Bibliografie tematiche / Art, american – 20th century – exhibitions

Letteratura scientifica selezionata sul tema "Art, american – 20th century – exhibitions"

Autore: Grafiati

Pubblicato: 25 luglio 2024

Ultima modifica: 26 luglio 2024

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Articoli di riviste sul tema "Art, american – 20th century – exhibitions"

WESSELING, H. L. "Editorial: the American Century in Europe". European Review 12, n. 2 (maggio 2004): 123–26. http://dx.doi.org/10.1017/s1062798704000122.

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In 1999, the Whitney Museum of American Art had a very successful exhibition called The American Century. Indeed, there were two exhibitions, The American Century, Part I about the first half of the 20th century and Part II dealing with the following 50 years. The presentation was divided up into decades, each of them having its own motto. The one for the 1950s was: ‘America takes command’. This may sound rather martial but the motto is indeed very appropriate, as one could argue that as from then on American leadership also included cultural leadership.The name of the exhibition, ‘The American Century’, was of course derived from the title of the famous article that Henry Luce, the editor/publisher of journals such as Life and Time, published in Life on 17 February 1941. Luce wanted the Americans to play a major role in the war for freedom and democracy that was in progress at that time and the building of the better world that would have to come after that. In his article Luce insisted that ‘our vision of America as a world power includes a passionate devotion to great American ideals’. The idea of America as a world power and, indeed, as the world power of the future, is, of course, much older than the concept of the 20th century as the American century. Already in 1902, the British liberal journalist and advocate of world peace through arbitration, W.T. Stead published a book with the title The Americanization of the World, or the Trend of the Twentieth Century. According to Stead, the heyday of the British Empire was over and the US was the Empire of the future. The enormous success of America was due to three things: education, production and democracy. Britain's choice was between subjugation or cooperation. Stead even proposed the merger of the two countries. In the following decade, this idea that America was Britain's successor and that the two countries should – and could – form a union because of their intimate familiarity, became popular among British writers.

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Linden, Diana L. "Modern? American? Jew? Museums and Exhibitions of Ben Shahn's Late Paintings". Prospects 30 (ottobre 2005): 665–84. http://dx.doi.org/10.1017/s0361233300002222.

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The year 1998 marked the centennial of the birth of artist Ben Shahn (1898–1969). Coupled with the approach of the millennium, which many museums celebrated by surveying the cultural production of the 20th century, the centennial offered the perfect opportunity to mount a major exhibition of Shahn's work (the last comprehensive exhibition had taken place at the Jewish Museum in New York City in 1976). The moment was also propitious because a renewed interest in narrative, figurative art, and political art encouraged scholarly and popular appreciation of Ben Shahn, whose reputation within the history of American art had been eclipsed for many decades by the attention given to the abstract expressionists. The Jewish Museum responded in 1998 with Common Man, Mythic Vision: The Paintings of Ben Shahn, organized by the Museum's curator Susan Chevlowe, with abstract expressionism scholar Stephen Polcari (Figure 1). The exhibition traveled to the Allentown Art Museum in Pennsylvania and closed at the Detroit Institute of Arts in 1999.Smaller Shahn exhibitions then in the planning stages (although not scheduled to open during the centennial year) were to focus on selected aspects of Shahn's oeuvre: the Fogg Museum was to present his little-known New York City photographs of the 1930s in relationship to his paintings, and the Jersey City Museum intended to exhibit his career-launching series, The Passion of Sacco and Vanzetti (1931–32). Knowing this, Chevlowe smartly chose to focus on the later years of Shahn's career and on his lesser-known easel paintings of the post-World War II era. In so doing, Chevlowe challenged viewers to expand their understanding both of the artist and his place in 20th-century American art.

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Calo, Mary Ann. "A Community Art Center for Harlem: The Cultural Politics of “Negro Art” Initiatives in the Early 20th Century". Prospects 29 (ottobre 2005): 155–83. http://dx.doi.org/10.1017/s0361233300001721.

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During the interwar decades, African American artists grew in number and visibility, and a wide range of publications featured stories on so-called Negro art. Notices on Negro art exhibitions and educational initiatives appeared in the black press and the mainstream mass media, as well as in special interest publications ranging from Art News to the Club Candle (the newsletter of the New Rochelle Women's Club). Though small in number, collectively these events served as opportunities to measure the overall progress or pulse of the African American artist.

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Dane, William J. "Public art libraries and artists and designers: a symbiotic scheme for success". Art Libraries Journal 12, n. 3 (1987): 29–34. http://dx.doi.org/10.1017/s0307472200005277.

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The inter-relationship between art librarians and artists/designers in the public library sector in America has been a reality since the early 20th century when libraries were organized into subject departments. This specialized clientele is eclectic and ranges from novices to the most accomplished artists and includes architects, art directors, illustrators, calligraphers, craftspeople and photographers in addition to painters, sculptors and graphic artists. Materials and services in public art libraries are highly diversified and the literature of other disciplines is also readily available. The increase in art exhibitions and special collections is noted in addition to a new focus on information for career opportunities, art law and the handicapped. Current developments set the stage for the continuing symbiotic relationship between public art librarians and artists/designers into the 21st century.

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Fedotova, E. D. "Серия акварелей «Campi Phlegraei» английского мецената и итальянского художника века Просвещения". Iskusstvo Evrazii [The Art of Eurasia], n. 1(20) (31 marzo 2021): 260–69. http://dx.doi.org/10.46748/arteuras.2021.01.018.

