Gotowa bibliografia na temat „New Mexico Museum of Art”

The Mexican collection at Lund’s Museum of Sketches in is an unusual and valuable collection both from a Mexican and from an international perspective: the collection was built by Gunnar Bråhammar in the late 1960s, and counts works by David Alfaro Siqueiros, Diego Rivera, José Clemente Orozco and Juan O’Gorman but also Francisco Eppens, Rufino Tamayo, González Camarena, Raul Angiano, Leopoldo Méndez and Desiderio Xochitiotzin. The article discusses especially “the New Deal” by Rivera, “the Image of Mexico” at the Museo Nacional de Antropología e Historia in Mexico City by Morado Chavez, and “El Pájaro Amarillo” by Goertiz, and the great stone mosaic at the Central Library of the National Autonomous University of Mexico by O’Gorman.

This review of selected paper and electronic resources on Native American art describes what is available at the Haskell Indian Nations University Library and Archives in Lawrence, Kansas; the Institute of American Indian Arts Library and Archives in Santa Fe, New Mexico; the H.A. & Mary K. Chapman Library and Archives at the Philbrook Museum of Art in Tulsa, Oklahoma; and the Billie Jane Baguley Library and Archives at the Heard Museum Library in Phoenix, Arizona. These four institutions develop and maintain resources and collections on Native American art and make the information they contain about indigenous groups available not only to their users and other scholars but also to the wider world.

This reflective essay describes the research design for Dressing with Purpose: Belonging and Resistance in Scandinavia, an exhibition and publication for the Museum of International Folk Art in Santa Fe, New Mexico. This essay outlines the theoretical, conceptual, and collaborative foundations supporting the project and explores their implications for the future of collecting, categorizing, and representing dress in museum contexts.

World War II and the new pan-American discourse of the United States, the New Deal and the political-cultural interests of the Rockefellers are sorne of the factors that explain how and why the 1940 Muscum Of Modern Art exhibition, Twenty Centuries of Mexican Art, offered an exotic and "ernasculated" image of Mexican art and, by extesion, of the Mexico of President Lázaro Cárdenas. The design of the catalogue, which is one of the central focuses of this article, permits a reconstruction of this political and cultural history.

The article highlights topical issues in the development of new museums on the example of the work of Jason deCaires Taylor — the creator of a variety of underwater expositions: Museo Atlántico — a sculpture museum at the bottom of the ocean off the coast of Lanzarote, which is part of the Canary Islands; the MUSA Underwater Museum in Cancun off the coast of Mexico; a museum off the coast of Cannes on the French Riviera, and others. New underwater park-museums immediately attract a lot of attention from specialists and the general public around the world; however, the largest number of comments are related to the topic of ecology, issues of harmless technologies. Commenting on his sculptural works, it is this that Taylor emphasises, prioritising this aspect. The artistic image of the works remains outside the discussion. Perhaps this is due to the fact that the basis of Taylor’s creative method is not the creation of an original plastic form but a banal copying by making plaster moulds of living people, frozen at the artist’s request in one position or another. However, further, the artist combines copies into complex multi-figure compositions, and here, they acquire artistic meaning and emotional intensity. The article draws much attention to the inclusion of contemporary art in the general historical context of the cultural space. Dialogues in art is a broad topic that received a special meaning in the work of artists of the 20th 21st centuries. It presupposes the presence of an extraordinary situation, implying not only formal similarities between works. No less important is the underlined new context through which the ideas and images, meanings and differences of the works are interpreted. The author of the article highlights these issues on the examples of Taylor’s creative dialogues with T. Géricault and G. Vigeland.

The New York Art Resources Consortium (NYARC), consisting of The Frick Art Reference Library and the libraries of the Brooklyn Museum and the Museum of Modern Art (MoMA), houses significant collections of material on Latin American art that document the cultural history of Mexico, Central America, the Caribbean and South America, as well as the foundation of New York City as an epicenter of US Latino and Latin American cultural production since the 19th century. Ranging from historic archeological photographs to contemporary artists’ books, the holdings of the NYARC libraries are varied in their scope and record the contributions of Latin American and Latino artists to the international art scene. With the creation of Arcade, the shared online catalog of the Frick, MoMA and Brooklyn Museum, the ‘collective collection’ of material about and from Latin America has been strengthened in ways both expected and unanticipated. Techniques for integrating Latin American bibliographic information into discovery platforms, strategies for increasing the visibility of these collections, and ideas for providing improved access to the Latin American subset of the NYARC collections are being explored, and many further opportunities exist to engage in co-operative collection development in this area, across the NYARC consortium and with other peer institutions.

