Relevant bibliographies by topics / Sculpture – United States – Exhibitions

Academic literature on the topic 'Sculpture – United States – Exhibitions'

Author: Grafiati
Published: 26 July 2024
Last updated: 28 July 2024

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Journal articles on the topic "Sculpture – United States – Exhibitions"

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Nash, Stephen E., and Frances Alley Kruger. "Silent Legacy: The Story of Vasily Konovalenko's Gem-Carving Sculptures." Collections: A Journal for Museum and Archives Professionals 13, no. 1 (March 2017): 7–32. http://dx.doi.org/10.1177/155019061701300102.

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During a career that spanned four decades, Russian artist Vasily Konovalenko (1929–1989) produced more than 70 sculptures carved from gems, minerals, and other raw materials. As unorthodox, compelling, and masterful as Konovalenko's sculptures are, they had been poorly published and poorly known. They are on permanent display at only two museums in the world: the small and obscure State Gems Museum (Samotsvety) in Moscow, Russia, and the Denver Museum of Nature & Science (DMNS), a major natural history museum in Colorado, the United States. This article examines Konovalenko's life and work, as well as the unusual circumstances that led to the two exhibitions, their role in Konovalenko's relative obscurity, and a recent resurgence of interest.
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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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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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Faleolo, Ruth, Sh’Kinah Tuia‘ana Nauna Faleolo, and Lydiah Malia-Lose Faleolo. "Understanding Diaspora Pasifika (Sāmoan and Tongan) Intergenerational Sense-Making and Meaning-Making through Imageries." Art/Research International: A Transdisciplinary Journal 8, no. 2 (January 31, 2024): 362–414. http://dx.doi.org/10.18432/ari29750.

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This article presents imagery representative of Pasifika (Sāmoan and Tongan) diaspora (nofo ‘i fafo o Sāmoa/ tu‘a Tonga) intergenerational sense-making and meaning-making. The main author, Ruth (Lute) Faleolo, presents a selection of eleven photographs shared with her by Pasifika knowledge holders across Aotearoa (New Zealand), Australia, and the United States, alongside six personally photographed people/events in Aotearoa. Collectively, these images show important Pasifika meaning-making and sense-making processes that are occurring intergenerationally in tu‘a Tonga/ nofo ‘i fafo o Sāmoa. These selected images were collected as part of an ongoing larger study of Pasifika migration and mobilities (2013-2023). The second author, Sh’Kinah Tuia‘ana Nauna Faleolo, presents pieces from her art collection (2015): Two Woven Identities and discusses her meaning-making and Indigeneity enfolding these pieces while growing up in Aotearoa. The third author, Lydiah Malia-Lose Faleolo, presents her Identity artwork (2019) and Duality design pieces (2023) that demonstrate her current and continued Indigeneity as a Sāmoan Tongan woman, living and studying in Australia. The fourth author, Nehemiah Thomas Faleolo’s artistic expressions captured in his annotated sketches and sculpture work were selected from a collection he had created in Australia. Nehemiah’s respected artwork and meaning-making, carefully documented by him in 2020 was (posthumously) selected by Faleolo family members, from his private exhibition and collection (Brisbane). Scanned documents and photographs stored on his mobile device have been contributed to this article on his behalf, with permission. For many Pasifika living in Aotearoa, Australia and the United States, the processes of intergenerational sense-making and meaning-making occur in the diaspora contexts of faith, family, community, and education. The imageries presented by Ruth (Lute) Faleolo follow these thematic contexts, with short analyses about the intergenerational sense-making and meaning-making observed per photo. The purpose of her contribution to the discussion is to promote imageries as a way of conveying Pasifika understandings and knowledge. Sh’Kinah Tuia‘ana Nauna Faleolo, Lydiah Malia-Lose and Nehemiah Thomas Faleolo’s contributions present personal accounts of intergenerational sense-making and meaning-making as experienced through their artistic expressions, within nofo ‘i fafo o Sāmoa/ tu‘a Tonga contexts of Aotearoa and Australia.
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Sun, Yuran. "ARCHITECT YO MING PEI. THE ART OF ARCHITECTURE OF MUSEUM BUILDINGS." Scientific and analytical journal Burganov House. The space of culture 19, no. 6 (November 15, 2023): 17–30. http://dx.doi.org/10.36340/2071-6818-2023-19-6-17-30.

