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1
Nash, Stephen E., and Frances Alley Kruger. "Silent Legacy: The Story of Vasily Konovalenko's Gem-Carving Sculptures." Collections: A Journal for Museum and Archives Professionals 13, no. 1 (March 2017): 7–32. http://dx.doi.org/10.1177/155019061701300102.
Повний текст джерелаАнотація:
During a career that spanned four decades, Russian artist Vasily Konovalenko (1929–1989) produced more than 70 sculptures carved from gems, minerals, and other raw materials. As unorthodox, compelling, and masterful as Konovalenko's sculptures are, they had been poorly published and poorly known. They are on permanent display at only two museums in the world: the small and obscure State Gems Museum (Samotsvety) in Moscow, Russia, and the Denver Museum of Nature & Science (DMNS), a major natural history museum in Colorado, the United States. This article examines Konovalenko's life and work, as well as the unusual circumstances that led to the two exhibitions, their role in Konovalenko's relative obscurity, and a recent resurgence of interest.
2
Maza, Carlos. "Ccopacatty: perfil de un creador relámpago." Illapa Mana Tukukuq, no. 16 (December 28, 2019): 98–111. http://dx.doi.org/10.31381/illapa.v0i16.2588.
Повний текст джерелаАнотація:
ResumenPeruko Ccopacatty es un escultor egresado de la Escuela Nacional Superior Autónoma de Bellas Artes del Perú (Ensabap) a principios de la década de 1980 emigró a los Estados Unidos, donde ha realizado una incansable labor de producción escultórica y mural especialmente en espacios públicos. Reconocida por instituciones públicas y privadas de su país de residencia, e incluso por la misma Organización de las Naciones Unidas, su obra ha pasado injustamente inadvertida en el Perú. Este artículo describe su proceso a la luz de las escasas fuentes disponibles y a partir de la exposición homenaje, realizada en mayo y junio del 2019 en el Centro Cultural de Bellas Artes como parte de las actividades de conmemoración del Centenario de la Ensabap. Se revisan su estilo, su simbolismo y su trayectoria, y se proponen líneas de investigación hacia el rescate de un corpus disperso y el reconocimiento de su sorprendente trayectoria.Palabras clave: tradición aymara, arte en espacios públicos, Ensabap, escultura en metal, multiculturalidad, muralismo, Pedro Peruko Ccopacatty.
AbstractPeruko Ccopacatty is a sculptor who graduated from the Ensabap, who emigrated to the United States in the early '80s, where he has carried out a tireless work of sculptural and mural production, especially in public spaces. Recognized by public and private institutions in his country of residence, and even by the United Nations itself, his work has gone unjustly unnoticed in Peru. This article describes his process in light of the scarce sources available and the homage exhibition held in May and June 2019 at the Centro Cultural de Bellas Artes as part of the activities to commemorate the Centennial of Ensabap. Its style, symbolism, and trajectory are reviewed, and lines of investigation are proposed towards the rescue of a dispersed corpus and the recognition of its amazing trajectory.Keywords: art in public spaces, aymara tradition, Ensabap, metal sculpture, monumental art, multiculturality, mural painting, Pedro Peruko Ccopacatty.
3
Rosellini, Anna. "Principi della didattica di Mies nei progetti di Brenner, Jansone e Lippert per un museo d’arte." Opus Incertum 9 (December 13, 2023): 86–99. http://dx.doi.org/10.36253/opus-14843.
Повний текст джерелаАнотація:
When Mies began teaching at the Armour Institute, he defined a programme that would make technical and industrial developments in the United States problematic and theoretical. Some of the exercises concerned the relationship between painting, sculpture and architecture, and were transformed into museum projects. In the paper, the projects for exhibition spaces drawn up by Brenner, Jansone and Lippert for the Master of Science in Architecture are analysed from archive documents. The spatial, structural and material characteristics of these projects are reconstructed, as are their relationships to the programmes of the Department of Architecture, the design processes suggested by Mies, Le Corbusier’s projects for museums, and the Museum for a Small City designed by Mies together with Danforth. The theses of Brenner, Jansone and Lippert, united by the choice of a museum system that transfigured Le Corbusier’s model in the light of Mies’s vision, appear to be decisive documents not only for understanding the Department of Architecture’s didactic orientations, but also for accessing Mies’s unspeakable art of tracing and arranging lines and planes in space.
4
Faleolo, Ruth, Sh’Kinah Tuia‘ana Nauna Faleolo, and Lydiah Malia-Lose Faleolo. "Understanding Diaspora Pasifika (Sāmoan and Tongan) Intergenerational Sense-Making and Meaning-Making through Imageries." Art/Research International: A Transdisciplinary Journal 8, no. 2 (January 31, 2024): 362–414. http://dx.doi.org/10.18432/ari29750.
