Gotowe bibliografie tematyczne / Mennello Museum of American Folk Art

Gotowa bibliografia na temat „Mennello Museum of American Folk Art”

Autor: Grafiati
Data publikacji: 25 lipca 2024

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Artykuły w czasopismach na temat "Mennello Museum of American Folk Art"

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Jacknis, Ira. "Anthropology, Art, and Folklore". Museum Worlds 7, nr 1 (1.07.2019): 109–33. http://dx.doi.org/10.3167/armw.2019.070108.

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In the great age of museum institutionalization between 1875 and 1925, museums competed to form collections in newly defined object categories. Yet museums were uncertain about what to collect, as the boundaries between art and anthropology and between art and craft were fluid and contested. As a case study, this article traces the tortured fate of a large collection of folk pottery assembled by New York art patron Emily de Forest (1851–1942). After assembling her private collection, Mrs. de Forest encountered difficulties in donating it to the American Museum of Natural History and the Metropolitan Museum of Art. After becoming part of the Philadelphia Museum of Art, it finally found a home at the Pennsylvania State Museum of Anthropology. Emily de Forest represents an initial movement in the estheticization of ethnic and folk crafts, an appropriation that has since led to the establishment of specifically defined museums of folk art and craft.
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Brody, David Eric. "The Building of a Label: The New American Folk Art Museum". American Quarterly 55, nr 2 (2003): 257–76. http://dx.doi.org/10.1353/aq.2003.0011.

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Kirwin, Liza. "Plain Painters: Making Sense of American Folk Art. John Michael VlachThe Spirit of Folk Art: The Girard Collection at the Museum of International Folk Art. Henry Glassie". Archives of American Art Journal 31, nr 1 (styczeń 1991): 31–34. http://dx.doi.org/10.1086/aaa.31.1.1557701.

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Marshall, Jennifer. "Common Goods: American Folk Crafts as Sculpture at the Museum of Modern Art, New York City, 1932—33". Prospects 27 (październik 2002): 447–65. http://dx.doi.org/10.1017/s0361233300001289.

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During New York City's newly opened Museum of Modern Art's (MoMA's) fourth exhibition season of 1932–33, while director and intellectual leader Alfred H. Barr, Jr. was on sabbatical leave in Europe, interim director Holger Cahill mounted a show of 18th- and 19th-century American arts and crafts. Offered for sale in New England as antiques at the time of the show, the items on display in Cahill's American Folk Art: The Art of the Common Man in America 1750–1900 obscured the divisions between the avant-garde and the traditional, between high art and the everyday object. In an exhibit of items not easily categorized as modern nor properly considered art, MoMA admitted such local antiques and curiosities as weather vanes and amateur paintings into spaces otherwise reserved for the likes of Cézanne and Picasso.
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Rosa, John. "Small Numbers/Big City: Innovative Presentations of Pacific Islander Art and Culture in Phoenix, Arizona". AAPI Nexus Journal: Policy, Practice, and Community 5, nr 1 (2007): 59–78. http://dx.doi.org/10.36650/nexus5.1_59-78_rosa.

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This resource paper provides an overview of how the small but growing Pacific Islander and Asian American community in Phoenix has sustained, developed, and preserved its culture and art in the absence of a permanent AAPI art or cultural museum. This article gives examples of such alternative formats and includes details on dance, music, and other folk cultural practices. Metropolitan statistical areas with AAPI populations comparable to Phoenix include Minneapolis, Atlanta, and Dallas. Phoenix community groups use small, temporary displays at annual AAPI cultural festivals. One approach is a ?museum on wheels? ? a used tour bus filled with certified reproductions of artifacts on loan from the Bishop Museum in Honolulu. Native Hawaiians also collaborate with the more numerous Native American organizations that can provide venues for indigenous arts. Universities and state humanities councils are frequent sources of funding for AAPI artists. MSAs with Pacific Islander populations most comparable to Phoenix (in the range of 10,000 to 15,000) are the U.S. Southwestern cities of Las Vegas and Salt Lake City. Pacific Islanders in these cities might be most likely to employ display formats and strategies similar to those used in Phoenix.
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Brown, Douglas. "Encyclopedia of American Folk Art2004277Edited by Gerard C. Wertkin. Encyclopedia of American Folk Art. New York, NY and London: Routledge 2004. xxxiii + 612 pp., ISBN: 0 415 92986 5 £120 $125 Published in association with the American Folk Art Museum". Reference Reviews 18, nr 5 (lipiec 2004): 44–45. http://dx.doi.org/10.1108/09504120410543264.

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Schriber, Abbe. "Mapping a New Humanism in the 1940s: Thelma Johnson Streat between Dance and Painting". Arts 9, nr 1 (11.01.2020): 7. http://dx.doi.org/10.3390/arts9010007.

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Thelma Johnson Streat is perhaps best known as the first African American woman to have work acquired by the Museum of Modern Art. However, in the 1940s–1950s she inhabited multiple coinciding roles: painter, performer, choreographer, cultural ethnographer, and folklore collector. As part of this expansive practice, her canvases display a peculiar movement and animacy while her dances transmit the restraint of the two-dimensional figure. Drawing from black feminist theoretical redefinitions of the human, this paper argues that Streat’s exploration of muralism, African American spirituals, Native Northwest Coast cultural production, and Yaqui Mexican-Indigenous folk music established a diasporic mapping forged through the coxtension of gesture and brushstroke. This transmedial work disorients colonial cartographies which were the products of displacement, conquest, and dispossession, aiding notions of a new humanism at mid-century.
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Benedetti, Joan. "MADE WITH PASSION: THE HEMPHILL FOLK ART COLLECTION IN THE NATIONAL MUSEUM OF AMERICAN ART. Lynda Roscoe Hartigan , Andrew L. Connors , Elizabeth Tisdel Holmstead , Tonia L. Horton". Art Documentation: Journal of the Art Libraries Society of North America 10, nr 2 (lipiec 1991): 114–15. http://dx.doi.org/10.1086/adx.10.2.27948345.