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Famous Chinese-American architect I.M. Pei was born in Guangdong, China in 1917.He traveled to the United States in 1935. Initially educated at the University of Pennsylvania, he continued his studies at the Massachusetts Institute of Technology (Bachelor of Architecture in 1940) and Harvard Graduate School of Design (Master of Architecture in 1946). I.M. Pei is widely praised for his bold design and clear geometric forms in his project. His career spanned 60 years and left many outstanding architectural works. I.M. Pei, revered as "the consummate master of modern architecture," his architectural philosophy was deeply influenced by modern art. During that era, New York City was known as the center of modern art. Among them, abstract expressionism, conceptualism and minimalism were on full display here. Many famous artists held grand exhibitions here and established their own studios. I.M. Pei spent most of his life in this place. When American modern art reached its peak in New York, many architects decided to use primitive forms to convey a concise and powerful artistic language, which also became their iconic design style. I.M. Pei's design philosophy is global. He emphasized: "In the architectural design process, there are three key aspects that require special attention: the first is the integration of the building with its environment; the second is how to handle space and form; and finally, from the user's point of view, to correctly solve functional problems. In this paper, the study analyzes the structural features of 12 architectural spaces of art museums designed by I.M. Pei in the context of the time line. It compares the similarities and differences in the spatial structure of the architecture of art museums built in the same time period as well as between different historical eras. The study focuses on analyzing the form and content of space and draws on the theoretical framework of contemporary architecture, namely the concepts of space within modernism. As a result of the analysis, two key characteristics of Pei's architecture are highlighted: sculptural and geometric.
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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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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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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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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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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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Dissertations / Theses on the topic "Sculpture – United States – Exhibitions"

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Lessing, Lauren Keach. "Presiding divinities : ideal sculpture in nineteenth-century American domestic interiors /." [Bloomington, Ind.] : Indiana University, 2006. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3243769.

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Thesis (Ph.D.)--Indiana University, Dept. of History of Art, 2006.
"Title from dissertation home page (viewed July 17, 2007)." Source: Dissertation Abstracts International, Volume: 67-12, Section: A, page: 4367. Adviser: Sarah L. Burns.
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Grunenberg, Christoph. "The politics of presentation : museums, galleries and exhibitions in New York, 1929-1947." Thesis, Courtauld Institute of Art (University of London), 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.283893.

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Uchill, Rebecca 1978. "Developing experience : Alexander Dorner's Exhibitions, from Weimar Republic Germany to the Cold War United States." Thesis, Massachusetts Institute of Technology, 2015. http://hdl.handle.net/1721.1/100327.

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Thesis: Ph. D. in History and Theory of Art, Massachusetts Institute of Technology, Department of Architecture, 2015.
CD-ROM contains PDF of Addenda section, quarterly report and 5 PDFs of images for thesis.
Cataloged from PDF version of thesis. Pages 237 to 428 of original thesis for Addenda section are removed and copied onto CD-ROM.
Includes bibliographical references (pages 429-446).
Following the work of German-American curator Alexander Dorner (1893-1957) from his early curatorial career in Niedersachsen to professorships in New England, this dissertation explores the intersections of Euro-American modernism and developing ideations of experience within aesthetic philosophy. Dorner's work was formulated in deep engagement with (and often intentional contradiction to) the art theory being incubated in contemporaneous art institutions, pedagogies, and practices. His written texts and museum praxis responded to emerging notions of subjectivity, restoration, and perception in the aesthetic theory of Alois Riegl and Erwin Panofsky, art restoration mandates advocated by German museum leaders such as Max Sauerlandt and Kurt Karl Eberlein, and the artistic productions of El Lissitzky and Herbert Bayer. Against shifting expressions of democracy in Weimar Germany and the mid-century United States, Dorner's polemical focus on museum experience was, in effect, an attempt to train citizens for collective but heterogeneous social life.
by Rebecca K. Uchill.
Ph. D. in History and Theory of Art
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Merkley, John. "Transitions : multi-media abstract sculpture." Virtual Press, 2004. http://liblink.bsu.edu/uhtbin/catkey/1305451.

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The first objective of this creative project was to create seven Non-figurative, abstract, multi-media (wood, metals, clay, concrete, glass) sculptures that attempted to express some of the feelings experienced during transitions in life. The second objective was to explore the continuum of abstract sculptural art: from art being simply aesthetically stimulating compositions to art that emphasizes meaning or purpose first, and being aesthetically pleasing or stimulating second.
Department of Art
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McMahon, Cliff Getty. "The sublime in Rothko, Newman and Still." Thesis, University of St Andrews, 1998. http://hdl.handle.net/10023/11002.