Fiery pool: the Maya and the mythic sea is a travelling exhibition of nearly 100 finds that, together, imply a specific concept of the environment, physical and spiritual, for the Maya of Mesoamerica. As usual, the majority are from ‘public’ contexts, more or less aristocratic; but the exhibition generalises about Maya culture. Most of the exhibits are of the Classic period (c. AD 250–900), predominantly Late Classic, but there are some earlier pieces and several of the Postclassic (to the Spanish Conquest). Some are well known and there are striking new finds too. Curated by Daniel Finamore & Stephen Houston, Fiery pool draws from more than 40 collections in the USA, Mexico, Central America and further afield. It was shown at the Peabody Essex Museum, in Salem, Massachusetts, in 2010, and the Kimbell Art Museum, Fort Worth, Texas, in 2010–11. It is now in Missouri, at the St Louis Art Museum, where its tour finishes on 8 May 2011.

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).

The object of this research is a totem symbol in decorative tradition of the peoples of pre-Columbian America. The subject of this research is the images of jaguar in the art of the Aztecs of Mesoamerica. The images of a human and jaguar are captured on the metal, stone and clay artifacts of pre-Columbian civilizations that are available to the public in Mexico City National Museum of Anthropology, Peruvian Museum of the Nation in Lima, Metropolitan Museum of Art in New York, and Smithsonian National Museum of Natural History in Washington, D. C. The research methodology is based on compilation of the results of fundamental research of the leading scholars of North American School of Anthropology. The article conduct a general systematization and brief analytics of scientific records on the specificity of Mesoamerican decorative tradition of totem symbols throughout an extensive period of time: 1500 BC – 400 AD (Olmec Civilization), III century BC – VII century AD (Teotihuacan Civilization), 900 BC – 200 AD (Chavín Civilization), 750 BC – 100 AD (Paracas Civilization), 2300 – 1200 BC (Kotosh Civilization), 1250 – 1470 AD (Chimú Civilization). The presented materials substantiate the thesis that jaguar as a totem symbol carried out the functions of unification and identification of ethnoses of Mesoamerica, reflecting relevant sociocultural trends at various stages of anthropogenesis. The novelty of this work consists in scientific systematization of the facts that the nuances of fusion of the images of human and jaguar in art objects of Aztec culture reflect a harmonious or turbulent frame of mind in pre-Columbian era.

Over the last thirty years there has been a proliferation in the number and diversity of privately- funded exhibition spaces for contemporary art in Mexico. Driving this development is a new generation of art collectors and my research project is concerned with how collector-led models of patronage have influenced the recognition, impact and public display of contemporary art in Mexico. My thesis begins by exploring what constitutes an art collection, the significance of a museum, and what motivates a collector. I then present an overview of the historical relationship between state and private art collections in Mexico, followed by a critique of landmark events in the genesis of the Mexican art market. In the second part of my research project I identify a group of influential mid-twentieth century collectors who established their own exhibition spaces in order to share their collections with the public, followed by an analysis of their legacy through the activity of the current generation of collectors, whose efforts to promote contemporary art within Mexico and abroad have spawned a new climate of creative enterprise and collaboration. This thesis seeks to present a survey of the evolution of the private exhibition space in Mexico by examining independent cultural initiatives whose ambition is to change the way the public engages with contemporary art. In my findings I examine how collectors’ objectives manifest a vision for the museum visitor experience and the impact of these privately-funded institutions on Mexico’s cultural identity.

The New Orleans Museum of Art is New Orleans' oldest art institute and is the premier art institute of the Gulf South. From September through December 2009, I served as an intern in the Development Department at NOMA and then went on to fill the role of Interim Grants Officer from December through the time this document was written. I also have covered for the Special Events Coordinator during her leave of absence beginning January 4, 2010 through the present. NOMA has strengths and weakness internally, and opportunities and threats to functioning exist as well. Through a thorough examination of this institution, a consultantcy's report was compiled based on examination of NOMA and the best practices of comparable institutions and museum management standards.