Повний текст джерелаАнотація:
This article presents imagery representative of Pasifika (Sāmoan and Tongan) diaspora (nofo ‘i fafo o Sāmoa/ tu‘a Tonga) intergenerational sense-making and meaning-making. The main author, Ruth (Lute) Faleolo, presents a selection of eleven photographs shared with her by Pasifika knowledge holders across Aotearoa (New Zealand), Australia, and the United States, alongside six personally photographed people/events in Aotearoa. Collectively, these images show important Pasifika meaning-making and sense-making processes that are occurring intergenerationally in tu‘a Tonga/ nofo ‘i fafo o Sāmoa. These selected images were collected as part of an ongoing larger study of Pasifika migration and mobilities (2013-2023). The second author, Sh’Kinah Tuia‘ana Nauna Faleolo, presents pieces from her art collection (2015): Two Woven Identities and discusses her meaning-making and Indigeneity enfolding these pieces while growing up in Aotearoa. The third author, Lydiah Malia-Lose Faleolo, presents her Identity artwork (2019) and Duality design pieces (2023) that demonstrate her current and continued Indigeneity as a Sāmoan Tongan woman, living and studying in Australia. The fourth author, Nehemiah Thomas Faleolo’s artistic expressions captured in his annotated sketches and sculpture work were selected from a collection he had created in Australia. Nehemiah’s respected artwork and meaning-making, carefully documented by him in 2020 was (posthumously) selected by Faleolo family members, from his private exhibition and collection (Brisbane). Scanned documents and photographs stored on his mobile device have been contributed to this article on his behalf, with permission. For many Pasifika living in Aotearoa, Australia and the United States, the processes of intergenerational sense-making and meaning-making occur in the diaspora contexts of faith, family, community, and education. The imageries presented by Ruth (Lute) Faleolo follow these thematic contexts, with short analyses about the intergenerational sense-making and meaning-making observed per photo. The purpose of her contribution to the discussion is to promote imageries as a way of conveying Pasifika understandings and knowledge. Sh’Kinah Tuia‘ana Nauna Faleolo, Lydiah Malia-Lose and Nehemiah Thomas Faleolo’s contributions present personal accounts of intergenerational sense-making and meaning-making as experienced through their artistic expressions, within nofo ‘i fafo o Sāmoa/ tu‘a Tonga contexts of Aotearoa and Australia.
5
Sun, Yuran. "ARCHITECT YO MING PEI. THE ART OF ARCHITECTURE OF MUSEUM BUILDINGS." Scientific and analytical journal Burganov House. The space of culture 19, no. 6 (November 15, 2023): 17–30. http://dx.doi.org/10.36340/2071-6818-2023-19-6-17-30.
Повний текст джерелаАнотація:
Famous Chinese-American architect I.M. Pei was born in Guangdong, China in 1917.He traveled to the United States in 1935. Initially educated at the University of Pennsylvania, he continued his studies at the Massachusetts Institute of Technology (Bachelor of Architecture in 1940) and Harvard Graduate School of Design (Master of Architecture in 1946). I.M. Pei is widely praised for his bold design and clear geometric forms in his project. His career spanned 60 years and left many outstanding architectural works. I.M. Pei, revered as "the consummate master of modern architecture," his architectural philosophy was deeply influenced by modern art. During that era, New York City was known as the center of modern art. Among them, abstract expressionism, conceptualism and minimalism were on full display here. Many famous artists held grand exhibitions here and established their own studios. I.M. Pei spent most of his life in this place. When American modern art reached its peak in New York, many architects decided to use primitive forms to convey a concise and powerful artistic language, which also became their iconic design style. I.M. Pei's design philosophy is global. He emphasized: "In the architectural design process, there are three key aspects that require special attention: the first is the integration of the building with its environment; the second is how to handle space and form; and finally, from the user's point of view, to correctly solve functional problems. In this paper, the study analyzes the structural features of 12 architectural spaces of art museums designed by I.M. Pei in the context of the time line. It compares the similarities and differences in the spatial structure of the architecture of art museums built in the same time period as well as between different historical eras. The study focuses on analyzing the form and content of space and draws on the theoretical framework of contemporary architecture, namely the concepts of space within modernism. As a result of the analysis, two key characteristics of Pei's architecture are highlighted: sculptural and geometric.
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Little, Stephen. "Art and Science in LACMA’s Cosmologies Exhibition." Culture and Cosmos 27, no. 0102 (October 2023): 159–71. http://dx.doi.org/10.46472/cc.01227.0219.
Повний текст джерелаАнотація:
This paper presents an overview of the Cosmologies exhibition that will be presented by the Los Angeles County Museum of Art (LACMA) in late 2024 – early 2025. Created in collaboration with scientists at the Carnegie Observatories and the Griffith Observatory, and a global array of consulting scholars, Cosmologies presents a group of one hundred twenty rare artworks, stone, ceramic, and metal sculptures; paintings; works on paper; manuscripts; astronomical instruments; and computer visualizations. The exhibition’s goal is to explore the variety of human attempts to explain the universe’s origins, mechanics, and meaning. Cosmologies is an aesthetically and intellectually ambitious exhibition that explores the history of multiple cosmologies around the globe from the Neolithic period to the present day, as they have developed across a wide range of regions and cultures, including Indigenous North and South America, Mesoamerica, Neolithic Europe, Mesopotamia, Greece, Rome, South and Southeast Asia, East Asia (China, Korea, and Japan), the Islamic Middle East, Europe, and the United States, ending with an exploration of the current and future state of cosmology. The exhibition explores the development of cosmologies not only as scientific (i.e., astronomical and observable) systems of understanding, but also as ontological systems of belief that provided models for human beings’ place and purpose in the cosmos.
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Wee, C. J. W. L. "Tropical Modernism(s), Miscegenated Art and Modernity." Southeast of Now: Directions in Contemporary and Modern Art in Asia 8, no. 1 (March 2024): 127–39. http://dx.doi.org/10.56159/sen.2024.a924619.
Повний текст джерелаАнотація:
Abstract: Tropical: Stories from Southeast Asia and Latin America opened on 18 November 2023 and ran at the National Gallery Singapore (NGS) until 24 March 2024. NGS’s website states that the exhibition is “the first large-scale museum exhibition to take a comparative approach across two regions united by their shared struggles against colonialism”, comprising over 200 paintings, sculptures, prints and installations. The exhibition proceeds not always via direct formal or informal engagements between artists but by “an alchemy of shared narratives” (Teo Hui Min). Tropical endeavours to complicate the essential link between modernism and modernity by reflecting on how the “accursed European and American influence” is “absorbed” (Hélio Oiticica) into the local and indigenous, resulting in what might be called miscegenated art .
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Тsymbal, Tetiana. "UKRAINIANS IN St. PETERSBURG IN SCIENTIFIC AND PUBLIC ACTIVITY OF TETIANA LEBEDYNSKA." Almanac of Ukrainian Studies, no. 28 (2021): 114–20. http://dx.doi.org/10.17721/2520-2626/2021.28.18.