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An important body of literature has accumulated (both primary and secondary sources) which necessitates that Rothko, Newman and Still be placed in the tradition of the sublime. In attempting this task, a background is established by a detailed summary of classical theory of the sublime in Longinus, Burke, Kant, and Nietzsche, followed by detailed summaries of major recent sublimist theory by Weiskel, Crowther, Lyotard, and Ferguson. Also, key ideas of Sartre and Jung are treated in order to round out the proper ideational context for a sublimicist analysis of these three painters. From this foundation, a working theory of the sublime is developed. Next, the painters' crucial theoretic statement are analysed for their relevance to the sublime, and their programs and specific works are characterized in relation to theory of the sublime, and in relation to their treatments in criticism. The last two chapters treat two crucial contexts in which Rothko, Newman and Still are situated: The historically accumulated American tradition of the sublime in art and literature; and the general European context of modernism and postmodernism. Throughout the study, it is argued that various kinds of transcendence validate a set of various major modes of the sublime: The ideational, religious, moral, Burkean-Gothic, Kantian, Nietzschean, romantic, existential, Jungian-mythic, ontological, noble, and the sublime of light/color, along with negatives modes such as the comic, the ironic, the counter, the mock, and the merely rhetorical. It is argued, finally, that sublimicism will continue to be attractive for conservative, moderate, and radical points of view, that theory of the sublime has on-going power and validity into the future, and that between positive and negative modes, the positive will probably continue to dominate.
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Holland, Nicole Murphy. "Worlds on view visual art exhibitions and state identity in the late Cold War /." Diss., [La Jolla] : University of California, San Diego, 2010. http://wwwlib.umi.com/cr/ucsd/fullcit?p3397171.

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Thesis (Ph. D.)--University of California, San Diego, 2010.
Title from first page of PDF file (viewed March 30, 2010). Available via ProQuest Digital Dissertations. Vita. Includes bibliographical references.
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Cooks, Bridget Rochelle. "Seen and not seen : a history of Black representation and self-representation in art exhibitions in the United States, 1893-1998." Ann Arbor, Mich. : ProQuest Information and Learning, 2005. http://gateway.proquest.com/openurl?res_dat=xri:ssbe&url_ver=Z39.88-2004&rft_dat=xri:ssbe:ft:keyresource:Coll_Diss_02.

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Heron, Elizabeth. "The Unveiling." PDXScholar, 1988. https://pdxscholar.library.pdx.edu/open_access_etds/2048.

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The method I use in creating abstract sculpture presented the question that became the subject of my Master's thesis. Only occasionally will I create from a pre-conceived concept. The sculptures evolve through a process of addition and subtraction of material to something that simply pleases me. This method, really no method at all, seemed contradictory to my original intentions. My artistic goals were purposeful; I wanted to create sculpture that would provoke a reaction first, not a judgment of features. I wanted the viewers emotional and psychological involvement to be the basis for content and meaning in the work. In spite of the indirect approach, I felt there was some success in achieving my goal. Discovering how this occurred was important because I was at a loss to understand the content of my own work. Did the sculpture I was making hold any deeper meaning for me? My thesis proposal advanced the question of how sculptural form expresses content. A more accurate question is, what does it mean? I had faith that I was indeed making art that was more than a pleasant arrangement of forms. Confident that there was also meaning, I proceeded to explore and analyze the relationship of creative process to sculptural form and content. While writing a draft of my thesis, I realized the question was beyond a definitive answer. This was a personal investigation of a fundamental question. My expectation was that insight and analysis would provide the answer I needed.
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Corcoran, Cristine C. "Dudelsacks : sculptural extensions in blown glass." PDXScholar, 1989. https://pdxscholar.library.pdx.edu/open_access_etds/3863.

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This thesis project consists of 19 sculptures. The medium is hot blown glass. The work interprets and extends the visual and metaphorical qualities of bagpipes. The utilization of the German dudelsack references the playful improvisational nature of these international and culturally diverse forms.
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Leclercq, Catherine. "Alexander Calder: mobile, couleur et forme." Doctoral thesis, Universite Libre de Bruxelles, 1991. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/212989.

