://dx.doi.org/10.1086/sou.5.3.23202393.
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Wee, C. J. W. L. "Tropical Modernism(s), Miscegenated Art and Modernity." Southeast of Now: Directions in Contemporary and Modern Art in Asia 8, no. 1 (March 2024): 127–39. http://dx.doi.org/10.56159/sen.2024.a924619.
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Abstract: Tropical: Stories from Southeast Asia and Latin America opened on 18 November 2023 and ran at the National Gallery Singapore (NGS) until 24 March 2024. NGS’s website states that the exhibition is “the first large-scale museum exhibition to take a comparative approach across two regions united by their shared struggles against colonialism”, comprising over 200 paintings, sculptures, prints and installations. The exhibition proceeds not always via direct formal or informal engagements between artists but by “an alchemy of shared narratives” (Teo Hui Min). Tropical endeavours to complicate the essential link between modernism and modernity by reflecting on how the “accursed European and American influence” is “absorbed” (Hélio Oiticica) into the local and indigenous, resulting in what might be called miscegenated art .
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REDMAN, SAMUEL. "Remembering Exhibitions on Race in the 20th-century United States." American Anthropologist 111, no. 4 (November 17, 2009): 517–18. http://dx.doi.org/10.1111/j.1548-1433.2009.01160_1.x.
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Wang, ShiPu. "The Challenges of Displaying “Asian American”: Curatorial Perspectives and Critical Approaches." AAPI Nexus Journal: Policy, Practice, and Community 5, no. 1 (2007): 12–32. http://dx.doi.org/10.36650/nexus5.1_12-32_wang.
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This essay delineates the issues concerning AAPI art exhibitions from a curator’s perspective, particularly in response to the changing racial demographics and economics of the past decades. A discussion of practical, curatorial problems offers the reader an overview of the obstacles and reasons behind the lack of exhibitions of AAPI works in the United States. It is the author’s hope that by understanding the challenges particular to AAPI exhibitions, community leaders, and patrons will direct future financial support to appropriate museum operations, which in turn will encourage more exhibitions and research of the important artistic contribution of AAPI artists to American art.
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Flores-Marcial, Xóchitl M. "Getting Community Engagement Right." Latin American and Latinx Visual Culture 3, no. 1 (January 1, 2021): 98–108. http://dx.doi.org/10.1525/lavc.2021.3.1.98.
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Greater Mexico refers both to the geographic region encompassing modern Mexico and its former territories in the United States, and to the Mexican cultural diaspora. Exhibitions of visual and material culture from greater Mexico have played an important role in articulating identities and affiliations that transcend limited definitions of citizenship. Following an introductory text by Jennifer Josten, five scholars offer firsthand insights into the intellectual, diplomatic, and logistical concerns underpinning key border-crossing exhibitions of the “NAFTA era.” Rubén Ortiz-Torres writes from his unique perspective as a Mexico City–based artist who began exhibiting in the United States in the late 1980s, and as a curator of recent exhibitions that highlight the existence of multiple Mexicos and Americas. Clara Bargellini reflects on a paradigm-shifting cross-border exhibition of the viceregal arts of the missions of northern New Spain. Kim N. Richter considers how the arts of ancient Mesoamerica and the Americas writ large figured within the Getty Foundation’s 2017 Pacific Standard Time: LA/LA initiative. Xóchitl M. Flores-Marcial offers insights into productive institutional collaborations with transnational Indigenous stakeholders, focusing on two recent Southern California exhibitions of the Oaxaca-based Tlacolulokos collective. Luis Vargas-Santiago discusses how Chicana/o/x art entered Mexico City’s Palacio de Bellas Artes in 2019 as a crucial component of an exhibition about how Mexican revolutionary Emiliano Zapata’s image has migrated through visual culture. Together, these texts demonstrate how exhibitions can act in the service of advancing more nuanced understandings of cultural and political interactions across greater Mexico.
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Vargas-Santiago, Luis. "Emiliano." Latin American and Latinx Visual Culture 3, no. 1 (January 1, 2021): 109–19. http://dx.doi.org/10.1525/lavc.2021.3.1.109.