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The article is devoted to the history of a unique collection made by famous American patron and curator Peggy Guggenheim. For several decades, she has been gathering works by European Cubists, Abstractionists and Surrealists, creating the huge collection of the 20th century art. But she made the most significant contribution to the development and popularization of modernism by organizing the «Art of this Century» gallery in New York. This gallery hosted for the first time exhibitions of artists who later became known as abstract expressionists. Their work loudly declared itself on the international art scene and won worldwide recognition. Статья посвящена серии акварелей «Campi Phlegraei», исполненной итальянским художником Пьетро Де Фабрисом (годы жизни не известны) во время научной экспедиции лорда Уильяма Гамильтона (1730–1803), посланника Великобритании, к кратеру Везувия. Оба они — художник и У. Гамильтон, меценат и коллекционер, увлеченно занимавшийся вулканологией, были яркими фигурами истории и культуры века Просвещения. Их сотрудничество является подтверждением научных и художественных достижений культуры Италии в век «просвещенного абсолютизма», когда в Королевстве обеих Сицилий правила династия испанских Бурбонов.

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Yartseva, O. A. "Коллекция Пегги Гуггенхайм". Iskusstvo Evrazii [The Art of Eurasia], n. 1(20) (31 marzo 2021): 270–79. http://dx.doi.org/10.46748/arteuras.2021.01.019.

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Abstract (sommario):

The article is devoted to the history of a unique collection made by famous American patron and curator Peggy Guggenheim. For several decades, she has been gathering works by European Cubists, Abstractionists and Surrealists, creating the huge collection of the 20th century art. But she made the most significant contribution to the development and popularization of modernism by organizing the «Art of this Century» gallery in New York. This gallery hosted for the first time exhibitions of artists who later became known as abstract expressionists. Their work loudly declared itself on the international art scene and won worldwide recognition. В фокусе внимания автора статьи — история создания уникального собрания произведений искусства ХХ века, принадлежавшего известной американской меценатке и куратору Пегги Гуггенхайм. На протяжении нескольких десятилетий она коллекционировала картины европейских кубистов, абстракционистов и сюрреалистов. Но самый значительный вклад в развитие и популяризацию модернизма она внесла, организовав в Нью-Йорке галерею «Искусство этого века», в которой впервые были проведены выставки художников, позже ставших классиками абстрактного экспрессионизма США, магистрального направления, громко заявившего о себе на международной художественной сцене и завоевавшего всемирное признание.

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Otdelnova, V. A. "SOVIET ART OF THE SECOND HALF OF THE 20TH CENTURY AS PART OF THE WORLD ART PROCESS: METHODOLOGICAL APPROACHES AND PERSPECTIVES FOR FUTHER STUDIES". Вестник Пермского университета. История, n. 2 (2022): 55–71. http://dx.doi.org/10.17072/2219-3111-2022-2-55-71.

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The article examines writings on the history of art, in which artworks by Soviet artists are described not as a local phenomenon but in a global cultural context. These writings are combined into four blocks. The first block – “Socialist Internationalism” – explores papers by Soviet art historians written in the 1950s and 1960s and developed a conception of world “progressive art.” The second block – “Soviet Non-official art and Western art critic” – starts with analyzing the texts created in the 1970s – 1990s by European, American, and Soviet – émigré authors and ends with the writings by Russian curators of the 2000s. All the articles from this block represent a common idea of the universality of Western modernist and postmodern art theory. Thus, these authors selected only those artworks which could be described within this theory. In the context of contemporary European and American art trends, Soviet non-official art looks like a peripheral phenomenon. The third block – “Cold War and Global History of Art” – investigates the texts and exhibitions made during the last two decades and influenced by the ideas of global turn and critical research of the Cold War cultural policy. It is shown how art historians seek to develop new approaches and universal criteria to describe the 20th century world art. The last block – “Critical geography” – talks about the theoretical approach elaborated by Piotr Piotrowski. Within the framework of critical geography, the phenomena that have long been considered marginal come to the fore. Attention is paid to the international contacts of artists. The boundaries of art centers are shown to be different from the borders of states. Thus, the art of the Soviet artists is represented as part of the new geographic conglomerations.

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Puerto, Cecilia. "Twentieth century Latin American women artists, discovery and record - a work in progress". Art Libraries Journal 20, n. 3 (1995): 15–18. http://dx.doi.org/10.1017/s0307472200009457.

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The work of Latin American women artists is not adequately documented, nor is it sufficiently recognised in the major art reference works and bibliographies which thus fail to facilitate access even to documentation which is available in the USA. The author has been working towards a bibliographic apparatus that will bring together readily available sources on 20th century Latin American women artists. Much material has been found in the Art Exhibition Catalog collection in the Arts Library at the University of California at Santa Barbara. Two Cuban artists, Ana Mendieta and María Martínez-Cañas, are just two of some 200 artists from 20 countries represented in this project. (The revised text of a paper presented to the IFLA Section of Art Libraries at the IFLA General Conference at Havana, August 1995).

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Allen, Nancy S. "History of Western sources on Japanese art". Art Libraries Journal 11, n. 4 (1986): 8–13. http://dx.doi.org/10.1017/s0307472200004867.