Повний текст джерелаАнотація:
The article presents the results of a study of scientific, educational and ascetic activities of one of the brightest representatives of the modern Ukrainian diaspora in Russia - Tetiana Lebedynska, a daughter of Ukrainian writer Mykola Shpak. T.M. Lebedynska is PhD in Philosophy, translator, writer, member of the Ukrainian Union of Writers, author of exhibitions dedicated to Ukrainian St. Petersburg, holder of the Order of Princess Olga III degree. The multifaceted scientific and educational activity of Tetiana Mykolajivna is considered. It is emphasized that she initiated and organized the International Scientific Seminar «St. Petersburg – Ukraine», which resulted in the publication of twenty collections of articles from 2000 to 2020. T.M. Lebedynska is the author of more than 200 scientific works, including unique publications: «Shevchenko's places of St. Petersburg», «St. Petersburg and Ukraine», «M.P. Hrebinka - town-planning of St. Petersburg», «Ukrainian necropolis of St. Petersburg», «I. Mazepa - Commander of the Order of St. Andrew the First-Called», dictionary»Outstanding figures of science and culture of Russia who came from Ukraine», etc.. T.M. Lebedynska was published in Western Europe, the United States, and Arab countries. It is noted that the heroine of our intelligence pays most attention to the study of the life and work of the Great Kobzar, who had many life events in St. Petersburg: here he studied and worked, gained freedom and communicated with many prominent cultural figures, wrote poems and paintings and became an academician of arts. It was Tetiana Mykolajivna who was one of the initiators of the installation in St. Petersburg of the monument to Taras Shevchenko by Canadian sculptor Leo Mol (Leonid Molodozhanin), she collected signatures against the relocation of the site from the city center near the university to the outskirts, also she initiated and participated in the installation of a memorial to Kobzar at the Smolensk cemetery. Among other things Tetiana Lebedynska‟s ascetic activity is represented, by a study of the Ukrainian necropolis of St. Petersburg, as most graves and tombstones are in a state of destruction and may disappear for the future without restoration. And with them the memory of our compatriots who found eternal peace in the land of North Palmira will be destroyed. The article states that today, when Crimea is annexed and the Russian occupation of Donbass continues, it is very important to study the experience of our contemporaries - Ukrainians in Russia, who do not lose their identity in conditions of strong informational, ideological and linguistic pressure.
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Beck, James. "RECENT DONATELLO EXHIBITIONS IN ITALY AND THE UNITED STATES." Source: Notes in the History of Art 5, no. 3 (April 1986): 2–7. http://dx.doi.org/10.1086/sou.5.3.23202393.
Повний текст джерела
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REDMAN, SAMUEL. "Remembering Exhibitions on Race in the 20th-century United States." American Anthropologist 111, no. 4 (November 17, 2009): 517–18. http://dx.doi.org/10.1111/j.1548-1433.2009.01160_1.x.
Повний текст джерела
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Wang, ShiPu. "The Challenges of Displaying “Asian American”: Curatorial Perspectives and Critical Approaches." AAPI Nexus Journal: Policy, Practice, and Community 5, no. 1 (2007): 12–32. http://dx.doi.org/10.36650/nexus5.1_12-32_wang.
Повний текст джерелаАнотація:
This essay delineates the issues concerning AAPI art exhibitions from a curator’s perspective, particularly in response to the changing racial demographics and economics of the past decades. A discussion of practical, curatorial problems offers the reader an overview of the obstacles and reasons behind the lack of exhibitions of AAPI works in the United States. It is the author’s hope that by understanding the challenges particular to AAPI exhibitions, community leaders, and patrons will direct future financial support to appropriate museum operations, which in turn will encourage more exhibitions and research of the important artistic contribution of AAPI artists to American art.
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Stelmashchuk, Halyna. "Prince Vsevolod Karmazyn-Kakovsky scientist, teacher, artist." Vìsnik Harkìvsʹkoi deržavnoi akademìi dizajnu ì mistectv 2022, no. 1 (January 15, 2022): 137–52. http://dx.doi.org/10.33625/visnik2022.01.137.
Повний текст джерелаАнотація:
The article is devoted to the creative work of the Ukrainian Diaspora scientist, teacher, historian of art, architect and graphic artist, Prince Vsevolod Karmazyn-Kakovsky (1898–1988), about whom there is very little information in Ukraine. The study emphasizes his Ukrainian roots. The publication is based on materials from the home archive of Ph.D., sculptor and artist Kristina Kishakevich-Kachaluba from Switzerland. Prince Vsevolod Karmazyn-Kakovsky studied and lived in Ukraine until 1944. In 1944 he left Ukraine for permanent residence in Romania. As a teacher he organized faculties of landscape architecture in universities in Ukraine (Odessa, Kharkiv) and Romania (Iasi). From 1978, professor lived and worked in Italy, then in France, Germany, lectured on the history of Ukrainian art, cooperated with Ukrainian research institutions in Western countries. As an artist he created and implemented the projects of health and recreational complexes on the Black Sea coast in Ukraine and Romania, which combined architecture with natural landscape, contributing to human health and longevity, and embodied the principles he established for enriching the expressiveness of landscapes. The Prince founded the Research Institute of Landscape Architecture (1921–1981), which worked in Ukraine, and then in Romania. This institution was focused on combining and harmonizing endogenous (internal) factors of human longevity with exogenous (external) factors — the synthesis of nature with art. The scientist argued that the tree crown shapes (triangular, ellipse-like, round) differently influence the mood and psychological state of a person, therefore, developed special health boxets in sanatorium complexes. This method of healing people, proposed by V. Karmazyn-Kakovsky in 1971–1981, was adopted in Czechoslovakia, Poland, France, Italy, Germany, and the United States of America. As a scientist he published more than 200 scientific works, including Monographs devoted to Ukrainian art, Lemkivska and Boykovska churches, art of Ukrainian houses, Ukrainian books. He designed his own works and covers for his books. He was skilled in the technique of pencil, sepia, watercolor, skillfully conveyed the space in the landscape, was perfect in the technique of pen and ink. The artist’s graphics is dominated by subjects closely related to his scientific works in the field of art history. Karmazyn-Kakovsky supplements almost all of his works with illustrations, headpieces, stylized folk motifs, architectural historical monuments of Romanian and Ukrainian cultures, valuable for the history of Ukrainian art, and landscape projects. V. Karmazyn-Kakovsky made more than 1200 drawings of wooden Ukrainian churches. He had personal exhibitions in Warsaw, Rome, Paris, Munich.