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Greater Mexico refers both to the geographic region encompassing modern Mexico and its former territories in the United States, and to the Mexican cultural diaspora. Exhibitions of visual and material culture from greater Mexico have played an important role in articulating identities and affiliations that transcend limited definitions of citizenship. Following an introductory text by Jennifer Josten, five scholars offer firsthand insights into the intellectual, diplomatic, and logistical concerns underpinning key border-crossing exhibitions of the “NAFTA era.” Rubén Ortiz-Torres writes from his unique perspective as a Mexico City–based artist who began exhibiting in the United States in the late 1980s, and as a curator of recent exhibitions that highlight the existence of multiple Mexicos and Americas. Clara Bargellini reflects on a paradigm-shifting cross-border exhibition of the viceregal arts of the missions of northern New Spain. Kim N. Richter considers how the arts of ancient Mesoamerica and the Americas writ large figured within the Getty Foundation’s 2017 Pacific Standard Time: LA/LA initiative. Xóchitl M. Flores-Marcial offers insights into productive institutional collaborations with transnational Indigenous stakeholders, focusing on two recent Southern California exhibitions of the Oaxaca-based Tlacolulokos collective. Luis Vargas-Santiago discusses how Chicana/o/x art entered Mexico City’s Palacio de Bellas Artes in 2019 as a crucial component of an exhibition about how Mexican revolutionary Emiliano Zapata’s image has migrated through visual culture. Together, these texts demonstrate how exhibitions can act in the service of advancing more nuanced understandings of cultural and political interactions across greater Mexico.
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Ortiz-Torres, Rubén. "Mexicos and Americas." Latin American and Latinx Visual Culture 3, no. 1 (January 1, 2021): 70–79. http://dx.doi.org/10.1525/lavc.2021.3.1.70.
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Greater Mexico refers both to the geographic region encompassing modern Mexico and its former territories in the United States, and to the Mexican cultural diaspora. Exhibitions of visual and material culture from greater Mexico have played an important role in articulating identities and affiliations that transcend limited definitions of citizenship. Following an introductory text by Jennifer Josten, five scholars offer firsthand insights into the intellectual, diplomatic, and logistical concerns underpinning key border-crossing exhibitions of the “NAFTA era.” Rubén Ortiz-Torres writes from his unique perspective as a Mexico City–based artist who began exhibiting in the United States in the late 1980s, and as a curator of recent exhibitions that highlight the existence of multiple Mexicos and Americas. Clara Bargellini reflects on a paradigm-shifting cross-border exhibition of the viceregal arts of the missions of northern New Spain. Kim N. Richter considers how the arts of ancient Mesoamerica and the Americas writ large figured within the Getty Foundation’s 2017 Pacific Standard Time: LA/LA initiative. Xóchitl M. Flores-Marcial offers insights into productive institutional collaborations with transnational Indigenous stakeholders, focusing on two recent Southern California exhibitions of the Oaxaca-based Tlacolulokos collective. Luis Vargas-Santiago discusses how Chicana/o/x art entered Mexico City’s Palacio de Bellas Artes in 2019 as a crucial component of an exhibition about how Mexican revolutionary Emiliano Zapata’s image has migrated through visual culture. Together, these texts demonstrate how exhibitions can act in the service of advancing more nuanced understandings of cultural and political interactions across greater Mexico.
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Bargellini, Clara. "Looking Back at The Arts of the Missions of Northern New Spain, 1600–1821." Latin American and Latinx Visual Culture 3, no. 1 (January 1, 2021): 80–87. http://dx.doi.org/10.1525/lavc.2021.3.1.80.