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Learning about Japanese art has been difficult for Westerners. Limited access, language barriers, and cultural misunderstanding have been almost insurmountable obstacles. Knowledge of Japanese art in the West began over 150 years before the arrival of Commodore Perry in 1853. Englebert Kaempfer (1657-1716), sent to Japan as a physician for the Dutch East India Company, befriended a young assistant who provided information for a book on Japanese life and history published in 1727. By 1850, more ethnographic information had been published in Europe. Catalogs of sales of Japanese art in Europe exist prior to 1850 and collection catalogs from major museums follow in the second half of that century. After the Meiji Restoration (1867) cultural exchange was possible and organizations for that purpose were formed. Diaries of 19th century travellers and important international fairs further expanded cross-cultural information. Okakura Kakuzo, a native of Japan, published in English about Japanese art and ultimately became Curator of the important collections of the Boston Museum of Fine Arts. The advent of photography made visual images easily accessible to Westerners. Great collectors built up the holdings of major American museums. In the 20th century, materials written and published in Japan in English language have furthered understanding of Japanese culture. During the past twenty years, travelling exhibitions and scholarly catalogs have circulated in the West. Presently monographs, dissertations and translated scholarly texts are available. Unfortunately, there is little understanding in the West of the organization of Japanese art libraries and archives which contain primary source material of interest to art historians.

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Kirking, Clayton C. "Both sides of the fence, librarian and curator: forming a Latin American library collection". Art Libraries Journal 20, n. 3 (1995): 11–14. http://dx.doi.org/10.1017/s0307472200009445.

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The Department of Latin American Art at the Phoenix Art Museum was established on 1st January 1992, and the Librarian of the Museum accepted the additional role of Curator of the Department. Although the Museum has always collected Mexican art, the new Department is concerned with all of Latin America and especially with the 20th century. Similarly, the Library, which has long-established interests in Mexican art, is now expanding its coverage to reflect the scope of the new Department. Grant support has been forthcoming, and Library purchasing has been enhanced by the generosity of a private donor and by a strategy of using a proportion of each exhibition budget for Library acquisitions. Specialist suppliers have been identified, but it has also been necessary to travel. Better networking is needed between professionals in Latin America and the USA; exchange programs have the potential to be mutually beneficial. (The text of a paper presented to the IFLA Section of Art Libraries at the IFLA General Conference at Havana, August 1994).

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Tesi sul tema "Art, american – 20th century – exhibitions"

Manasseh, Cyrus. "The problematic of video art in the museum (1968-1990)". University of Western Australia. Faculty of Architecture, Landscape and Visual Arts, 2008. http://theses.library.uwa.edu.au/adt-WU2009.0004.

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This thesis discusses how museum structures were redefined over a twenty-two year period in specific relation to the impetus of Video Art. It contends that Video Art would be instrumental in the evolution of the contemporary art museum. The thesis will analyse, discuss and evaluate the problematic nature and form of Video Art within four major contemporary art museums - the Museum of Modern Art (MoMA) in New York, the Georges Pompidou National Centre of Art and Culture in Paris, the Tate Gallery in London and the Art Gallery of New South Wales (AGNSW) in Sydney. By addressing some of the problems that Video Art would present to those museums under discussion, the thesis will reveal how Video Art would challenge institutional structures and demand more flexible viewing environments. As a result, the modern museum would need to constantly modify their policies and internal spaces in order to cope with the dynamism of Video Art. This thesis first defines the classical museum structure established by the Louvre during the 19th century. It examines the transformation from the classical to the modern model through the initiatives of the New York Metropolitan Museum to MoMA in New York. MoMA would be the first major museum to exhibit Video Art in a concerted fashion and this would establish a pattern of acquisition and exhibition that became influential for other global institutions to replicate. MoMA's exhibition and acquisition activities are analysed and contrasted with the Centre Pompidou, the Tate Gallery and the AGNSW in order to define a lineage of development in relation to Video Art. This thesis provides an historical explanation for the museum/gallery's relationship to Video Art from its emergence in the gallery to the beginnings of its acceptance as a global art phenomenon. Curatorial strategies, the influx of corporate patronage and the reconstruction of spectatorship within the gallery are analysed in relation to the unique problematic of Video Art. Several prominent video artists are examined in relation to the challenges they would present to the institutionalised framework of the modern art museum and the discursive field surrounding their practice. In addition, the thesis contains a theoretical discussion of the problems related to Video Art imagery with the period of High Modernism; examines the patterns of acquisition and exhibition, and presents an analysis of global exchange between four distinct contemporary art institutions.

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이윤영 e Yoon Yung Lee. "The Joseon Fine Art Exhibition under Japanese colonial rule". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2013. http://hdl.handle.net/10722/196493.

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At the turn of the twentieth century, as Japan expanded its territory by colonizing other Asian nations, the Japan-Korea Annexation Treaty was signed in 1910 and Korea lost its sovereignty. In political turmoil, the formation of national and cultural identity was constantly challenged, and the struggle was not argued in words alone. It was also embedded in various types of visual cultures, with narratives changing under the shifting political climate. This thesis focuses on paintings exhibited in the Joseon Mijeon (조선미술전람회 The Joseon Fine Art Exhibition) (1922-1944), which was supervised by the Japanese colonial government and dominated, in the beginning, by Japanese artists and jurors. By closely examining paintings of ‘local color (향토색)’ and ‘provincial color (지방색),’ which emphasized the essence of a “Korean” culture that accentuated its Otherness based on cultural stereotypes, the thesis explores how representations of Korea both differentiated it from Japan and characterized its relationship with the West. In order to legitimize its colonial rule, politically driven ideologies of pan-Asianism (the pursuit of a unified Asia) and Japanese Orientalism (the imperialistic perception of the rest of Asia) were evident in the state-approved arts. The thesis explores how the tension of modern Japan as both promoting an egalitarian Asia and asserting its superiority within Asia was shown in the popular images that circulated in the form of postcards, manga, magazine illustrations, and more importantly in paintings. Moreover, this project examines both the artists who actively submitted works to the Joseon Mijeon and the group of artists who opposed the Joseon Mijeon and worked outside of the state-approved system to consider the complexity of responses by artists who sought to be both modern and Korean under Japanese colonial rule.
published_or_final_version
Fine Arts
Master
Master of Philosophy