Thesis: S.M., Massachusetts Institute of Technology, Department of Comparative Media Studies, 2015.
Cataloged from PDF version of thesis.
Includes bibliographical references (pages 151-155).
Hackathons, maker spaces, R&D labs: these terms are common to the world of technology, but have only recently seeped into museums. The last few years have witnessed a wave of art museum initiatives that invite audiences-from casual visitors to professional artists and technologists-to take the reins of creative production using emerging technologies. The goals of this thesis are threefold. First, I situate this trend, which I call "museum making," within two historical narratives: the legacy of museums as sites for art making and the birth of hacker and maker cultures. These two lineages-histories of art-based and technology-based creative production-are part of a larger participatory ethos prevalent today. A second goal of this thesis is to document museum making initiatives as they emerge, with an eye to how staff members at museums are able to develop such programs despite limited financial, technological, or institutional support or knowledge. Finally, I critically examine how museum making may or may not challenge traditional structures of power in museums. Museum making embodies a tension between the desire to make the museum a more open and equitable space-both by inviting creators into the museum, and by welcoming newer forms of creative production that might not align with today's art world-and the need to maintain institutions' authority as arbiters of culture. My analysis draws on a wide range of fields, including sociology, educational theory, media studies, museum studies, and art theory. This thesis is informed by extensive fieldwork conducted at three sites: the Los Angeles County Museum of Art's Art + Technology Lab, a program that awards artist grants and mentorship from individuals and technology companies such as Google and SpaceX; the Metropolitan Museum of Art's Media Lab, an innovation lab that invites members of New York's creative technology community to develop prototypes for and based on the museum experience; and the Peabody Essex Museum's Maker Lounge, an in-gallery space in which visitors are invited to tinker with high and low technologies.
by Desi Gonzalez.
S.M.

From January through April 2011, I served as an intern at the New Orleans Museum of Art. The New Orleans Museum of Art, which celebrates its 100-year anniversary this year, ranks in the top 100 art museums nationally. I worked in the Marketing Department, focusing on programming and museum communications. The following report includes a profile of the organization, a description of my position as an intern within the Marketing Department, my analysis of internal and external administrative issues, and my recommendations and contributions to the organization based on best practices and relevant museum standards.

Experience obtained from an internship at the New Orleans Museum of Art leads to a discussion of the Museum's strengths, weaknesses, opportunities, and threats. Strengths identified are the Museum's location, temporary exhibitions, expansive collection, recognition of New Orleans cultural heritage and diversity, ability to attract different audience segments, and educational outreach to schools. Weaknesses include the Museum's resistance to change, neglect of technology, poor internal and external communication, lack of coherent and shared purpose, and adequate space for programming. Opportunities ascertained are the potential for expansion in technological updates and public programming, and the leadership of a new Director. Threats recognized are the inattention to technological advances, competition with other cultural sites, and the economic recession. This analysis produces specific recommendations for improvement in the Museum's management practices, public programming, and technological insufficiencies.

This internship report is the result of my time working with the registration and collections departments at the New Orleans Museum of Art. My work consisted of receiving, inventorying and moving objects in the collection, answering inquiries related to the collection, assisting with installations and breakdowns of exhibitions, and projects related to the collection files. Working from this vantage point, and with numerous other arts community working experience under my belt, I have compiled in this paper a discussion of the museum itself, the internship and my contributions to the organization, and an analysis of the organization and its overall contribution to the community as the largest arts organization in the city of New Orleans. This is my attempt to explain where NOMA is and where NOMA is going.

An internship experience in the Office of the Registrar and Collections Management at the New Orleans Museum of Art is reviewed alongside discussion of the Museum’s history, structure, and permanent collection, in addition to analyses of the organization’s finances and its institutional strengths, weaknesses, opportunities and threats. Discussion topics also include the intern’s experience, best practices in similar institutions, and a conclusion with recommendations made by the intern.

Recent advances in the computer generation of pictures using methods and programs from artificial intelligence research, or, more precisely, machine learning, have once again raised the question of whether computers can make art. Based on Michael Noll's early experiments with computer art from the 1960s, I argue by contrast that even the latest tools cannot make do without human work and can only be part of an artistic practice thanks to this work. Rather than asking whether machines can make art, we should therefore develop creative practices in which it is possible to leverage the potential of new techniques for design and art.

This chapter is devoted to the creation of private museums of medieval icons and ‘primitives’ in Russia and Western Europe at the start of the twentieth century. One of these museums belonged to a famous Russian collector and artist, Ilya Ostroukhov (1858–1929). Ostroukhov shared a similar appreciation for ‘primitives on a gold background’ with the American art historian, art dealer and collector Bernard Berenson (1865–1959), a taste that Berenson had started to cultivate by the end of the nineteenth century. Taking as examples Russian, Italian and American collections of ancient icons, this chapter demonstrates common tendencies in the discovery, study and collecting of medieval icons and Italian ‘primitives’, as well as new trends in the European art market.