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Greater Mexico refers both to the geographic region encompassing modern Mexico and its former territories in the United States, and to the Mexican cultural diaspora. Exhibitions of visual and material culture from greater Mexico have played an important role in articulating identities and affiliations that transcend limited definitions of citizenship. Following an introductory text by Jennifer Josten, five scholars offer firsthand insights into the intellectual, diplomatic, and logistical concerns underpinning key border-crossing exhibitions of the “NAFTA era.” Rubén Ortiz-Torres writes from his unique perspective as a Mexico City–based artist who began exhibiting in the United States in the late 1980s, and as a curator of recent exhibitions that highlight the existence of multiple Mexicos and Americas. Clara Bargellini reflects on a paradigm-shifting cross-border exhibition of the viceregal arts of the missions of northern New Spain. Kim N. Richter considers how the arts of ancient Mesoamerica and the Americas writ large figured within the Getty Foundation’s 2017 Pacific Standard Time: LA/LA initiative. Xóchitl M. Flores-Marcial offers insights into productive institutional collaborations with transnational Indigenous stakeholders, focusing on two recent Southern California exhibitions of the Oaxaca-based Tlacolulokos collective. Luis Vargas-Santiago discusses how Chicana/o/x art entered Mexico City’s Palacio de Bellas Artes in 2019 as a crucial component of an exhibition about how Mexican revolutionary Emiliano Zapata’s image has migrated through visual culture. Together, these texts demonstrate how exhibitions can act in the service of advancing more nuanced understandings of cultural and political interactions across greater Mexico.
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Richter, Kim N. "Golden Kingdoms at Getty." Latin American and Latinx Visual Culture 3, no. 1 (January 1, 2021): 88–97. http://dx.doi.org/10.1525/lavc.2021.3.1.88.
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Greater Mexico refers both to the geographic region encompassing modern Mexico and its former territories in the United States, and to the Mexican cultural diaspora. Exhibitions of visual and material culture from greater Mexico have played an important role in articulating identities and affiliations that transcend limited definitions of citizenship. Following an introductory text by Jennifer Josten, five scholars offer firsthand insights into the intellectual, diplomatic, and logistical concerns underpinning key border-crossing exhibitions of the “NAFTA era.” Rubén Ortiz-Torres writes from his unique perspective as a Mexico City–based artist who began exhibiting in the United States in the late 1980s, and as a curator of recent exhibitions that highlight the existence of multiple Mexicos and Americas. Clara Bargellini reflects on a paradigm-shifting cross-border exhibition of the viceregal arts of the missions of northern New Spain. Kim N. Richter considers how the arts of ancient Mesoamerica and the Americas writ large figured within the Getty Foundation’s 2017 Pacific Standard Time: LA/LA initiative. Xóchitl M. Flores-Marcial offers insights into productive institutional collaborations with transnational Indigenous stakeholders, focusing on two recent Southern California exhibitions of the Oaxaca-based Tlacolulokos collective. Luis Vargas-Santiago discusses how Chicana/o/x art entered Mexico City’s Palacio de Bellas Artes in 2019 as a crucial component of an exhibition about how Mexican revolutionary Emiliano Zapata’s image has migrated through visual culture. Together, these texts demonstrate how exhibitions can act in the service of advancing more nuanced understandings of cultural and political interactions across greater Mexico.
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Josten, Jennifer. "Dialogues." Latin American and Latinx Visual Culture 3, no. 1 (January 1, 2021): 60–69. http://dx.doi.org/10.1525/lavc.2021.3.1.60.
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Greater Mexico refers both to the geographic region encompassing modern Mexico and its former territories in the United States, and to the Mexican cultural diaspora. Exhibitions of visual and material culture from greater Mexico have played an important role in articulating identities and affiliations that transcend limited definitions of citizenship. Following an introductory text by Jennifer Josten, five scholars offer firsthand insights into the intellectual, diplomatic, and logistical concerns underpinning key border-crossing exhibitions of the “NAFTA era.” Rubén Ortiz-Torres writes from his unique perspective as a Mexico City–based artist who began exhibiting in the United States in the late 1980s, and as a curator of recent exhibitions that highlight the existence of multiple Mexicos and Americas. Clara Bargellini reflects on a paradigm-shifting cross-border exhibition of the viceregal arts of the missions of northern New Spain. Kim N. Richter considers how the arts of ancient Mesoamerica and the Americas writ large figured within the Getty Foundation’s 2017 Pacific Standard Time: LA/LA initiative. Xóchitl M. Flores-Marcial offers insights into productive institutional collaborations with transnational Indigenous stakeholders, focusing on two recent Southern California exhibitions of the Oaxaca-based Tlacolulokos collective. Luis Vargas-Santiago discusses how Chicana/o/x art entered Mexico City’s Palacio de Bellas Artes in 2019 as a crucial component of an exhibition about how Mexican revolutionary Emiliano Zapata’s image has migrated through visual culture. Together, these texts demonstrate how exhibitions can act in the service of advancing more nuanced understandings of cultural and political interactions across greater Mexico.