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Silverthorne, Diane. "New spaces of art, design and performance : Alfred Roller and the Vienna Secession 1897-1905". Thesis, Royal College of Art, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.602330.

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Ohki, Hitomi. "American Poet Emily Dickinson Set to Music by 20th Century Composers". Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-3869.

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When singers perform art songs, how many of them, especially students, learn about the poem and poet behind the lyrics? It might be that a number of singers focus on composers, however not poets. Even in concert programs, it is common to only write the composer’s name. I am one of the singers that has learned lyrics in the last minute before a concert or an examination. I will experiment with changing my learning process and see if that makes any difference when performing the art song. The purpose of this study is also to focus on the poet Emily Dickinson. Furthermore, to find out about the music of composers from the 20th century onwards using Dickinson’s poems. I choose Aaron Copland’s song cycle “Twelve Poems of Emily Dickinson”. Finally, I will perform the work and demonstrate if there is a difference in the singing interpretation by studying not only the music but also the poems behind the lyrics. “Who is Emily Dickinson?” The study explores this question first. After researching 100 songs using her poems, I chose three composers, Aaron Copland, Libby Larsen and Niccolò Castiglioni. Thereafter, “Bind me - I can still sing” of Larsen and “Dickinson-Lieder” of Castiglioni is mentioned. Furthermore, the song cycle “Twelve Poems of Emily Dickinson” by Copland is analyzed deeply to find out more about the piece and why the composer was inspired by Dickinson. It was discovered that one is able to understand the piece deeply, knowing not only about the life of the composer, but also the poet leads to a better understanding of the work. From the singer’s point of view, the level of expression and singing performance has improved after researching the poet Emily Dickinson. The study concludes knowing deeply about the poet that there is no doubt how important the poem is when understanding and interpreting art song.

Soprano: Hitomi Ohki

Piano: Anders Kilström

Aaron Copland (1900-1990)

Twelve Poems of Emily Dickonson

1, Nature, the gentlest mother

2, There came a wind like a bugle

3, Why do they shut me out of Heaven?

4, The world feels dusty

5, Heart, we will forget him!

6, Dear March, come in!

7, Sleep is supposed to be

8, When they come back

9, I felt a funeral in my brain

10, I've heard an organ talk sometimes

11, Going to Heaven!

12, The Chariot

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White, Steven Robert. "A confluence of thinking: The influence of 20th century art history on American landscape architecture". Thesis, The University of Arizona, 1997. http://hdl.handle.net/10150/278634.

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Since beginning my graduate studies in landscape architecture, I have encountered many situations in class in which references to art were used. I discovered a connection in the usage of the jargon of art in landscape architecture study. People, for the most part, do not know what landscape architects do or who we are. In this thesis I will make the case for aligning the profession of landscape architecture with the fine arts and humanities. An art history component in the curriculum and education and training of landscape architects would augment their design and presentation skills in the workplace. I have included the results of a survey questionnaire that I sent to 65 landscape architecture teaching faculty representing 38 landscape architecture programs in the United States. These individuals held either a Bachelor of Fine Arts degree, a Master of Fine Arts degree, or they had a scholarly research interest in art.

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Bellettiere, Giovanna Marie. "AMERICAN FEMINISM: THE CAMERA WORK OF ALICE AUSTEN, ALFRED STIEGLITZ, AND BERENICE ABBOTT". Master's thesis, Temple University Libraries, 2019. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/578947.

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Art History
M.A.
This thesis explores the work of photographers: Alice Austen, Alfred Stieglitz, and Berenice Abbott in relation to the American landscape of New York from approximately 1880 through 1940. Although the artwork of Georgia O’Keeffe is not addressed specifically, her role as an artist communicating her modern self image through Stieglitz’s photography is one area of focus in the second chapter. Previous scholarship has drawn parallels between women artists and photographers solely in terms related to their gender identity. In contrast, my project identifies a common theoretical thread that links the work of these artists: namely, that photography allowed professional women of this time to react and rise above the constrictions of gender expectations, and moreover, how their own attitudes based in feminist sensibility enabled them to fashion and broadcast bold, liberated self-images. Inspired by the radical transformations of women’s social roles in the United States, each artist produced photographs that represented the evolving role of women in the late nineteenth and early twentieth centuries. Using visual analysis and historical context associated with the “New Woman” movement, I argue that each artist discussed in this thesis not only challenges the domestic sphere conventionally assigned to women photographers, but also makes new strides by engaging in work that allows for them to autonomously travel within their own territories or new expansive locations. This thesis gives fresh insight as to how photography provided novel opportunities for elevating women’s place in society, as well as in the artistic realm. Overall, photography was an important tool for each artist as these three women act as agents of change by demonstrating a control of womanhood while the role of a female was beginning to become less constrained by the domestic and social norms of society.
Temple University--Theses

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Collins, Curtis J. 1962. "Sites of Aboriginal difference : a perspective on installation art in Canada". Thesis, McGill University, 2002. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=38172.