El objetivo de esta comunicación es presentar algunas prácticas feministas que han hecho uso de las tecnologías en los museos de México, así como reflexionar en torno a la soberanía digital, los derechos culturales que se ejercen en las redes sociales y si estos se inscriben en la “internet feminista” desde los museos.En los últimos años, los movimientos feministas en México han tomado relevancia política, en ámbitos públicos y de intervención social. Muchas de ellas, han sido juzgadas negativamente por hacer uso de bienes culturales, lo cual ha desencadenado opiniones polarizadas.Si bien, la postura de los museos mexicanos a este respecto es reservada, existe una apertura a prácticas con perspectiva de género, desde sus investigaciones, oferta cultural y exposiciones temporales. Con las medidas de confinamiento derivadas del COVID-19, quedó claro que las estrategias de los museos para continuar sus actividades, se centraron y volcaron en las Redes Sociales y sus páginas web. Asimismo, se lograron continuar no solo con las prácticas con perspectiva de género que incipientemente se realizaban en estos espacios, si no que se incrementaron los contenidos de corte feminista y de acción política cultural.Entre los ejemplos más notables estuvieron la apertura de nuevos espacios virtuales como lo hizo el Museo Universitario de Arte Contemporáneo, con su Instagram Brillantinas MUAC, en donde se publican diversos materiales feministas desde la cultura y se ínsita al diálogo y la profundización de varios temas con perspectiva de género.Por otro lado, la actividad digital y cultural a raíz de la Conmemoración del Día Internacional para la Eliminación de las Violencias contra las Mujeres, fue adoptada por una gran cantidad de museos desde privados hasta estatales, ya sea con una mención al tema o una actividad o serie de actividades al respecto. Fue un ejercicio que trascendió a los 10 días de activismo y que obtuvo una interesante respuesta tanto negativa como positiva dentro de los públicos.Finalmente, uno de los ejercicios más interesantes que se lograron a pesar de las dificultades por la situación sanitaria, fue la iniciativa “Laboratoria: Mujeres en el Museo” lanzada por el Observatorio Raquel Padilla del Instituto Nacional de Antropología e Historia, que por medio de diversas herramientas digitales, se pudo llevar a cabo un ejercicio feminista y de soberanía digital en la elaboración de prototipos con perspectiva de género y para la prevención de las violencias contra las mujeres.-------- The objective of this communication is to present some feminist practices that have made use of technologies in museums in Mexico, as well as to reflect on digital sovereignty, the cultural rights that are exercised in social networks and if they are registered in the "Feminist internet" from museums.In recent years, feminist movements in Mexico have taken on political relevance, in public spheres and social intervention. Many of them have been judged negatively for making use of cultural property, which has triggered polarized opinions.Although the position of Mexican museums in this regard is reserved, there is an openness to practices with a gender perspective, from their research, cultural offerings and temporary exhibitions. With the confinement measures derived from COVID-19, it was clear that the museums' strategies to continue their activities were focused and turned over to Social Networks and their web pages. Likewise, it was possible to continue not only with the practices with a gender perspective that were incipiently carried out in these spaces, but also the contents of a feminist nature and of cultural political action were increased.Among the most notable examples were the opening of new virtual spaces such as the University Museum of Contemporary Art, with its Instagram Brillantinas MUAC, where various feminist materials from culture are published and the dialogue and the deepening of various issues are encouraged. gender perspective.On the other hand, the digital and cultural activity as a result of the Commemoration of the International Day for the Elimination of Violence against Women, was adopted by a large number of museums from private to state, either with a mention of the subject or an activity or series of activities in this regard. It was an exercise that transcended 10 days of activism and that obtained an interesting negative and positive response from the public.Finally, one of the most interesting exercises that were achieved despite the difficulties due to the health situation, was the initiative "Laboratory: Women in the Museum" launched by the Raquel Padilla Observatory of the National Institute of Anthropology and History, which through various digital tools, it was possible to carry out a feminist exercise and digital sovereignty in the development of prototypes with a gender perspective and for the prevention of violence against women.

Currently, museum pedagogy is a very promising area, covering all types of interactions between the museum and its audience. Museum pedagogy is an interdisciplinary field of scientific knowledge, “formed at the intersection of pedagogy, psychology, museology and the relevant discipline of the museum and built on its basis specific practical activities focused on the transfer of cultural (artistic) experience in a museum environment”. The rapid development of technology has led to the so-called modification of this scientific field, we mean a new branch of pedagogical knowledge is emerging - virtual museum pedagogy. VR technologies are beginning to occupy leading positions, but it is important to note that today in art pedagogy there is no idea how to build the educational process in such a context. Thus, this area of pedagogy today requires a deep and comprehensive study. This has determined the purpose of this study. The objectives of the study follow from the goal: 1) To reveal the specifics of virtual museum pedagogy 2) To develop basic pedagogical recommendations for conducting virtual excursions using VR technologies Materials and methods. The methods of this study were analysis and synthesis. Results and discussion. The results of the study consist in the VR technologies usage in art pedagogy features identification.