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Bellido Gant, María Luisa. "El Arte Latinoamericano en los Estados Unidos durante el siglo XX. Exposiciones, coleccionismo, museología." Illapa Mana Tukukuq, no. 14 (February 18, 2019): 118–29. http://dx.doi.org/10.31381/illapa.v0i14.1885.
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Este texto reflexiona sobre la presencia del arte latinoamericano en Estados Unidos desde la década de los veinte hasta los años noventa, con el llamado boom del mercado de arte latinoamericano. Nuestro objetivo es presentar de una manera sintética diferentes momentos que jalonaron los vínculos artísticos entre Latinoamérica y Estados Unidos, en especial la presencia, en este país, de artistas de aquella región. Analizaremos las exposiciones individuales y colectivas, el coleccionismo público y privado, la acción institucional, el papel de las galerías de arte y la incidencia de la crítica de arte.
Palabras clave: Arte Latinoamericano, coleccionismo, exposiciones, XX, Estados Unidos.
AbstractThis text considers the presence of Latin American art in the United States from 1920 to 1990 with the so called Latin American art market boom. Our goal is to present in a synthetic way different moments that marked the artistic links between Latin America and the United States, especially the presence, in this country, of artists from Latin America. We will analyze individual and collective exhibitions, public and private collecting, institutional action, the role of art galleries and the incidence of art criticism.
Keywords: Latin American Art. collecting. exhibitions. XX. United States.
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Kestner, Joseph A. "Victorian Art History." Victorian Literature and Culture 26, no. 1 (1998): 207–19. http://dx.doi.org/10.1017/s1060150300002357.
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There has been an intriguing range of material published concerning Victorian painting since Victorian Literature and Culture last offered an assessment of the field. These books, including exhibition catalogues, monographs, and collections of essays, represent new and important sources for research in Victorian art and its cultural contexts. Most striking of all during this interval has been the range of exhibitions, from focus on the Pre-Raphaelites to major installations of such Victorian High Olympians/High Renaissance painters as Frederic, Lord Leighton and Sir Lawrence Alma-Tadema. Included as well have been exhibitions with a particular focus, such as that on the Grosvenor Gallery, and the more broadly inclusive The Victorians held at the National Gallery of Art in Washington D.C., this last being the most appropriate point of departure to assess the impact of Victorian art on the viewing public in the States.
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Tolvaisas, Tomas. "Cold War “Bridge-Building”: U.S. Exchange Exhibits and Their Reception in the Soviet Union, 1959–1967." Journal of Cold War Studies 12, no. 4 (October 2010): 3–31. http://dx.doi.org/10.1162/jcws_a_00068.
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Following the presentation of the American National Exhibition in Moscow in 1959, nine exhibits organized by the United States Information Agency traveled in the Soviet Union from 1961 to 1967. This article discusses the aims, preparation, content, and reception of these exhibits, which attracted more than five million visitors and provoked diverse reactions. The exhibitions and their guides served as a unique form of communication with Soviet citizens, informing them about U.S. achievements and freedoms and the American way of life. The initiatives offset Soviet Communist propaganda, advanced popular understanding of the United States, and promoted popular goodwill toward Americans. The low-key interactions between the guides and the visitors shed valuable light on the mindset and experiences of ordinary citizens in the USSR, who were a major target audience of these exhibitions, and also, more broadly, on U.S. public diplomacy during the Cold War.
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Goff, Sheila, Betsy Chapoose, Elizabeth Cook, and Shannon Voirol. "Collaborating Beyond Collections: Engaging Tribes in Museum Exhibits." Advances in Archaeological Practice 7, no. 3 (May 28, 2019): 224–33. http://dx.doi.org/10.1017/aap.2019.11.