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Benedetti, Joan M. "Folk Artists Biographical Index, edited by George H. Meyer. Detroit: Gale Research Co., 1987. Published in association with the Museum of American Folk Art. 496 pp. ISBN 0-8103-2145-9. $40.00." Art Libraries Journal 13, nr 1 (1988): 28–33. http://dx.doi.org/10.1017/s030747220000554x.

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Blanchette, Jean-François. "Rousseau, Valérie (dir.). When the Curtain Never Comes Down : Performance Art and the Alter Ego. New York, American Folk Art Museum, 2015, 137 p. ISBN 978-0-912161-24-2. Exposition : When the Curtain Never Comes Down, Valérie Rousseau, commissaire, du 26 mars 2015 au 5 juillet 2015 à l’American Folk Art Museum, New York". Rabaska: Revue d'ethnologie de l'Amérique française 15 (2017): 277. http://dx.doi.org/10.7202/1041154ar.

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Książki na temat "Mennello Museum of American Folk Art"

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Lee, Kogan, i Cate Barbara, red. Treasures of folk art: Museum of American Folk Art. New York: Abbeville Press, 1994.

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contributor, Stillinger Elizabeth, Washek Mattias, Seydl Jon L. 1969-, Krashes Dave i Worcester Art Museum, red. American Folk Art, Lovingly Collected. Worcester, Massachusetts: Worcester Art Museum, 2015.

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Museum, American Folk Art. American anthem: Masterworks from the American Folk Art Museum. Redaktorzy Hollander Stacy C i Anderson Brooke Davis. New York: American Folk Art Museum, 2001.

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C, Hollander Stacy, i Anderson Brooke Davis, red. American anthem: Masterworks from the American Folk Art Museum. New York: American Folk Art Museum, 2001.

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Museum, American Folk Art, red. Folk art needlepoint: 20 projects adapted from the American Folk Art Museum. New York: Potter Craft, 2008.

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Rosenak, Chuck. Museum of American Folk Art encyclopedia of twentieth-century American folk art and artists. New York: Abbeville Press, 1990.

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Carreño, Alexis. Folk couture: Fashion and folk art. New York: American Folk Art Museum, 2014.

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Museum, American Folk Art. Self-taught genius: Treasures from the American Folk Art Museum. New York: American Folk Art Museum, 2014.

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Museum, Shelburne, i National Gallery of Art (U.S.), red. An American sampler: Folk art from the Shelburne Museum. Washington: National Gallery of Art, 1987.

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Ward, Gerald W. R. American folk: Folk art from the collection of the Museum of Fine Arts, Boston. Boston, Mass: MFA Publications, 2001.

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Części książek na temat "Mennello Museum of American Folk Art"

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Wójcik, Agata. "Wystawa drukarska w 1904/05 roku w Krakowie". W O miejsce książki w historii sztuki. Część III: Sztuka książki około 1900. W 150. rocznicę urodzin Stanisława Wyspiańskiego, 205–16. Ksiegarnia Akademicka Publishing, 2022. http://dx.doi.org/10.12797/9788381386548.14.

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Polish Applied Art Society (Towarzystwo Polska Sztuka Stosowana) focused not only on designing interiors, furniture or tapestry, but was also interested in graphic design, to which an exhibition in Kraków was dedicated (24th December 1904 to 10th February 1905), organized in cooperation with the National Museum. The aim of the exhibition was ‘to present the degree of artistry in contemporary Polish printing, to emphasize the aspirations, to give it a distinct character, to give an overview of the artistic use of folk motifs and to inform about the current state of printing technology’. The exhibition was to draw the publishers’ attention to the issues of contemporary print design as well as to arouse the interest of artists in this field. Warchałowski argued that the exhibition was to show that the distinctive Polish character of printing consisted of two elements – the individuality of artists and the use of folk motifs. The National Museum was responsible for the exhibition of the old prints. The exhibition included the most interesting Polish posters of the period, made in the technique of lithography in the workshop of Aureliusz Pruszyński in Kraków. There was also a presentation of publications of the Jagiellonian University Printing House, National Printing House of Napoleon Telz, Piotr Laskauer in Warsaw and several others. The Society did not fail to boast about their own prints – to the quality of which they paid particular attention – the catalogues, periodicals, reports, exhibition posters, correspondence cards. There was a separate presentation of works of the artists who had already been successful in the field of graphic design, among others of Józef Mehoffer, Eugeniusz Dąbrowa-Dąbrowski, Karol Frycz, Stanisław Wyspiański, Henryk Uziembło. The last part of the exhibition was devoted to foreign prints, mostly from Feliks Jasieński’s collection. There were American, English, as well as Chinese and Japanese publications. The exhibition was widely commented on in the press, and it was quite well received. The selection of the presented works, their artistic level as well as the arrangement of the exhibition were praised. The TPSS appreciated several printing houses, awarded medals and distributed cash prizes.
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