The Global Engagement of Museums in Canada examines Canadian museum diplomacy, assessing the international activities of Canadian museums to consider the ways these institutions act as cultural diplomats on the global stage. The report presents the results of a multi-partner collaborative research project addressing the work of ten institutions, including the Art Gallery of Alberta; Aga Khan Museum; Canadian Museum of History; Canadian Museum of Immigration at Pier 21; Montreal Museum of Fine Arts; Museum of Anthropology at UBC; National Gallery of Canada; Ottawa Art Gallery; Pointe-à-Callière, Montréal Archaeology and History Complex; and the Royal Ontario Museum. Focusing on the period of 2009 to 2019, this report highlights new activities and methods within museum practice, while also grounding these within the context of developments in the last decade. Drawing on archival research, document analysis, and interviews with museum professionals, this research establishes baseline data on the global reach of Canadian museums and identifies best practices to share with the museum sector and cultural diplomacy community. Comprised of three sections, the report begins by presenting the framework for the project, explaining the logic behind the selection of institutions and the pedagogical considerations that informed our collective methodology. Second, the report provides a review of the literature in the field of cultural diplomacy, situating the research project. And third, the core of the project, are ten studies of specific institutions, drawn from the fieldwork conducted by the team. These institutional reports demonstrate the ways in which museums engage with a range of global activities and actors. They further address developing trends in the sector, while also suggesting future avenues for research. The Global Engagement of Museums in Canada is a research project led by Primary Investigators Jeffrey Brison and Sarah E.K. Smith. Funded by a Mitacs Accelerate Grant, the initiative is a collaboration between the Montreal Museum of Fine Arts and Queen’s University.