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AbstractThere has been—and continues to be—tension between Native peoples and museums in the United States due to past collecting practices and exhibitions that strive to interpret their culture and history without their involvement. Previously, many of these exhibitions stereotyped and lumped Native peoples together, depicting their cultures as static and interpreting them and their material culture from a Western scientific perspective. Changes are being made. Collaboration between Native peoples and museums in all areas of museum work, including exhibitions, is beginning to be considered by many as a best practice. Exhibitions developed in collaboration with Native peoples, with shared curatorial authority, decidedly help ease the historic tension between the two, and they are much more vibrant and accurate than when collaboration is lacking. This article will provide three examples of collaboration, defined with our tribal partners, to develop exhibitions at History Colorado, the state history museum, concluding with lessons learned.
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WooThak Chung. "Investigation Research on the Korean Buddhist Painting in the United States." Dongak Art History ll, no. 13 (June 2012): 33–63. http://dx.doi.org/10.17300/jodah.2012..13.002.
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Duran, Jane. "AngloModern: Painting and Modernity in Britain and the United States (review)." Journal of Aesthetic Education 39, no. 2 (2005): 118–20. http://dx.doi.org/10.1353/jae.2005.0016.
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Humm, Maggie. "AngloModern: Painting and Modernity in Britain and the United States (review)." Modernism/modernity 12, no. 1 (2005): 188–90. http://dx.doi.org/10.1353/mod.2005.0041.
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Devji, Faisal, and Shahzia Sikander. "Anti-monument." Public Culture 36, no. 1 (January 1, 2024): 5–16. http://dx.doi.org/10.1215/08992363-11121447.
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Niemira, Konrad. "Much Ado About Nothing? Political Contexts of the 15 Polish Painters Exhibition (MoMA, 1961)." Ikonotheka 26 (June 26, 2017): 167–91. http://dx.doi.org/10.5604/01.3001.0010.1677.
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The essay concerns 15 Polish Painters, the now slightly forgotten, but once famous exhibition of Polish contemporary art that took place at the Museum of Modern Art in New York in 1961. Initially, the exhibition was conceived as an expression of a thaw in relations between the United States and Poland, and it was organised at the diplomatic level. Organisational works began during Vice President Richard Nixon’s visit to Warsaw in August of 1959. They were coordinated by Porter McCray (who was responsible for MoMA’s touring exhibition programme) and Peter Selz (an art historian of German origin and a curator cooperating with MoMA). The Polish side withdrew from the project because of the abstract character of the works that Selz had selected and his disregard for the “offi cial” artists of the People’s Republic of Poland. The project was completed with the collaboration of American private galleries which bought the paintings in Poland and then loaned them to MoMA to be exhibited. The essay presents the behind-the-scenes history of organising the exhibition and its political context. It discusses the artistic message of the exhibition and the key used in the selection of its works. Finally, it touches upon the issue of Polish art’s reputation in the United States and the question as to why the Americans, wishing to present modern art from behind the Iron Curtain, decided, of all the countries of the Soviet bloc, to focus on none other than Poland. The aim of the essay is to fi ll the gap in the historiography, since the 15 Polish Painters exhibition is usually referred to only briefl y and has never been the subject of a scholarly enquiry. The event seems worth recalling also because it adds a nuance to the still current – as was confi rmed by Catherine Dossin’s much-talked-of book, The Rise and Fall of American Art, 2015 – and yet schematic view that in the middle of the 20th century there existed only two art centres, New York and Paris, thus completely overlooking the distinct character of the countries of the Communist bloc.
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Sánchez Arteaga, Juanma, and Charbel Niño El-Hani. "Physical anthropology and the description of the 'savage' in the Brazilian Anthropological Exhibition of 1882." História, Ciências, Saúde-Manguinhos 17, no. 2 (June 2010): 399–414. http://dx.doi.org/10.1590/s0104-59702010000200008.
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This paper discusses attempts to popularize scientific knowledge about anthropology through exhibitions of natives in the United States and Brazil from the nineteenth century to the beginnings of the twentieth century. In the First Brazilian Anthropological Exposition (Rio de Janeiro, 1882), a group of Botocudos was characterized in a manner that can be related to the reification of the myth of the savage, an important part of the European culture that played a significant role in the construction of anthropological knowledge in the nineteenth century. From the analyses of such exhibitions, we derive implications for science popularization and education, concerning the ideological undertones of scientific knowledge.