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Books on the topic "Sculpture – United States – Exhibitions"

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J, Bloemink Barbara, Lippard Lucy R, and Mint Museum of Art, eds. Michael Lucero: Sculpture 1976-1995. New York: Hudson Hills Press, 1996.

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L, Stratton Suzanne, Spanish Institute (New York, N.Y.), Meadows Museum, and Los Angeles County Museum of Art., eds. Spanish polychrome sculpture 1500-1800 in United States collections. [New York: Spanish Institute, 1993.

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1930-, Neri Manuel, Beal Graham William John, and San Francisco Museum of Modern Art., eds. Manuel Neri: Plasters. San Francisco, Calif: San Francisco Museum of Modern Art, 1989.

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Armajani, Siah. Siah Armajani: Kunsthalle Basel [22.3.- 26.4.1987], Stedelijk Museum Amsterdam [16.5.- 28.6.1987]. Basel: Kunsthalle Basel, 1987.

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1935-2012, Price Kenneth, Los Angeles County Museum of Art, Nasher Sculpture Center, and Metropolitan Museum of Art (New York, N.Y.), eds. Ken Price Sculpture: A Retrospective. Los Angeles: Los Angeles County Museum of Art, 2012.

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Neil, Cox, and Gagosian Gallery (London England), eds. Richard Serra 2014. London: Gagosian Gallery, 2015.

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Scholder, Fritz. Fritz Scholder: Thirty years of sculpture. Munich: Nazraeli Press, 1994.

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The Louisiana Sculpture Park: With a map of the park. [Humlebæk]: Louisiana Museum of Modern Art, 2009.

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Stella, Frank. Frank Stella: Maalauksia, veistoksia = paintings, sculpture. Helsinki: Galerie Kajforsblom, 1990.

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Beardsley, John. Elyn Zimmerman. Tampa, Fla: Contemporary Art Museum, University of South Florida, 1991.

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Book chapters on the topic "Sculpture – United States – Exhibitions"

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de Silva, Nushelle. "Assembling Smallness: The United States Small Industries Exhibition in Colombo, 1961." In Exhibitions Beyond Boundaries. Bloomsbury Visual Arts, 2022. http://dx.doi.org/10.5040/9781350088511.ch-006.

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"Gentlemen Prefer Bronze: Garden Sculpture and Sculpture Gardens in Britain (1720–1860)." In Sculpture Collections in Europe and the United States 1500-1930, 103–27. BRILL, 2021. http://dx.doi.org/10.1163/9789004458840_006.

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"Sculpture Collecting and the Kunstkammer." In Sculpture Collections in Europe and the United States 1500-1930, 27–45. BRILL, 2021. http://dx.doi.org/10.1163/9789004458840_003.

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Bachrach, Susan. "“Bystanders” in Exhibitions at the United States Holocaust Memorial Museum." In Probing the Limits of Categorization, 309–35. Berghahn Books, 2018. http://dx.doi.org/10.2307/j.ctvw04hm8.20.

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O’Steen, Danielle. "The Pioneers of Plasticraft: When Artists Found Plastics in the United States." In Plastics, Environment, Culture, and the Politics of Waste, 161–80. Edinburgh University Press, 2023. http://dx.doi.org/10.3366/edinburgh/9781399511735.003.0009.

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O’Steen asserts that public presentations and exhibitions were integral tools for the growth of modern plastics in the United States, starting in the 1930s. She considers key collaborations between the arts and the plastics industry, particularly seen in the 1939–40 World’s Fair in Flushing, New York. Modern plastics had their most public debut at the fair, creating many opportunities for manufacturers to explore creative ways to sell their products to the public. O’Steen shows how the emerging plastics industry used artwork and exhibitions as part of their corporate agendas. She argues that this 1930s moment laid the groundwork for much collaboration between the arts and plastics for the following decades—particularly in the 1960s and 1970s—when artists were turning to plastics in even larger numbers and with great enthusiasm.
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Lemmey, Karen. "11. Nineteenth-Century American Sculpture and United States Design Patents." In Circulation and Control, 263–396. Open Book Publishers, 2021. http://dx.doi.org/10.11647/obp.0247.11.

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"The Public Art Gallery as Arena for Modern Sculpture." In Sculpture Collections in Europe and the United States 1500-1930, 223–53. BRILL, 2021. http://dx.doi.org/10.1163/9789004458840_011.