Banco de la República is celebrating its 100th anniversary in 2023. This is a very significant anniversary and one that provides an opportunity to highlight the contribution the Bank has made to the country’s development. Its track record as guarantor of monetary stability has established it as the one independent state institution that generates the greatest confidence among Colombians due to its transparency, management capabilities, and effective compliance with the central banking and cultural responsibilities entrusted to it by the Constitution and the Law. On a date as important as this, the Board of Directors of Banco de la República (BDBR) pays tribute to the generations of governors and officers whose commitment and dedication have contributed to the growth of this institution.1 Banco de la República’s mandate was confirmed in the National Constitutional Assembly of 1991 where the citizens had the opportunity to elect the seventy people who would have the task of drafting a new constitution. The leaders of the three political movements with the most votes were elected as chairs to the Assembly, and this tripartite presidency reflected the plurality and the need for consensus among the different political groups to move the reform forward. Among the issues considered, the National Constitutional Assembly gave special importance to monetary stability. That is why they decided to include central banking and to provide Banco de la República with the necessary autonomy to use the instruments for which they are responsible without interference from other authorities. The constituent members understood that ensuring price stability is a state duty and that the entity responsible for this task must be enshrined in the Constitution and have the technical capability and institutional autonomy necessary to adopt the decisions they deem appropriate to achieve this fundamental objective in coordination with the general economic policy. In particular, Article 373 established that “the State, through Banco de la República, shall ensure the maintenance of the purchasing power of the currency,” a provision that coincided with the central banking system adopted by countries that have been successful in controlling inflation. In 1999, in Ruling 481, the Constitutional Court stated that “the duty to maintain the purchasing power of the currency applies to not only the monetary, credit, and exchange authority, i.e., the Board of Banco de la República, but also those who have responsibilities in the formulation and implementation of the general economic policy of the country” and that “the basic constitutional purpose of Banco de la República is the protection of a sound currency. However, this authority must take the other economic objectives of state intervention such as full employment into consideration in their decisions since these functions must be coordinated with the general economic policy.” The reforms to Banco de la República agreed upon in the Constitutional Assembly of 1991 and in Act 31/1992 can be summarized in the following aspects: i) the Bank was assigned a specific mandate: to maintain the purchasing power of the currency in coordination with the general economic policy; ii) the BDBR was designatedas the monetary, foreign exchange, and credit authority; iii) the Bank and its Board of Directors were granted a significant degree of independence from the government; iv) the Bank was prohibited from granting credit to the private sector except in the case of the financial sector; v) established that in order to grant credit to the government, the unanimous vote of its Board of Directors was required except in the case of open market transactions; vi) determined that the legislature may, in no case, order credit quotas in favor of the State or individuals; vii) Congress was appointed, on behalf of society, as the main addressee of the Bank’s reporting exercise; and viii) the responsibility for inspection, surveillance, and control over Banco de la República was delegated to the President of the Republic. The members of the National Constitutional Assembly clearly understood that the benefits of low and stable inflation extend to the whole of society and contribute mto the smooth functioning of the economic system. Among the most important of these is that low inflation promotes the efficient use of productive resources by allowing relative prices to better guide the allocation of resources since this promotes economic growth and increases the welfare of the population. Likewise, low inflation reduces uncertainty about the expected return on investment and future asset prices. This increases the confidence of economic agents, facilitates long-term financing, and stimulates investment. Since the low-income population is unable to protect itself from inflation by diversifying its assets, and a high proportion of its income is concentrated in the purchase of food and other basic goods that are generally the most affected by inflationary shocks, low inflation avoids arbitrary redistribution of income and wealth.2 Moreover, low inflation facilitates wage negotiations, creates a good labor climate, and reduces the volatility of employment levels. Finally, low inflation helps to make the tax system more transparent and equitable by avoiding the distortions that inflation introduces into the value of assets and income that make up the tax base. From the monetary authority’s point of view, one of the most relevant benefits of low inflation is the credibility that economic agents acquire in inflation targeting, which turns it into an effective nominal anchor on price levels. Upon receiving its mandate, and using its autonomy, Banco de la República began to announce specific annual inflation targets as of 1992. Although the proposed inflation targets were not met precisely during this first stage, a downward trend in inflation was achieved that took it from 32.4% in 1990 to 16.7% in 1998. At that time, the exchange rate was kept within a band. This limited the effectiveness of monetary policy, which simultaneously sought to meet an inflation target and an exchange rate target. The Asian crisis spread to emerging economies and significantly affected the Colombian economy. The exchange rate came under strong pressure to depreciate as access to foreign financing was cut off under conditions of a high foreign imbalance. This, together with the lack of exchange rate flexibility, prevented a countercyclical monetary policy and led to a 4.2% contraction in GDP that year. In this context of economic slowdown, annual inflation fell to 9.2% at the end of 1999, thus falling below the 15% target set for that year. This episode fully revealed how costly it could be, in terms of economic activity, to have inflation and exchange rate targets simultaneously. Towards the end of 1999, Banco de la República announced the adoption of a new monetary policy regime called the Inflation Targeting Plan. This regime, known internationally as ‘Inflation Targeting,’ has been gaining increasing acceptance in developed countries, having been adopted in 1991 by New Zealand, Canada, and England, among others, and has achieved significant advances in the management of inflation without incurring costs in terms of economic activity. In Latin America, Brazil and Chile also adopted it in 1999. In the case of Colombia, the last remaining requirement to be fulfilled in order to adopt said policy was exchange rate flexibility. This was realized around September 1999, when the BDBR decided to abandon the exchange-rate bands to allow the exchange rate to be freely determined in the market.Consistent with the constitutional mandate, the fundamental objective of this new policy approach was “the achievement of an inflation target that contributes to maintaining output growth around its potential.”3 This potential capacity was understood as the GDP growth that the economy can obtain if it fully utilizes its productive resources. To meet this objective, monetary policy must of necessity play a countercyclical role in the economy. This is because when economic activity is below its potential and there are idle resources, the monetary authority can reduce the interest rate in the absence of inflationary pressure to stimulate the economy and, when output exceeds its potential capacity, raise it. This policy principle, which is immersed in the models for guiding the monetary policy stance, makes the following two objectives fully compatible in the medium term: meeting the inflation target and achieving a level of economic activity that is consistent with its productive capacity. To achieve this purpose, the inflation targeting system uses the money market interest rate (at which the central bank supplies primary liquidity to commercial banks) as the primary policy instrument. This replaced the quantity of money as an intermediate monetary policy target that Banco de la República, like several other central banks, had used for a long time. In the case of Colombia, the objective of the new monetary policy approach implied, in practical terms, that the recovery of the economy after the 1999 contraction should be achieved while complying with the decreasing inflation targets established by the BDBR. The accomplishment of this purpose was