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Altman, Dana. "Contemporary Romanian Art in the United States." American, British and Canadian Studies Journal 22, no. 1 (August 15, 2014): 87–93. http://dx.doi.org/10.2478/abcsj-2014-0023.
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Abstract The article discusses the recent international interest in contemporary Romanian art and its growth in market share, with a focus on the United States. The theme is followed thorough in numerous museum exhibitions, increased collector following, art fair presence, gallery representation and auction activity initially in Europe and the United States. The phenomenon is discussed both in the context of the larger international movement conducive to the contemporary art price bubble, and in that of the local socio-economic changes. My chief interest lies in the factors leading up to the entry of post 1989 Romanian art in the global arena as a manifestation of market forces in the field. The analysis follows its grass roots local emergence through non-profit institutions, individual artists, small publications, low budget galleries, as well as the lack of contribution (with few notable exceptions) of state institutions, while pointing out the national context of increasing deregulation of social support systems resulting in lack of focus on cultural manifestations. The conclusion is that the recent ascent of contemporary Romanian art (and coincidentally, the award winning contemporary Romanian cinematography) is a fortuitous convergence of various factors, among which, increased international mobility and sharing. At the same time, it is also the result of the evolution of various individual artists that pursued a form of art rooted in Romanian artistic tradition but with a focus on the symbolic figurative. The result is a personal semiotics of raising the mundane to extraordinary levels that reconfigured the anxiety of entering a new system into an unmistakable and lasting visual language.
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Li, Jinlin. "A Brief Analysis of Gothic Culture." Learning & Education 10, no. 3 (November 7, 2021): 122. http://dx.doi.org/10.18282/l-e.v10i3.2412.
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The Statue of Liberty,Barbie doll,American Gothic,buffalo and nickel,and Uncle Sam are known as the five cultural symbols of the United States.Originally,American Gothic is a 76.2x63.5cm oil painting created by Grant Wood who graduated from Art Institute of Chicago. The painting consists of a house,a farmer and his sister,conveying the author’s deep understanding of Gothic art.However,in the late period,American Gothic gradually became a synonym of a thought,and also represented a group of people with common characteristics.This thesis mainly analyzes the definition,cultural connotation,existence value and derivatives of Gothic culture in The United States.
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Taylor, Samuel M. "AMERICAN SUBLIME: LANDSCAPE PAINTING IN THE UNITED STATES 1820-1880: Tate Britain." Curator: The Museum Journal 45, no. 2 (April 2002): 144–48. http://dx.doi.org/10.1111/j.2151-6952.2002.tb01188.x.
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Xu, Min. "Chinese art: A survey of collections and research materials in the United States." Art Libraries Journal 39, no. 2 (2014): 43–47. http://dx.doi.org/10.1017/s0307472200018319.
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During the 20th century a range of museums in the United States were engaged in acquiring Chinese art objects, developing major collections of painting and calligraphy, ancient bronze, Buddhist sculpture, ceramics and other decorative arts. Research materials on Chinese art have been collected by art libraries in major museums and the East Asian libraries of the main research universities. The author surveys significant Chinese art collections in museums and research libraries in the United States today.
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Mansbach, Steven. "Delayed Discovery or Willful Forgetting? The Reception of Polish Classical Modernism in America." Slavic Review 71, no. 3 (2012): 489–515. http://dx.doi.org/10.5612/slavicreview.71.3.0489.
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Polish modern art was collected by leading figures within America's cultural vanguard. Most prized the art's stylistic innovation; they were likely unaware of the ideological charge that animated modernism's makers. By the end of the 1930s, numerous exhibitions of Polish art had been mounted in the United States; however, few concentrated on strikingly innovative works, preferring instead traditional themes, genres, and styles. Nonetheless, Poland's modernist efforts garnered popular success at the New York World's Fair of 1939. The modern art from other central and eastern European nations was actively promoted by its makers, who had immigrated to the United States. Poland's modern art did not benefit from a similar presence, its modernists having mostly elected to remain in their native land. The paucity of Polish artists in 1930s America compromised their chance to exercise an influential role just as the United States was consolidating an international canon of modern art.