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This dissertation traces the presence of installation-based practices among artists of Aboriginal ancestry via selected exhibitions across Canada. It begins with a methodological perspective on Canadian art history, federal law, and human science, as a means of establishing a contextual backdrop for the art under consideration. The rise of an Indian empowerment movement during the twentieth century is then shown to take on an international voice which had cultural ramifications at the 1967 Canadian International and Universal Exhibition. Nascent signs of a multi-mediatic aesthetic are distinguished in selected works in Canadian Indian Art '74, as well as through Native-run visual arts programs. First Nations art history is charted via new Canadian art narratives starting in the early 1970s, followed by the development of spatial productions and hybrid discourses in New Work By a New Generation in 1982, and Stardusters in 1986. The final chapter opens with a history of installation art since the Second World War, as related to the pronounced presence of multi-mediactic works in Beyond History in 1989. Post-colonial and postmodern theories are deployed to conclusively situate both the artistic and political concerns featured throughout this study, and lead into the analysis of selected installations at Indigena: Contemporary Native Perspectives and Land, Spirit, Power: First Nations at the National Gallery of Canada. These 1992 shows in the national capital region ultimately confirm the maturation of a particular socio-political aesthetic that tested issues of Canadian identity, while signifying Aboriginal sites of difference.

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Brown, Carol. ""Museum spaces in post-apartheid South Africa": the Durban Art Gallery as a case study". Thesis, Rhodes University, 2006. http://hdl.handle.net/10962/d1006231.

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This dissertation examines the history of the Durban Art Gallery from its founding in 1892 until 2004, a decade after the First Democratic Election. While the emphasis is on significant changes that were introduced in the post-1994 period, the earlier section of the study locates these initiatives within a broad historical framework. The collecting policies of the museum as well as its exhibitions and programmes are considered in the light of the institution 's changing social and political context as well as shifting imperatives within a local, regional and national art world. The Durban Art Gallery was established in order to promote a European, and particularly British, culture, and the acquisition and appreciation of art was considered an important element in the formation of a stable society. By providing a broad overview of the early years of the gallery, I identify reasons for the choice of acquisitions and explore the impact and reception of a selection of exhibitions. I investigate changes during the 1960s and 1970s through an examination of the Art South Africa Today exhibitions: in addition to opening up institutional spaces to a racially mixed community, these exhibitions marked the beginning of an imperative to show protest art. I argue that, during the political climate of the 1980s, there was a tension in the cultural arena between, on the one hand, a motivation to retain a Western ideal of 'high art' and, on the other, a drive to accommodate the new forms of people's art and to challenge the values and ideological standpoints that had been instrumental in shaping collecting and exhibiting policies in the South African art arena. I explore this tension through a discussion of the Cape Town Triennial exhibitions, organised jointly by all the official museums, which ran alongside more inclusive and independently curated exhibitions, such as Tributaries, which were shown mainly outside the country. The post-1994 period marked an opening up of spaces, both literally and conceptually. This openness was manifest in the revised strategies that were introduced to show the Durban Art Gallery 's permanent collection as well as in two key public projects that were started - Red Eye @rt and the AIDS 2000 ribbon. Through an examination of these strategies and initiatives, I argue that the central role of the Durban Art Gallery has shifted from being a repository to providing an interactive public space.

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Clarke, Jennifer. "The Effect of Digital Technology on Late 20th Century and Early 21st Century Culture". [Tampa, Fla. : s.n.], 2003. http://purl.fcla.edu/fcla/etd/SFE0000108.

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Lampe, Mary Margaret. "Morton Schamberg's role in precisionism". Thesis, North Texas State University, 1987. https://digital.library.unt.edu/ark:/67531/metadc798467/.

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This study examines how Morton Schamberg encapsulated a significant understanding or European Modernism and created its translation into a unique American style of art known as Precisionism. After his formal studies in architecture and painting and his trips to Europe, he did reworkings of Impressionism and Post-Impressionism before creating important modernist works.

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Libri sul tema "Art, american – 20th century – exhibitions"

1957-, Zakian Michael, e Palm Springs Desert Museum, a cura di. Transforming the western image in 20th century American art. Palm Springs, Calif: Palm Springs Desert Museum, 1992.

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1951-, Craven David, Lozano Luis-Martín e Museum of Fine Arts (Museum of New Mexico), a cura di. Mexican modern: Masters of the 20th century. Santa Fe: Museum of New Mexico Press, 2006.

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Weiner, Longhauser Elsa, Szeemann Harald, Museum of American Folk Art. e Philadelphia Museum of Art, a cura di. Self-taught artists of the 20th century: An American anthology. San Francisco: Chronicle Books, 1998.

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Gavino, Julianne, e Rebecca Tucker. Rethinking regionalism: 20th century American art and visual culture. Colorado Springs, Colo: Colorado Springs Fine Arts Center at Colorado College, 2021.

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Hough, Katherine Plake. Transforming the western image in twentieth (or 20th) century American art. Palm Springs, Calif: Palm Springs Desert Museum, 1992.

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Gustafson, Donna. Images from the world between: The circus in 20th century American art. Cambridge, Mass: MIT Press, 2001.