remarkable. In the first half of the first decade of the 2000s, economic activity recovered significantly and reached a growth rate of 6.8% in 2006. Meanwhile, inflation gradually declined in line with inflation targets. That was how the inflation rate went from 9.2% in 1999 to 4.5% in 2006, thus meeting the inflation target established for that year while GDP reached its potential level. After this balance was achieved in 2006, inflation rebounded to 5.7% in 2007, above the 4.0% target for that year due to the fact that the 7.5% GDP growth exceeded the potential capacity of the economy.4 After proving the effectiveness of the inflation targeting system in its first years of operation, this policy regime continued to consolidate as the BDBR and the technical staff gained experience in its management and state-of-the-art economic models were incorporated to diagnose the present and future state of the economy and to assess the persistence of inflation deviations and expectations with respect to the inflation target. Beginning in 2010, the BDBR established the long-term 3.0% annual inflation target, which remains in effect today. Lower inflation has contributed to making the macroeconomic environment more stable, and this has favored sustained economic growth, financial stability, capital market development, and the functioning of payment systems. As a result, reductions in the inflationary risk premia and lower TES and credit interest rates were achieved. At the same time, the duration of public domestic debt increased significantly going from 2.27 years in December 2002 to 5.86 years in December 2022, and financial deepening, measured as the level of the portfolio as a percentage of GDP, went from around 20% in the mid-1990s to values above 45% in recent years in a healthy context for credit institutions.Having been granted autonomy by the Constitution to fulfill the mandate of preserving the purchasing power of the currency, the tangible achievements made by Banco de la República in managing inflation together with the significant benefits derived from the process of bringing inflation to its long-term target, make the BDBR’s current challenge to return inflation to the 3.0% target even more demanding and pressing. As is well known, starting in 2021, and especially in 2022, inflation in Colombia once again became a serious economic problem with high welfare costs. The inflationary phenomenon has not been exclusive to Colombia and many other developed and emerging countries have seen their inflation rates move away from the targets proposed by their central banks.5 The reasons for this phenomenon have been analyzed in recent Reports to Congress, and this new edition delves deeper into the subject with updated information. The solid institutional and technical base that supports the inflation targeting approach under which the monetary policy strategy operates gives the BDBR the necessary elements to face this difficult challenge with confidence. In this regard, the BDBR reiterated its commitment to the 3.0% inflation target in its November 25 communiqué and expects it to be reached by the end of 2024.6 Monetary policy will continue to focus on meeting this objective while ensuring the sustainability of economic activity, as mandated by the Constitution. Analyst surveys done in March showed a significant increase (from 32.3% in January to 48.5% in March) in the percentage of responses placing inflation expectations two years or more ahead in a range between 3.0% and 4.0%. This is a clear indication of the recovery of credibility in the medium-term inflation target and is consistent with the BDBR’s announcement made in November 2022. The moderation of the upward trend in inflation seen in January, and especially in February, will help to reinforce this revision of inflation expectations and will help to meet the proposed targets. After reaching 5.6% at the end of 2021, inflation maintained an upward trend throughout 2022 due to inflationary pressures from both external sources, associated with the aftermath of the pandemic and the consequences of the war in Ukraine, and domestic sources, resulting from: strengthening of local demand; price indexation processes stimulated by the increase in inflation expectations; the impact on food production caused by the mid-2021 strike; and the pass-through of depreciation to prices. The 10% increase in the minimum wage in 2021 and the 16% increase in 2022, both of which exceeded the actual inflation and the increase in productivity, accentuated the indexation processes by establishing a high nominal adjustment benchmark. Thus, total inflation went to 13.1% by the end of 2022. The annual change in food prices, which went from 17.2% to 27.8% between those two years, was the most influential factor in the surge in the Consumer Price Index (CPI). Another segment that contributed significantly to price increases was regulated products, which saw the annual change go from 7.1% in December 2021 to 11.8% by the end of 2022. The measure of core inflation excluding food and regulated items, in turn, went from 2.5% to 9.5% between the end of 2021 and the end of 2022. The substantial increase in core inflation shows that inflationary pressure has spread to most of the items in the household basket, which is characteristic of inflationary processes with generalized price indexation as is the case in Colombia. Monetary policy began to react early to this inflationary pressure. Thus, starting with its September 2021 session, the BDBR began a progressive change in the monetary policy stance moving away from the historical low of a 1.75% policy rate that had intended to stimulate the recovery of the economy. This adjustment process continued without interruption throughout 2022 and into the beginning of 2023 when the monetary policy rate reached 12.75% last January, thus accumulating an increase of 11 percentage points (pp). The public and the markets have been surprised that inflation continued to rise despite significant interest rate increases. However, as the BDBR has explained in its various communiqués, monetary policy works with a lag. Just as in 2022 economic activity recovered to a level above the pre-pandemic level, driven, along with other factors, by the monetary stimulus granted during the pandemic period and subsequent months, so too the effects of the current restrictive monetary policy will gradually take effect. This will allow us to expect the inflation rate to converge to 3.0% by the end of 2024 as is the BDBR’s purpose.Inflation results for January and February of this year showed declining marginal increases (13 bp and 3 bp respectively) compared to the change seen in December (59 bp). This suggests that a turning point in the inflation trend is approaching. In other Latin American countries such as Chile, Brazil, Perú, and Mexico, inflation has peaked and has begun to decline slowly, albeit with some ups and downs. It is to be expected that a similar process will take place in Colombia in the coming months. The expected decline in inflation in 2023 will be due, along with other factors, to lower cost pressure from abroad as a result of the gradual normalization of supply chains, the overcoming of supply shocks caused by the weather, and road blockades in previous years. This will be reflected in lower adjustments in food prices, as has already been seen in the first two months of the year and, of course, the lagged effect of monetary policy. The process of inflation convergence to the target will be gradual and will extend beyond 2023. This process will be facilitated if devaluation pressure is reversed. To this end, it is essential to continue consolidating fiscal sustainability and avoid messages on different public policy fronts that generate uncertainty and distrust. 1 This Report to Congress includes Box 1, which summarizes the trajectory of Banco de la República over the past 100 years. In addition, under the Bank’s auspices, several books that delve into various aspects of the history of this institution have been published in recent years. See, for example: Historia del Banco de la República 1923-2015; Tres banqueros centrales; Junta Directiva del Banco de la República: grandes episodios en 30 años de historia; Banco de la República: 90 años de la banca central en Colombia. 2 This is why lower inflation has been reflected in a reduction of income inequality as measured by the Gini coefficient that went from 58.7 in 1998 to 51.3 in the year prior to the pandemic. 3 See Gómez Javier, Uribe José Darío, Vargas Hernando (2002). “The Implementation of Inflation Targeting in Colombia”. Borradores de Economía, No. 202, March, available at: https://repositorio.banrep.gov.co/handle/20.500.12134/5220 4 See López-Enciso Enrique A.; Vargas-Herrera Hernando and Rodríguez-Niño Norberto (2016). “The inflation targeting strategy in Colombia. An historical view.” Borradores de Economía, No. 952. https://repositorio.banrep.gov.co/handle/20.500.12134/6263 5 According to the IMF, the percentage change in consumer prices between 2021 and 2022 went from 3.1% to 7.3% for advanced economies, and from 5.9% to 9.9% for emerging market and developing economies. 6 https://www.banrep.gov.co/es/noticias/junta-directiva-banco-republica-reitera-meta-inflacion-3