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Devji, Faisal, and Shahzia Sikander. "Anti-monument." Public Culture 36, no. 1 (January 1, 2024): 5–16. http://dx.doi.org/10.1215/08992363-11121447.
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Flores-Marcial, Xóchitl M. "Getting Community Engagement Right." Latin American and Latinx Visual Culture 3, no. 1 (January 1, 2021): 98–108. http://dx.doi.org/10.1525/lavc.2021.3.1.98.
Повний текст джерелаАнотація:
Greater Mexico refers both to the geographic region encompassing modern Mexico and its former territories in the United States, and to the Mexican cultural diaspora. Exhibitions of visual and material culture from greater Mexico have played an important role in articulating identities and affiliations that transcend limited definitions of citizenship. Following an introductory text by Jennifer Josten, five scholars offer firsthand insights into the intellectual, diplomatic, and logistical concerns underpinning key border-crossing exhibitions of the “NAFTA era.” Rubén Ortiz-Torres writes from his unique perspective as a Mexico City–based artist who began exhibiting in the United States in the late 1980s, and as a curator of recent exhibitions that highlight the existence of multiple Mexicos and Americas. Clara Bargellini reflects on a paradigm-shifting cross-border exhibition of the viceregal arts of the missions of northern New Spain. Kim N. Richter considers how the arts of ancient Mesoamerica and the Americas writ large figured within the Getty Foundation’s 2017 Pacific Standard Time: LA/LA initiative. Xóchitl M. Flores-Marcial offers insights into productive institutional collaborations with transnational Indigenous stakeholders, focusing on two recent Southern California exhibitions of the Oaxaca-based Tlacolulokos collective. Luis Vargas-Santiago discusses how Chicana/o/x art entered Mexico City’s Palacio de Bellas Artes in 2019 as a crucial component of an exhibition about how Mexican revolutionary Emiliano Zapata’s image has migrated through visual culture. Together, these texts demonstrate how exhibitions can act in the service of advancing more nuanced understandings of cultural and political interactions across greater Mexico.
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Vargas-Santiago, Luis. "Emiliano." Latin American and Latinx Visual Culture 3, no. 1 (January 1, 2021): 109–19. http://dx.doi.org/10.1525/lavc.2021.3.1.109.
Повний текст джерелаАнотація:
Greater Mexico refers both to the geographic region encompassing modern Mexico and its former territories in the United States, and to the Mexican cultural diaspora. Exhibitions of visual and material culture from greater Mexico have played an important role in articulating identities and affiliations that transcend limited definitions of citizenship. Following an introductory text by Jennifer Josten, five scholars offer firsthand insights into the intellectual, diplomatic, and logistical concerns underpinning key border-crossing exhibitions of the “NAFTA era.” Rubén Ortiz-Torres writes from his unique perspective as a Mexico City–based artist who began exhibiting in the United States in the late 1980s, and as a curator of recent exhibitions that highlight the existence of multiple Mexicos and Americas. Clara Bargellini reflects on a paradigm-shifting cross-border exhibition of the viceregal arts of the missions of northern New Spain. Kim N. Richter considers how the arts of ancient Mesoamerica and the Americas writ large figured within the Getty Foundation’s 2017 Pacific Standard Time: LA/LA initiative. Xóchitl M. Flores-Marcial offers insights into productive institutional collaborations with transnational Indigenous stakeholders, focusing on two recent Southern California exhibitions of the Oaxaca-based Tlacolulokos collective. Luis Vargas-Santiago discusses how Chicana/o/x art entered Mexico City’s Palacio de Bellas Artes in 2019 as a crucial component of an exhibition about how Mexican revolutionary Emiliano Zapata’s image has migrated through visual culture. Together, these texts demonstrate how exhibitions can act in the service of advancing more nuanced understandings of cultural and political interactions across greater Mexico.
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Ortiz-Torres, Rubén. "Mexicos and Americas." Latin American and Latinx Visual Culture 3, no. 1 (January 1, 2021): 70–79. http://dx.doi.org/10.1525/lavc.2021.3.1.70.
Повний текст джерелаАнотація:
Greater Mexico refers both to the geographic region encompassing modern Mexico and its former territories in the United States, and to the Mexican cultural diaspora. Exhibitions of visual and material culture from greater Mexico have played an important role in articulating identities and affiliations that transcend limited definitions of citizenship. Following an introductory text by Jennifer Josten, five scholars offer firsthand insights into the intellectual, diplomatic, and logistical concerns underpinning key border-crossing exhibitions of the “NAFTA era.” Rubén Ortiz-Torres writes from his unique perspective as a Mexico City–based artist who began exhibiting in the United States in the late 1980s, and as a curator of recent exhibitions that highlight the existence of multiple Mexicos and Americas. Clara Bargellini reflects on a paradigm-shifting cross-border exhibition of the viceregal arts of the missions of northern New Spain. Kim N. Richter considers how the arts of ancient Mesoamerica and the Americas writ large figured within the Getty Foundation’s 2017 Pacific Standard Time: LA/LA initiative. Xóchitl M. Flores-Marcial offers insights into productive institutional collaborations with transnational Indigenous stakeholders, focusing on two recent Southern California exhibitions of the Oaxaca-based Tlacolulokos collective. Luis Vargas-Santiago discusses how Chicana/o/x art entered Mexico City’s Palacio de Bellas Artes in 2019 as a crucial component of an exhibition about how Mexican revolutionary Emiliano Zapata’s image has migrated through visual culture. Together, these texts demonstrate how exhibitions can act in the service of advancing more nuanced understandings of cultural and political interactions across greater Mexico.