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Northern Illinois University. Art Gallery in Chicago., a cura di. 20th century American folk art from the Arient family collection. [DeKalb, Ill: Northern Illinois University, 1987.

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Whitney Museum of American Art. 20th century drawings from the Whitney Museum of American Art. New York: Whitney Museum of American Art, 1987.

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Art, Whitney Museum of American. 1995 biennial exhibition. New York: Whitney Museum of American Art, 1995.

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Klaus, Kertess, a cura di. 1995 Biennial exhibition. New York: Whitney Museum of American Art, 1995.

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Capitoli di libri sul tema "Art, american – 20th century – exhibitions"

Birbragher-Rozencwaig, Francine. "Modern Latin American Art". In Essays on 20th Century Latin American Art, 1–34. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003037507-1.

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Birbragher-Rozencwaig, Francine. "Contemporary Cuban Art". In Essays on 20th Century Latin American Art, 79–101. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003037507-4.

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Birbragher-Rozencwaig, Francine. "Carnival in Latin America and the Caribbean". In Essays on 20th Century Latin American Art, 123–45. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003037507-6.

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Birbragher-Rozencwaig, Francine. "Abstraction in Latin America". In Essays on 20th Century Latin American Art, 35–58. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003037507-2.

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Birbragher-Rozencwaig, Francine. "Conclusion". In Essays on 20th Century Latin American Art, 146–49. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003037507-7.

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Birbragher-Rozencwaig, Francine. "Politics in Latin American Art from the 1960s to the 1980s". In Essays on 20th Century Latin American Art, 59–78. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003037507-3.

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Birbragher-Rozencwaig, Francine. "Art in Central America and the Caribbean since the 1990s". In Essays on 20th Century Latin American Art, 102–22. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003037507-5.

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Peterson, William. "The Master of the Form". In Asian Self-Representation at World’s Fairs. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2020. http://dx.doi.org/10.5117/9789462985636_ch02.

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By the early 20th century, Japan was the master of the international exhibition format. With over fifty years of experience at world’s fairs in the West, Japan knew how to market its culture and products in a manner appealing to the Western consumer of both high art and decorative objects. The 1915 Panama Pacific International Exposition provided the country with a unique opportunity to create a strong and lasting imprint on American bodies in the country pavilion site with its famed gardens and exotic, kimono-clad women. As the epicenter of Asian migration, San Francisco also offered unique opportunities to further the power of Japonisme in the arts, while politicians in both countries used the event to champion Japanese-American relations.

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Grunenberg, Christoph. "American Gothic Art". In American Gothic Culture. Edinburgh University Press, 2016. http://dx.doi.org/10.3366/edinburgh/9781474401616.003.0009.

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This essay surveys the gothic in American art from its earliest influence by 18^th- and 19^th-century British culture to gothic boom in late 20th- and early 21st-century culture. The gothic links not only to goth subculture of the 1980s but also to multiple expressions in film, music, fashion, design and architecture. This cross-pollination between art, literature and more ephemeral forms of gothic popular culture is a a typical product of postmodernism. American gothic has become a ubiquitous signifier for dark moods in times of change and crisis as expressed in a contemporary mordant mindset, the liberal indulgence in horror, macabre images and flirting with disaster.

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"Critical Documents of 20th-Century Latin American and Latino Art". In Resisting Categories: Latin American and/or Latino? The Museum of Fine Arts, Houston, 2012. http://dx.doi.org/10.37862/aaeportal.00102.005.

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Atti di convegni sul tema "Art, american – 20th century – exhibitions"

Петрухина, О. В. "INSTALLATIONS AND EXHIBITIONS USING KINETIC AND PROJECTION TECHNOLOGIES IN THE USSR". In Месмахеровские чтения — 2024 : материалы междунар. науч.-практ. конф., 21– 22 марта 2024 г. : сб. науч. ст. / ФГБОУ ВО «Санкт-Петербургская государственная художественно-промышленная академия имени А. Л. Штиглица». Crossref, 2024. http://dx.doi.org/10.54874/9785605162926.2024.10.10.

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Инсталляция громко заявила о себе в начале XX в. Возможность объединить в инсталляции методы и средства различных видов искусств позволила художнику- концептуалисту выйти на новые высоты образности в диалоге со зрителем, а включение в инсталляцию проекционных технологий и динамики дало дополнительные ресурсы «погружения» в атмосферу мероприятия. В работе рассмотрено творчество наиболее значимых художников, работавших с инсталляцией в СССР. The installation loudly declared itself at the beginning of the 20th century. The opportunity to combine methods and means of various types of art in the installation allowed the conceptual artist to reach new heights of imagery in dialogue with the viewer, and the inclusion of projection technologies and dynamics in the installation provided additional resources for «immersion» in the atmosphere of the event. The work examines the work of the most important artists who worked with the installation in the USSR.

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Dumont d'Ayot, Catherine. "Machines à exposer". In LC2015 - Le Corbusier, 50 years later. Valencia: Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.1025.