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Hartmann, Julia. "From gunshots to hashtags: Transcultural curating in the #MeToo era." Journal of Contemporary Chinese Art 9, no. 3 (November 1, 2022): 333–51. http://dx.doi.org/10.1386/jcca_00070_1.
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After the #MeToo movement kicked off in the United States in 2018, it found its way to China and has triggered a number of exhibition projects around the country, organized by young activists, artists and curators, which have galvanized transnational feminist exchanges in the past few years. The article analyses exhibitions such as The Voiceless Rise Up: #MeToo in China, Her Story: Eliminating Gender Violence 2020, Above Ground: 40 Moments of Transformation and Stand by Her, which consisted of works documenting sexual assault and the #MeToo movement in China, as well as of artworks that are dealing with issues concerning sexual assault, the One Child Policy, motherhood, queerness and empowerment. These exhibitions and the #MeToo movement, respectively, demonstrate a growing transnational interconnectedness among activists fighting towards common feminist goals. What is more, these exhibitions are under constant scrutiny and fear of being cancelled, which is evidence of an exhaustive struggle for the official acceptance of women’s rights and ‘radical’ artworks. This article gives an overview of these projects, their transnational interconnectedness, as well as their perception and reaction of the general public, the press and censors. The article argues for a shift from women-centred exhibitions to exhibitions with a strong activist/feminist agenda that are also part of an unprecedented transnational framework.
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Trespeuch, Hélène. "“The United States of (French) Painting”: Supports-Surfaces and the Test of Time." Critique d’art, no. 50 (May 25, 2018): 29–39. http://dx.doi.org/10.4000/critiquedart.29314.
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Ma, Leyuan. "Frida Kahlo’s Self-Identity: An Analysis of Self-Portrait on the Borderline Between Mexico and the United States." International Journal of Social Science Studies 8, no. 6 (September 24, 2020): 10. http://dx.doi.org/10.11114/ijsss.v8i6.5025.
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Self-Portrait on the Borderline Between Mexico and the United States by the Mexican artist Frida Kahlo reveals a multitude of insights. This paper assesses how the nuances embodied in the painting serve as critical clues to comprehend Frida Kahlo’s personal experiences, Mexican culture, and the approach of discovering the contextual background through the work of art. Beginning with a detailed formal analysis of the portrait, this paper further explores it by making connections with contextual evidence. Through timely reference to Frida Kahlo’s political stance, cultural identity, and health, the paper demonstrates how the painting proffers insight into both the artist’s life and Aztec culture.
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Reed, Jeri L. "The Corn King of Mexico in the United States: A South-North Technology Transfer." Agricultural History 78, no. 2 (April 1, 2004): 155–65. http://dx.doi.org/10.1215/00021482-78.2.155.
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Abstract The activities of Mexican banker and hacendado Zeferino Dominguez in the early twentieth century raise questions about the assumption that Mexico was merely the beneficiary of modern agricultural science developed in the United States. Dominguez was a banker and large landowner who turned his haciendas into private agricultural experiment stations, conducting research on better methods of growing corn, cotton, wheat, and beans with the labor of his peones. He shared his results through lecture tours and published works in Mexico and traveled extensively in the United States, speaking to groups of farmers and agricultural scientists about his methods of dry farming and corn propagation. He exhibited at agricultural fairs and exhibitions, attended Farmers’s Institutes and conferences, and published a manual for use by average American farmers. Like many agricultural reformers in the United States, he addressed the problems of rural poverty and land concentration not with socialism, but with visions of a Mexico filled with small, capitalistic, home-owning farmers producing with scientific methods and business efficiency.
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Castañeda, Luis M. "Kubler's Sarcophagus: Cold War Archaeologies of the Olmec Periphery." ARTMargins 4, no. 1 (February 2015): 3–26. http://dx.doi.org/10.1162/artm_a_00103.