Sixty objects and historic documents from the Historic New Orleans Collection, the Louisiana State Museum, and the New Orleans Museum of Art, including maps, photographs, lithographs, land deeds, silverware, earthenware, woodwork, msuic sheets, and even the trumpet of jazz great Dave Bartholomew. The "River and a City" section gave an overview of the history of New Orleans since discovery, and the "Unique Cultural Blend" section highlighted cultural expressions unique to the city itself. The exhibition was organized in honor of the City of New Orleans, site of the 41th Annual Meeting of the IDB Board of Governors in March, 2000.

This exhibition, organized by the IDB Cultural Center in homage to Guatemala - site of the 48th Annual Meeting of the Board of Directors of the Inter-American Development Bank- has been conceived with an optimistic view toward the future while learning lessons from the past. It is likewise a propitious opportunity for the IDB to offer a tribute to the Maya Nation, recognizing its significant cultural legacy, for young Guatemalans who must now take up their country¿s hopes and goals, and meet their expectations. Guatemala: Past and Future comprises six modules organized in chronological order.The first module focuses on the legacy of the Mayas, a people who lived in Mesoamerica for thousands of years and reached spectacular magnificence around 900 AD. The evidence of its culture and its greatness is reflected in many discovered cities, mainly in what is today Guatemala, Southern Mexico, Honduras and Belize, built at the pinnacle of their development; and in wonderful artifacts in the possession of many Guatemalan museums and institutions worldwide, including Washington¿s Smithsonian National Museum of the American Indian and Dumbarton Oaks.

This catalog belongs to the exhibition that celebrates the 19th anniversary of the Inter-American Development Bank Cultural Center, originally inaugurated on May 15th, 1992 by the President of Chile, Patricio Aylwin. On this occasion the IDB Cultural Center is pleased to present an exhibit of the artworks that became part of the Collection through the acquisition fund, gifts and permanent loans. It features 25 art works by 17 artists featuring: Federico Martino, Sebastián Spreng, and Susana Sulic (Argentina); Gastón Orellana (Chile); Ana Isabel Díez Zuluaga and Omar Rayo (Colombia); Silvia Elena Monge Puig (Costa Rica); Niurka Barroso (Cuba-Canada); Carmen Herrera and Emilio Sánchez (Cuba-United States); Julio Valdez (Dominican Republic); Geovanny Verdezoto (Ecuador); Luis González Palma (Guatemala); Mireille Délice (Haiti); Antonio López Sáenz and Alberto Alejandro Millares Méndez (Mexico); and Naúl Ojeda (Uruguay).