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Bachrach, Susan. "Chapter 16 “Bystanders” in Exhibitions at the United States Holocaust Memorial Museum." In Probing the Limits of Categorization, 309–35. Berghahn Books, 2022. http://dx.doi.org/10.1515/9781789200942-018.

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Munson, Kim A. "The Evolution of Comics Art Exhibitions in the United States, 1930–1951." In Comic Art in Museums, 66–87. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496828118.003.0007.

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This 2018 essay by art historian Kim A. Munson shares the details of her research on exhibits of original comic art in U.S. museums and galleries from 1930-1954. This chapter discusses several shows of the 1930’s from Thomas Nast at the Whitney (1932) to the display of the first Walt Disney animation cel purchased by the Metropolitan Museum of Art (1939). This chapter discusses World War II exhibits at the Metropolitan. This chapter discusses The Comic Strip: Its Ancient and Honorable Lineage and Present Significance, organized for the American Institute of Graphic Arts by Jessie Gillespie Willing (AIGA, 1942), which is a touring exhibit with historical works, comics, and comic books. Milton Caniff was a pioneer and advocate of comics exhibits representing himself (The Art of Terry and the Pirates 1939-1946) and later with the newly formed National Cartoonist Society organizing many shows including 20,000 Years of Comics (1949 Savings Bond Tour), and American Cartooning (Met Museum, 1951).
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Munson, Kim A. "The Evolution of Comics Art Exhibitions in the United States, 1930–1951." In Comic Art in Museums, 66–87. University Press of Mississippi, 2020. http://dx.doi.org/10.2307/j.ctv128fpwk.11.

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Conference papers on the topic "Sculpture – United States – Exhibitions"

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Koryagina, Irina O. "CREATIVE METHODOLOGIES FOR ENVIRONMENTAL GRAPHIC DESIGN PROJECTS BASED ON WORK BY IRINA KORYAGINA." In TWEET-FENTS. Новосибирский государственный университет архитектуры, дизайна и искусств им. А.Д. Крячкова, 2020. http://dx.doi.org/10.37909/978-5-89170-266-0-2020-1013.

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This article demonstrates examples of realized projects in the field of environmental graphic design developed by Irina Koryagina in collaboration with leading international design agencies, architects, and institutions.These projects, built in various locations across the United States, are open to public, and reveal how graphic design can enrich and open new opportunities for the design of public spaces, exhibitions, and signage.
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Mukhopadhyay, Sanjoy, and Johnny Grimes. "From count rates to quantifying isotopic activities: Field analysis of radiation monitoring data." In SPIE Optics + Photonics 2023, 20 - 24 August 2023 San Diego, California, United States https://spie.org/conferences-and-exhibitions/optics-and-photonics. US DOE, 2023. http://dx.doi.org/10.2172/1994925.

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Johnson, Tait. "Marketing Modernism with the R.S. Reynolds Memorial Prize." In 110th ACSA Annual Meeting Paper Proceedings. ACSA Press, 2022. http://dx.doi.org/10.35483/acsa.am.110.60.

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This paper examines the influence on modern architecture of the R.S. Reynolds Memorial Prize, which bestowed $25,000 and an original work of aluminum sculpture to an architect from 1957 to 1993. Established by Reynolds Metals, once the second largest aluminum producer in the United States, the purpose of the prize was stated publicly: “The Award is conferred annually on an architect who, in the judgement of his profession, has designed a significant work of architecture, in the creation of which aluminum has been an important contributing factor.” Investigating the prize in the context of the competitive postwar aluminum cladding industry, however, reveals a commitment only conveyed privately in company communications: The Reynolds award was largely a tool of competition between industry titans such as rival Alcoa, whereby architects and their projects were appropriated as a marketing medium. Furthermore, to compete with Alcoa, Reynolds even celebrated works of architecture employing Alcoa-sourced aluminum in their own publications and advertisements, blurring the line of authorship between the architect on the one hand and competing producers on the other.
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Malone, Robert, Jesus Castaneda, and Morris Kaufman. "Adapting a prototype zoom lens to work outside its zoom range." In SPIE Optics + Photonics Technical Conferences - San Diego Convention Center, San Diego, California, United States, 1 - 5 August 2021 - https://spie.org/conferences-and-exhibitions/optics-and-photonics/conferences. US DOE, 2020. http://dx.doi.org/10.2172/1718903.