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Bargellini, Clara. "Looking Back at The Arts of the Missions of Northern New Spain, 1600–1821." Latin American and Latinx Visual Culture 3, no. 1 (January 1, 2021): 80–87. http://dx.doi.org/10.1525/lavc.2021.3.1.80.
Повний текст джерелаАнотація:
Greater Mexico refers both to the geographic region encompassing modern Mexico and its former territories in the United States, and to the Mexican cultural diaspora. Exhibitions of visual and material culture from greater Mexico have played an important role in articulating identities and affiliations that transcend limited definitions of citizenship. Following an introductory text by Jennifer Josten, five scholars offer firsthand insights into the intellectual, diplomatic, and logistical concerns underpinning key border-crossing exhibitions of the “NAFTA era.” Rubén Ortiz-Torres writes from his unique perspective as a Mexico City–based artist who began exhibiting in the United States in the late 1980s, and as a curator of recent exhibitions that highlight the existence of multiple Mexicos and Americas. Clara Bargellini reflects on a paradigm-shifting cross-border exhibition of the viceregal arts of the missions of northern New Spain. Kim N. Richter considers how the arts of ancient Mesoamerica and the Americas writ large figured within the Getty Foundation’s 2017 Pacific Standard Time: LA/LA initiative. Xóchitl M. Flores-Marcial offers insights into productive institutional collaborations with transnational Indigenous stakeholders, focusing on two recent Southern California exhibitions of the Oaxaca-based Tlacolulokos collective. Luis Vargas-Santiago discusses how Chicana/o/x art entered Mexico City’s Palacio de Bellas Artes in 2019 as a crucial component of an exhibition about how Mexican revolutionary Emiliano Zapata’s image has migrated through visual culture. Together, these texts demonstrate how exhibitions can act in the service of advancing more nuanced understandings of cultural and political interactions across greater Mexico.
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Richter, Kim N. "Golden Kingdoms at Getty." Latin American and Latinx Visual Culture 3, no. 1 (January 1, 2021): 88–97. http://dx.doi.org/10.1525/lavc.2021.3.1.88.
Повний текст джерелаАнотація:
Greater Mexico refers both to the geographic region encompassing modern Mexico and its former territories in the United States, and to the Mexican cultural diaspora. Exhibitions of visual and material culture from greater Mexico have played an important role in articulating identities and affiliations that transcend limited definitions of citizenship. Following an introductory text by Jennifer Josten, five scholars offer firsthand insights into the intellectual, diplomatic, and logistical concerns underpinning key border-crossing exhibitions of the “NAFTA era.” Rubén Ortiz-Torres writes from his unique perspective as a Mexico City–based artist who began exhibiting in the United States in the late 1980s, and as a curator of recent exhibitions that highlight the existence of multiple Mexicos and Americas. Clara Bargellini reflects on a paradigm-shifting cross-border exhibition of the viceregal arts of the missions of northern New Spain. Kim N. Richter considers how the arts of ancient Mesoamerica and the Americas writ large figured within the Getty Foundation’s 2017 Pacific Standard Time: LA/LA initiative. Xóchitl M. Flores-Marcial offers insights into productive institutional collaborations with transnational Indigenous stakeholders, focusing on two recent Southern California exhibitions of the Oaxaca-based Tlacolulokos collective. Luis Vargas-Santiago discusses how Chicana/o/x art entered Mexico City’s Palacio de Bellas Artes in 2019 as a crucial component of an exhibition about how Mexican revolutionary Emiliano Zapata’s image has migrated through visual culture. Together, these texts demonstrate how exhibitions can act in the service of advancing more nuanced understandings of cultural and political interactions across greater Mexico.
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Josten, Jennifer. "Dialogues." Latin American and Latinx Visual Culture 3, no. 1 (January 1, 2021): 60–69. http://dx.doi.org/10.1525/lavc.2021.3.1.60.
Повний текст джерелаАнотація:
Greater Mexico refers both to the geographic region encompassing modern Mexico and its former territories in the United States, and to the Mexican cultural diaspora. Exhibitions of visual and material culture from greater Mexico have played an important role in articulating identities and affiliations that transcend limited definitions of citizenship. Following an introductory text by Jennifer Josten, five scholars offer firsthand insights into the intellectual, diplomatic, and logistical concerns underpinning key border-crossing exhibitions of the “NAFTA era.” Rubén Ortiz-Torres writes from his unique perspective as a Mexico City–based artist who began exhibiting in the United States in the late 1980s, and as a curator of recent exhibitions that highlight the existence of multiple Mexicos and Americas. Clara Bargellini reflects on a paradigm-shifting cross-border exhibition of the viceregal arts of the missions of northern New Spain. Kim N. Richter considers how the arts of ancient Mesoamerica and the Americas writ large figured within the Getty Foundation’s 2017 Pacific Standard Time: LA/LA initiative. Xóchitl M. Flores-Marcial offers insights into productive institutional collaborations with transnational Indigenous stakeholders, focusing on two recent Southern California exhibitions of the Oaxaca-based Tlacolulokos collective. Luis Vargas-Santiago discusses how Chicana/o/x art entered Mexico City’s Palacio de Bellas Artes in 2019 as a crucial component of an exhibition about how Mexican revolutionary Emiliano Zapata’s image has migrated through visual culture. Together, these texts demonstrate how exhibitions can act in the service of advancing more nuanced understandings of cultural and political interactions across greater Mexico.