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This article examines conflicting racial, archaeological and art historical interpretations of Olmec art produced in the United States in the early 1960s. It inscribes shifting approaches to the study of monumental Olmec art by figures like George Kubler within the contexts of violent modernization of the Olmec ‘heartland’ of Veracruz and Tabasco, the politicized display of this artistic tradition in museums and traveling exhibitions, and the unstable horizons of U.S.-Mexico diplomatic relations during that period.
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de Ceglia, Francesco Paolo. "The Importance of Being Florentine: A Journey around the World for Wax Anatomical Venuses." Nuncius 26, no. 1 (2011): 83–108. http://dx.doi.org/10.1163/182539111x569775.
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AbstractThis article reconstructs the 19th century history of events regarding a few female wax anatomical models made in Florence. More or less faithful copies of those housed in Florence's Museum of Physics and Natural History, these models were destined for display in temporary exhibitions. In their travels through Europe and the United States, they transformed the expression "Florentine Venus" into a sort of brand name used to label and offer respectability to pieces of widely varying quality.
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TYTENKO, O. O. "PAINTING AND COMPOSITION AS A FUNDAMENTAL DISCIPLINE OF PROFESSIONAL TRAINING OF PAINTERS IN INSTITUTIONS OF HIGHER PROFESSIONAL AND ARTISTIC EDUCATION." Scientific papers of Berdiansk State Pedagogical University Series Pedagogical sciences 1, no. 3 (December 30, 2021): 199–205. http://dx.doi.org/10.31494/2412-9208-2021-1-3-199-205.
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The author of the article considers traditional and new methods of teaching the discipline «painting», emphasizes that the process of forming skills of mastering and reproducing the world in images promotes the development of creative potential, formation of its integrity, spiritual and emotional enrichment, development of national and world art. approaches to improving professional skills through educational programs. The author draws attention to the contradictions between the requirements for a teacher of painting and the system of professional training of future painters. The author believes that in the discipline of «Painting» a number of significant competencies are formed, which have a significant impact on the quality of training of graduates - future painters, drawing teachers. The article states that today there is a need to study the issues of teaching students of painting, necessary for artistic, research and teaching activities in the field of art. The author draws attention to the lack of effectiveness of the «academic» approach to the teaching of painting, which is reduced to the sum of knowledge and skills of realistic depiction of nature. Emphasizes that students do not have enough knowledge of all the tools and techniques inherent in the fine arts. To date, the place and role of painting in the system of professional training has not been determined, no forms and methods of teaching have been developed aimed at the formation of painting skills, artistic and figurative perception of nature as a professionally significant activity of the future artist. Important in the article is that the author emphasizes the possibility of using modern scientifically sound techniques, methods and tools, the use of technical teaching aids, information and computer technology; application of modern means of assessment of results in training. As well as what the teacher has to think in a modern way, apply the search approach and method of art projects, which include attending exhibitions and creating performances, non-traditional forms of teaching, creating interdisciplinary blocks, implementing new types of field productions and applying a constructive approach to compositional problems, the use of the latest artistic means. Key words: painting, artist, system, training, programs, color, ratio, education, creativity.
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Rosen, Deborah A. "Acoma v. Laguna and the Transition from Spanish Colonial Law to American Civil Procedure in New Mexico." Law and History Review 19, no. 3 (2001): 513–46. http://dx.doi.org/10.2307/744272.
Full textAbstract:
Less than two years after the United States occupied New Mexico, Acoma Pueblo accused its neighbors in Laguna Pueblo of misappropriating a painting of Saint Joseph. The Indians of Acoma claimed that they had loaned the picture to the pueblo of Laguna for the purpose of celebrating Holy Week, but Laguna had subsequently refused to return it. The large oil painting on canvas, which portrayed the standing figure of Joseph holding the baby Jesus, was said to have been sent to New Mexico by Carlos II, king of Spain from 1665 to 1700. Both pueblos claimed rightful ownership of the picture, both said that missionaries with the early Spanish conquerors had brought them the oil painting from Spain, and both asserted that the painting was necessary for their religious worship. It was believed that the painting of Saint Joseph, or San José, as he was referred to throughout the legal documents, worked miracles for its possessor. Most important to the pueblos was the belief that the painting brought life-sustaining rain to the parched agricultural lands that provided their main source of food.