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Maurer, Richard J., Sanjoy Mukhopadhyay, Johnny Grimes, Paul P. Guss, and Ronald E. Guise. "High fidelity ground deposition measurement with robots after explosive radiological dispersion." In SPIE Optics + Photonics Conference, Hard X-Ray, Gamma-Ray, and Neutron Detector Physics XXV, 20–24 August 2023, San Diego, California, United States https://spie.org/conferences-and-exhibitions/optics-and-photonics. US DOE, 2023. http://dx.doi.org/10.2172/1992212.

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Reports on the topic "Sculpture – United States – Exhibitions"

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Moreno Mejía, Luis Alberto, and Iván Duque Márquez. Contemporary Uruguayan Artists: An Uruguayan Presence in the About Change Exhibition. Inter-American Development Bank, February 2012. http://dx.doi.org/10.18235/0006209.

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Contemporary Uruguayan Artists is part of About Change: Art from Latin America and the Caribbean, a project of the World Bank Art Program in cooperation with the Cultural Center of the Inter-American Development Bank and AMA | Art Museum of the Americas at the Organization of American States. The initiative comprises a series of exhibitions of art from Latin America and the Caribbean being offered in various venues in Washington during 2011-12. The exhibition is presented In honor of Uruguay and the City of Montevideo, site of the 53rd Annual Meeting of the Board of Governors of the IDB. The works selected for the exhibition offer a panorama of contemporary Uruguayan creativity. These pieces revisit history, explore memory, examine changes that have transformed culture and the environment, and rethink traditions. It includes painting, print, sculpture, mixed media, and photography, by 13 artists: Santiago Aldabalde, Ana Campanella, Muriel Cardoso, Gerardo Carella, Federico Meneses, Ernesto Rizzo, Jacqueline Lacasa, Gabriel Lema, Daniel Machado, Cecilia Mattos, Diego Velazco, Santiago Velazco, and Diego Villalba.
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Masterpieces of Canadian Inuit Sculpture. Inter-American Development Bank, December 2000. http://dx.doi.org/10.18235/0005924.

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46 sculptures by male and female indigenous artists executed over the last 15 years, depicting Inuit people, animals and legends, among other themes, made this show the most extensive and complete exhibition of Canadian Inuit sculpture of the last 15 years presented in Washington. All works come from private collections in the United States and Canada. Dr. John Burdick acted as Associate Curator for this exhibition which was hailed by The Washington Post as, sculpture that captures a culture.
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Selections from the IDB Art Collection: In Celebration of Hispanic Heritage Month 2006. Inter-American Development Bank, August 2006. http://dx.doi.org/10.18235/0006430.

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Celebrating the United States Hispanic Heritage Month, the exhibition presented a selection of 40 works from the Inter-American Development Bank (IDB) Art Collection that have been acquired over the last few years, including painting, drawing, sculpture, graphics, and folk art pieces from most countries of the Americas.
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3rd Inter-American Biennial of Video Art. Inter-American Development Bank, December 2006. http://dx.doi.org/10.18235/0006410.

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The call for the Third Biennial included larger cash awards, an electronic registration system in four languages and, for the first time, the inclusion of Puerto Rico as a good will gesture to the United States, and artists from the Commonwealth who are indeed members of the Latin American and Caribbean family. Artist nationals from 20 countries, including Puerto Rico, submitted a total of 211 videos. The international jury with Irma Arestizábal, Cultural Secretary of the Istituto Italo-Latinoamericano in Rome and Curator of the Latin American Pavilion for the Venice Biennial, and José Roca, Chief of Temporary Exhibitions at the Museum of Colombia¿s Central Bank, Luis Angel Arango Library, selected 19 videos from 9 countries for the 2006-07 edition of the Biennial.
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Paradox and Coexistence: Latin American Artists, 1980 - 2000. Inter-American Development Bank, January 2002. http://dx.doi.org/10.18235/0005931.

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The show represents a number of artistic trends developed by Latin American artists during the last two decades of the 20th Century. An assortment of works in different media¿oil on canvas, acrylics, rusted steel, photography, video, photography collage, ceramic, cedar wood and ropes, and paper sculpture¿provides a general view of the latest art trends in Latin America. The exhibit complements the book ¿Art of Latin America, 1981-2000¿ by Colombian Professor Germán Rubiano Caballero, which was launched in English and Spanish. Galleries and artists from Latin America and the United States collaborated with the exhibit.
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