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Bellido Gant, María Luisa. "El Arte Latinoamericano en los Estados Unidos durante el siglo XX. Exposiciones, coleccionismo, museología." Illapa Mana Tukukuq, no. 14 (February 18, 2019): 118–29. http://dx.doi.org/10.31381/illapa.v0i14.1885.
Повний текст джерелаАнотація:
Este texto reflexiona sobre la presencia del arte latinoamericano en Estados Unidos desde la década de los veinte hasta los años noventa, con el llamado boom del mercado de arte latinoamericano. Nuestro objetivo es presentar de una manera sintética diferentes momentos que jalonaron los vínculos artísticos entre Latinoamérica y Estados Unidos, en especial la presencia, en este país, de artistas de aquella región. Analizaremos las exposiciones individuales y colectivas, el coleccionismo público y privado, la acción institucional, el papel de las galerías de arte y la incidencia de la crítica de arte.
Palabras clave: Arte Latinoamericano, coleccionismo, exposiciones, XX, Estados Unidos.
AbstractThis text considers the presence of Latin American art in the United States from 1920 to 1990 with the so called Latin American art market boom. Our goal is to present in a synthetic way different moments that marked the artistic links between Latin America and the United States, especially the presence, in this country, of artists from Latin America. We will analyze individual and collective exhibitions, public and private collecting, institutional action, the role of art galleries and the incidence of art criticism.
Keywords: Latin American Art. collecting. exhibitions. XX. United States.
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Tolvaisas, Tomas. "Cold War “Bridge-Building”: U.S. Exchange Exhibits and Their Reception in the Soviet Union, 1959–1967." Journal of Cold War Studies 12, no. 4 (October 2010): 3–31. http://dx.doi.org/10.1162/jcws_a_00068.
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Following the presentation of the American National Exhibition in Moscow in 1959, nine exhibits organized by the United States Information Agency traveled in the Soviet Union from 1961 to 1967. This article discusses the aims, preparation, content, and reception of these exhibits, which attracted more than five million visitors and provoked diverse reactions. The exhibitions and their guides served as a unique form of communication with Soviet citizens, informing them about U.S. achievements and freedoms and the American way of life. The initiatives offset Soviet Communist propaganda, advanced popular understanding of the United States, and promoted popular goodwill toward Americans. The low-key interactions between the guides and the visitors shed valuable light on the mindset and experiences of ordinary citizens in the USSR, who were a major target audience of these exhibitions, and also, more broadly, on U.S. public diplomacy during the Cold War.
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Goff, Sheila, Betsy Chapoose, Elizabeth Cook, and Shannon Voirol. "Collaborating Beyond Collections: Engaging Tribes in Museum Exhibits." Advances in Archaeological Practice 7, no. 3 (May 28, 2019): 224–33. http://dx.doi.org/10.1017/aap.2019.11.
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AbstractThere has been—and continues to be—tension between Native peoples and museums in the United States due to past collecting practices and exhibitions that strive to interpret their culture and history without their involvement. Previously, many of these exhibitions stereotyped and lumped Native peoples together, depicting their cultures as static and interpreting them and their material culture from a Western scientific perspective. Changes are being made. Collaboration between Native peoples and museums in all areas of museum work, including exhibitions, is beginning to be considered by many as a best practice. Exhibitions developed in collaboration with Native peoples, with shared curatorial authority, decidedly help ease the historic tension between the two, and they are much more vibrant and accurate than when collaboration is lacking. This article will provide three examples of collaboration, defined with our tribal partners, to develop exhibitions at History Colorado, the state history museum, concluding with lessons learned.
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Xu, Min. "Chinese art: A survey of collections and research materials in the United States." Art Libraries Journal 39, no. 2 (2014): 43–47. http://dx.doi.org/10.1017/s0307472200018319.
Повний текст джерелаАнотація:
During the 20th century a range of museums in the United States were engaged in acquiring Chinese art objects, developing major collections of painting and calligraphy, ancient bronze, Buddhist sculpture, ceramics and other decorative arts. Research materials on Chinese art have been collected by art libraries in major museums and the East Asian libraries of the main research universities. The author surveys significant Chinese art collections in museums and research libraries in the United States today.
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Sharpe, Leslie. "Beak Disorder: A Sound and Sculpture Installation." Leonardo 51, no. 3 (June 2018): 287–88. http://dx.doi.org/10.1162/leon_a_01535.
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This paper discusses Leslie Sharpe’s sound and sculpture installation project “Beak Disorder,” exhibited at Manizales, Columbia for Balance-Unbalance 2016. The work addresses how anthropogenic climate change may be affecting birds in the Pacific Northwest regions of Canada and the United States. “Beak Disorder” is a project that references an unexplained condition documented in birds in the Northwest of Canada and Alaska called “avian keratin disorder” where the bird’s beak becomes distorted and elongated. The work includes a series of 3D printed distorted beaks as well as a sound piece and web component.
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Sánchez Arteaga, Juanma, and Charbel Niño El-Hani. "Physical anthropology and the description of the 'savage' in the Brazilian Anthropological Exhibition of 1882." História, Ciências, Saúde-Manguinhos 17, no. 2 (June 2010): 399–414. http://dx.doi.org/10.1590/s0104-59702010000200008.
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This paper discusses attempts to popularize scientific knowledge about anthropology through exhibitions of natives in the United States and Brazil from the nineteenth century to the beginnings of the twentieth century. In the First Brazilian Anthropological Exposition (Rio de Janeiro, 1882), a group of Botocudos was characterized in a manner that can be related to the reification of the myth of the savage, an important part of the European culture that played a significant role in the construction of anthropological knowledge in the nineteenth century. From the analyses of such exhibitions, we derive implications for science popularization and education, concerning the ideological undertones of scientific knowledge.
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Altman, Dana. "Contemporary Romanian Art in the United States." American, British and Canadian Studies Journal 22, no. 1 (August 15, 2014): 87–93. http://dx.doi.org/10.2478/abcsj-2014-0023.