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Résumé: Ateliers d’artistes, appartements et villas de collectionneurs, pavillons, scénographies et musées : l’exposition est un fil rouge de l’œuvre de Le Corbusier. Le rapport que l’homme entretient à l’œuvre d’art et les modalités de ce rapport sont des éléments fondateurs de son architecture et occupent une position primordiale dans sa vision de la ville. De la ziggourat du Musée mondial en 1929, jusqu’aux projets des années 1960 comme le Centre d’Art international à Erlenbach ou le Musée du XXe siècle pour Nanterre, les musées sont des pièces incontournables des ses grands plans d’urbanisme. Les projets de musées et de pavillons d’exposition entre 1929 et 1965 et les concepts des différentes expositions qu’il organise évoluent en parallèle de sa manière d’envisager le rapport à l’œuvre, que ce soit celui de l’artiste, du spectateur initié ou du novice. Les esquisses préparatoires des différents projets de musées et de pavillons retracent cette évolution. La critique du projet du Mundaneum par Karel Teige assume un rôle clé dans la transformation décisive du concept du musée qui a lieu entre le Musée Mondial en 1929 et le projet de Le Corbusier pour le Musée à croissance illimitée en 1930. C’est un changement séminal qui est décisif pour les projets futurs. L’architecture et la relation à l’œuvre d’art ne sont plus déterminées par le recours à une forme, mais par un mécanisme fonctionnel et organique: la croissance, à la fois image et symbole de l’évolution positiviste de l’humanité. Abstract: Exhibitions, museums, pavilions, artist ateliers, apartments and collectors’ villas: exposition runs like a red thread through Le Corbusier’s work. Man’s relationship to art is a fundamental element of architectural dispositifs. Art influences his vision of society as a whole, and museums are central to his major urban plans, from the ziggurat of the Musée Mondial in Geneva, to the museums in Ahmadabad, Tokyo or Chandigarh, to projects he realized in the late 1960s, such as the Museum of the 20th Century in Nanterre. The evolution of museum design between 1929 and 1965 and of the concepts Le Corbusier developed for the different exhibitions of his own œuvre are in keeping with his way of understanding the relationship to works of art, whether by the artist, a knowledgeable public or those encountering art for the first time. The sketches for the different museums and pavilions retrace this evolution. Karel Teige’s critique of the Mundaneum project assumes a key role in the transformation of the museum concept that occurred between the Musée Mondial of 1929 and Le Corbusier’s first designs for a Museum with Unlimited Growth in 1930. The architecture and the place for art in society are no longer determined by the use of a form but through a functional mechanism. Growth is understood as an image of the positive evolution of mankind. This seminal change is a key to the later projects.Mots clés: musée, exposition, fonctionnalisme. Keywords: museum, exhibition, functionalism. DOI: http://dx.doi.org/10.4995/LC2015.2015.1025

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DOSPINESCU, Liviu. "Present-Day Trends in the Research and Creation of Living Arts in the Academia: A North American Model". In The International Conference of Doctoral Schools “George Enescu” National University of Arts Iaşi, Romania. Artes Publishing House UNAGE Iasi, 2023. http://dx.doi.org/10.35218/icds-2023-0011.

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This paper tackles several aspects of the ‟opening towards the Other” that has marked an emancipation trend in the arts of the stage for more than a century; I will name them living arts because, of all the arts, they are distinctly characterized by this essential quality. It also finds its meaning in the institutional decompartmentalization and the opening of disciplinary practices towards the others. Under the sign of the inherent human living presence, the living arts refer to experiences in the whole spectre of the stage arts, coming under a polymorphous subject of research as early as the former half of the 20th century. It includes the most diverse disciplinary aspects, which are no longer just those of the drama, dance and choreography, performance or music, because the disciplinary practices of the other field and also practices from more remote fields like the visual arts, the cinema or those of the languages of new technologies connected, for instance, with the complex projections on the stage or its augmentation through Virtual Reality etc. can be added to it any time. Thus, we can notice how, in an intermedial process, in the meeting of drama and film, drama, as an art of the unmediated and of the living presence, tends to leave a mark (i.e. of the living) on the spectre of the delayed presence of the film in an inter- or even transdiciplinary relation. Therefore, the paper explores phenomena around the meeting of distinct entities under the interdisciplinary and intercultural aspects that mark the strong current interest in alterity and hybridity in the stage act but also in the new modes of perception in which the spectator is invited to engage or in the new interpretation grids demanded of the researcher. I will enrich this perspective by offering a few present-day reserach and creation trends in the living arts in the academia. They are extracted from my experience of both research-creation and doctoral project coordination. I share this experience in order to reveal a distinctiveness of research and creation at University of Laval, Québec and, at a larger scale, a trend or maybe even a model for the North American space. Apart from its descriptive aspects, my paper aims at raising new questions, inspire new possibilities and reinforcing new contributions in the research and creation of living arts.

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Rapporti di organizzazioni sul tema "Art, american – 20th century – exhibitions"

Sanjurjo Casciero, Annick. Paraguay and Its Plastic Arts. Inter-American Development Bank, marzo 1994. http://dx.doi.org/10.18235/0007910.

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Schacht, Kayley, Deidre Gonçalves, Aaron Schmidt e Adam Smith. A History and Analysis of the WPA Exhibit of Black Art at the Fort Huachuca Mountain View Officers’ Club, 1943–1946. Engineer Research and Development Center (U.S.), giugno 2023. http://dx.doi.org/10.21079/11681/47184.