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Abstract The article discusses the recent international interest in contemporary Romanian art and its growth in market share, with a focus on the United States. The theme is followed thorough in numerous museum exhibitions, increased collector following, art fair presence, gallery representation and auction activity initially in Europe and the United States. The phenomenon is discussed both in the context of the larger international movement conducive to the contemporary art price bubble, and in that of the local socio-economic changes. My chief interest lies in the factors leading up to the entry of post 1989 Romanian art in the global arena as a manifestation of market forces in the field. The analysis follows its grass roots local emergence through non-profit institutions, individual artists, small publications, low budget galleries, as well as the lack of contribution (with few notable exceptions) of state institutions, while pointing out the national context of increasing deregulation of social support systems resulting in lack of focus on cultural manifestations. The conclusion is that the recent ascent of contemporary Romanian art (and coincidentally, the award winning contemporary Romanian cinematography) is a fortuitous convergence of various factors, among which, increased international mobility and sharing. At the same time, it is also the result of the evolution of various individual artists that pursued a form of art rooted in Romanian artistic tradition but with a focus on the symbolic figurative. The result is a personal semiotics of raising the mundane to extraordinary levels that reconfigured the anxiety of entering a new system into an unmistakable and lasting visual language.
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Simpson, Pamela H. "Butter Sculpture: The History of an Unconventional Medium." Sculpture Review 68, no. 4 (December 2019): 40–59. http://dx.doi.org/10.1177/0747528420901917.
Повний текст джерелаАнотація:
With its roots in ancient food molds and table art for Renaissance banquets, butter sculpture in the United States debuted during the centennial and flourished in the first quarter of the twentieth century. As the dairy industry moved from farm to regional cooperative creameries and eventually to national brands, butter sculpture appeared at fairs and expositions. Both amateur and professional sculptors used this unusual medium for busts and portraits, dairy-related subjects, and models of buildings. The ephemeral nature of the medium and the novelty of food as art drew crowds to exhibits advertising butter as the natural, healthy alternative to oleomargarine.
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Mansbach, Steven. "Delayed Discovery or Willful Forgetting? The Reception of Polish Classical Modernism in America." Slavic Review 71, no. 3 (2012): 489–515. http://dx.doi.org/10.5612/slavicreview.71.3.0489.
Повний текст джерелаАнотація:
Polish modern art was collected by leading figures within America's cultural vanguard. Most prized the art's stylistic innovation; they were likely unaware of the ideological charge that animated modernism's makers. By the end of the 1930s, numerous exhibitions of Polish art had been mounted in the United States; however, few concentrated on strikingly innovative works, preferring instead traditional themes, genres, and styles. Nonetheless, Poland's modernist efforts garnered popular success at the New York World's Fair of 1939. The modern art from other central and eastern European nations was actively promoted by its makers, who had immigrated to the United States. Poland's modern art did not benefit from a similar presence, its modernists having mostly elected to remain in their native land. The paucity of Polish artists in 1930s America compromised their chance to exercise an influential role just as the United States was consolidating an international canon of modern art.
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Hartmann, Julia. "From gunshots to hashtags: Transcultural curating in the #MeToo era." Journal of Contemporary Chinese Art 9, no. 3 (November 1, 2022): 333–51. http://dx.doi.org/10.1386/jcca_00070_1.
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After the #MeToo movement kicked off in the United States in 2018, it found its way to China and has triggered a number of exhibition projects around the country, organized by young activists, artists and curators, which have galvanized transnational feminist exchanges in the past few years. The article analyses exhibitions such as The Voiceless Rise Up: #MeToo in China, Her Story: Eliminating Gender Violence 2020, Above Ground: 40 Moments of Transformation and Stand by Her, which consisted of works documenting sexual assault and the #MeToo movement in China, as well as of artworks that are dealing with issues concerning sexual assault, the One Child Policy, motherhood, queerness and empowerment. These exhibitions and the #MeToo movement, respectively, demonstrate a growing transnational interconnectedness among activists fighting towards common feminist goals. What is more, these exhibitions are under constant scrutiny and fear of being cancelled, which is evidence of an exhaustive struggle for the official acceptance of women’s rights and ‘radical’ artworks. This article gives an overview of these projects, their transnational interconnectedness, as well as their perception and reaction of the general public, the press and censors. The article argues for a shift from women-centred exhibitions to exhibitions with a strong activist/feminist agenda that are also part of an unprecedented transnational framework.
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LEAL, JOSÉ H., and M. G. HARASEWYCH. "Tractolira delli, a new Volutidae (Mollusca: Gastropoda: Neogastropoda) from the abyssal plains off Antarctica." Zootaxa 1071, no. 1 (October 28, 2005): 39. http://dx.doi.org/10.11646/zootaxa.1071.1.3.
Повний текст джерелаАнотація:
A new deep-sea species of Volutidae in the genus Tractolira is named from material collected by the United States Antarctic Program in and around the Ross Sea, eastern Antarctica, and from one locality in the Subantarctic region. Tractolira delli new species is most similar to T. sparta Dall, 1896, from which it differs in having a relatively wider shell, less prominent spiral sculpture, with narrower threads, and by the absence of strong axial ribs at least on the first three teleoconch whorls. The other Antarctic congener, Tractolira germonae, has a thicker, dark-brown periostracum (instead of a thin, light-yellow one), a proportionally smaller inductura, and lacks surface sculpture.
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Zeng, Cheng, Yanzhe Tang, Diyako Rahmani, Stephen Croucher, and Leona K. Gilbert. "The sculpture of tick-borne disease media coverage in the United States and China." Journal of Intercultural Communication 18, no. 3 (November 10, 2018): 1–13. http://dx.doi.org/10.36923/jicc.v18i3.770.