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The 1943 art exhibition at the Mountain View Officers’ Club (MVOC), Fort Huachuca, Arizona should be considered one of the most significant events in the intersection of American art, military history, and segregation. Organizers of the event, entitled Exhibition of the Work of 37 Negro Artists, anticipated it would boost soldiers’ morale because Fort Huachuca was a predominately Black duty station during WWII. This report provides a brief history of Black art in the early 20th century, biographies of the artists showcased, and provides information (where known) about repositories that have originals or reproductions of the art today. The following is recommended: the General Services Administration (GSA) investigate the ownership of the pieces described in this report and if they are found to have been created under one of the New Deal art programs to add them to their inventory, further investigation be performed on the provenance and ownership of Lew Davis’s The Negro in America’s Wars mural, for the rehabilitation of the MVOC that the consulting parties agree upon the scope of the reproduction of the art, and request archival full reproductions of the pieces of art found in the collection of the Howard University Gallery of Art.

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Nikkei-Latin American Artists of the 20th Century. Inter-American Development Bank, febbraio 2005. http://dx.doi.org/10.18235/0008269.

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Presents the exhibition pays tribute to Japan and to more than a century of relations between Japan and Latin America. This paper presents selected art works "painting, drawing, engraving and installation" by 10 artists of Japanese descent from Argentina (Kasuya Sakai), Brazil (Tikashi Fukushima, Manabu Mabe, Tomie Ohtake, Yutaka Toyota and Kazuo Wakabayashi), Mexico (Luis Nishizawa) and Peru (Arturo Kubotta, Carlos Runcie Tanaka and Venancio Shinki).

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50 Years, 50 Works: The Art of Latin America and the Caribbean in the 20th Century. Information Bulletin No. 108. Inter-American Development Bank, giugno 2009. http://dx.doi.org/10.18235/0008282.

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Selections from the exhibit presented at the Museo de Antioquia, in Medellín, Colombia (from March 16 to May 17, 2009), on occasion of the 50th Anniversary of the Inter-American Development Bank, and the celebration of the 50th Annual Meeting of Governors of the IDB. The Cultural Center of the Inter-American Development Bank (IDB), has scheduled this same exhibition gathering selected artworks from the art collections of the Inter-American Development Bank (IDB) and the Art Museum of the Americas of the Organization of American States (OAS) - both in Washington, D.C. The exhibit represents, to a great extent, the development of the arts in the Region throughout the 20th century.

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Turns and Directions: Changes in the Arts of Central America's Spanish-Speaking Nations and Panama during and after the 1950s. Inter-American Development Bank, agosto 2010. http://dx.doi.org/10.18235/0005958.

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Featuring 27 pieces from the art collections of the IDB and the Organization of American States, it is one of several smaller exhibits on Latin American art from the second half of the 20th century, and forms part of an ambitious project, ¿About Change,¿ organized by the World Bank Art Program, in association with the IDB Cultural Center and other institutions. The main exhibition, which will open in 2011, focuses on the arts produced in Latin America and the Caribbean during the last decade through the works of artists 35 years of age or younger, exploring the changes that have resulted from economic globalization and information technology. This new IDB exhibition is designed to help create a context against which the changes observed over the last ten years can be gauged.

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Paradox & Coexistence 2. Inter-American Development Bank, maggio 2005. http://dx.doi.org/10.18235/0008263.

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Present an exhibition featuring the works by some of the leading Latin American artists during the period 1981-2000 was open at the Art Gallery of the Cultural Center of the Inter-American Development Bank on May 20th, under the name Paradox and Coexistence II. The exhibit is the second segment of the exhibition initially staged by the IDB Cultural Center in 2002.

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Nikkei Latin American Artists of the 20th Century: Featuring Artists of Japanese Descent from Argentina, Brazil, Mexico, and Peru. Inter-American Development Bank, giugno 2005. http://dx.doi.org/10.18235/0005929.

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Through this exhibition, the Inter-American Development Bank pays tribute to the relationship between Japan and Latin America, and to the contribution of Japanese citizens to the region, as represented symbolically through the arts. This event serves as a kick-off for many others that will take place in honor of the occasion of the 46th Annual Meeting of the Board of Governors of the Inter-American Development Bank in Okinawa in April, 2005.

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Graphics from Latin America and the Caribbean: September 10 - November 15, 2002. Inter-American Development Bank, settembre 2002. http://dx.doi.org/10.18235/0005919.

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20 lithographs, etchings, linocuts, woodcuts, silkscreens and other works in various graphic techniques by artists from the Americas were presented at the Robert V. Fullerton Art Museum, California State University, San Bernardino, California. This is the first group exhibition organized by the museum of works on paper by some of the most recognized artists of the 20th century from Latin America and the Caribbean. It includes graphics by José Clemente Orozco, Diego Rivera, David Alfaro Siqueiros; Roberto Sebastián Matta; Enrique Grau, and others.

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Paradox and Coexistence: Latin American Artists, 1980 - 2000. Inter-American Development Bank, gennaio 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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Highlights from the Collection of the Art Museum of the Americas of the Organization of American States (OAS): Outstanding Works by Artists from the Spanish, English, French, and Dutch Speaking Caribbean. Inter-American Development Bank, ottobre 2007. http://dx.doi.org/10.18235/0006408.

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The Art Museum of the Americas is a unique and singular asset of the Organization of American States. The museum, inaugurated in 1976, houses the most comprehensive twentieth-century art collection from Latin America and the Caribbean on public display in Washington, DC. The OAS collection, which stands for so many nationalities, traditions, and visual languages has come to embody the goals of integration and mutual understanding long pursued by our inter-American system. The IDB, through its Cultural Center, has been a long-time supporter of the Art Museum of the Americas, and that relationship is reflected in exhibitions like this

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