Повний текст джерелаАнотація:
Media’s ability to enhance the salience of certain topics for the public and affect governmental policy-setting processes is widely recognized. This is particularly evident in health communication, where newspapers are one of the most important sources of health information. This study compares media depictions of tick-borne disease in the United States and China. Both countries are experiencing an increase in tick-borne diseases and have vastly different media landscapes. To investigate US and Chinese newspaper coverage of tick-borne diseases, a content analysis was conducted of four US and four Chinese newspapers. The analysis considered length, tone, chief actors, and themes present in articles covering tick-borne diseases from 2010-2015. The findings reveal significant differences between the two nations on length of the articles, chief actors portrayed in the articles, and themes present in the articles. The data also show: tick-borne disease stories were overwhelmingly framed in a neutral way in both nations; newspapers in the US featured more celebrity-related stories compared to newspapers in China; and US stories as opposed to those in China focused more on health policies.
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Reed, Jeri L. "The Corn King of Mexico in the United States: A South-North Technology Transfer." Agricultural History 78, no. 2 (April 1, 2004): 155–65. http://dx.doi.org/10.1215/00021482-78.2.155.
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Abstract The activities of Mexican banker and hacendado Zeferino Dominguez in the early twentieth century raise questions about the assumption that Mexico was merely the beneficiary of modern agricultural science developed in the United States. Dominguez was a banker and large landowner who turned his haciendas into private agricultural experiment stations, conducting research on better methods of growing corn, cotton, wheat, and beans with the labor of his peones. He shared his results through lecture tours and published works in Mexico and traveled extensively in the United States, speaking to groups of farmers and agricultural scientists about his methods of dry farming and corn propagation. He exhibited at agricultural fairs and exhibitions, attended Farmers’s Institutes and conferences, and published a manual for use by average American farmers. Like many agricultural reformers in the United States, he addressed the problems of rural poverty and land concentration not with socialism, but with visions of a Mexico filled with small, capitalistic, home-owning farmers producing with scientific methods and business efficiency.
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Castañeda, Luis M. "Kubler's Sarcophagus: Cold War Archaeologies of the Olmec Periphery." ARTMargins 4, no. 1 (February 2015): 3–26. http://dx.doi.org/10.1162/artm_a_00103.
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This article examines conflicting racial, archaeological and art historical interpretations of Olmec art produced in the United States in the early 1960s. It inscribes shifting approaches to the study of monumental Olmec art by figures like George Kubler within the contexts of violent modernization of the Olmec ‘heartland’ of Veracruz and Tabasco, the politicized display of this artistic tradition in museums and traveling exhibitions, and the unstable horizons of U.S.-Mexico diplomatic relations during that period.
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de Ceglia, Francesco Paolo. "The Importance of Being Florentine: A Journey around the World for Wax Anatomical Venuses." Nuncius 26, no. 1 (2011): 83–108. http://dx.doi.org/10.1163/182539111x569775.
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AbstractThis article reconstructs the 19th century history of events regarding a few female wax anatomical models made in Florence. More or less faithful copies of those housed in Florence's Museum of Physics and Natural History, these models were destined for display in temporary exhibitions. In their travels through Europe and the United States, they transformed the expression "Florentine Venus" into a sort of brand name used to label and offer respectability to pieces of widely varying quality.
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Topinka, Daniel, and Jakub Havlíček. "Politika identit v čínských enklávách amerických měst: muzejní narace." HISTORICKÁ SOCIOLOGIE 15, no. 1 (May 24, 2023): 73–88. http://dx.doi.org/10.14712/23363525.2023.6.
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This text deals with ethnopolitical identities as presented to visitors to Chinese enclaves by their inhabitants themselves in museums of Chinese enclaves in the United States. We focus on three locations: San Francisco, New York, and Chicago. The text briefly introduces the history of Chinese immigration and the establishment of the Chinese as a minority within the American nation. It focuses on the content of the permanent exhibitions, it describes and analyzes the forms of representing Chinese identities in these museums. At a theoretical level, we draw on the concept of identity politics. We apply a syntagmatic approach, using a method of narrative analysis of the exhibitions, comparing the sequential development of the museum narrative in the order it is intended to be presented to museum visitors. We identify the various elements of the design of the exhibitions and the themes presented. Our research was conducted during field trips of the authors between 2013–2019. The exhibitions come with a so-called canonical narrative that is linearly conceived and introduces the “harmony” of Chinese and American identities. The canonical narrative is coherently and logically conceived, the presented themes support the whole narrative. The canonical narrative illuminates the presence of Chinese immigrants as a journey from exclusion to full emancipation and recognition of their equality, with reference to cultural specifics of Chinese sociocultural identities.
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Vamanu, Iulian. "Indigenous Museum Curatorship in the United States and Canada: Roles and Responsibilities." Libri 70, no. 1 (March 26, 2020): 65–79. http://dx.doi.org/10.1515/libri-2018-0155.
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AbstractIndigenous curatorship has become an increasingly visible presence in the public sphere as part of the long process of North American Native people’s efforts to regain control over the representations and uses of their cultures in Western societies. Even though scholars consider this profession fundamental to Native American struggles for sovereignty, many do not have a clear understanding of what it involves. In the context of scarce scholarship on Indigenous curatorship, this qualitative study relies on interview and textual data to articulate Indigenous curators’ understandings of their work of preserving and promoting Indigenous knowledge. It emphasizes the uniqueness of Indigenous curatorship by mapping out this profession’s specific roles and responsibilities within the broader arena of museum curatorship. The study identifies two main directions Indigenous curators take in their work, namely activism and engagement of the public. Activism consists in Indigenous curators’ efforts to critique oppressive knowledge structures, raise awareness of controversial topics of public interest related to Indigeneity, and support Native artists and tribal communities. Engagement of the public refers to Indigenous curators’ strategies of involving source communities in the design of exhibits and diverse audiences in the interpretation of exhibitions.
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Folan, Lucie. "Wisdom of the Goddess: Uncovering the Provenance of a Twelfth-Century Indian Sculpture at the National Gallery of Australia." Collections: A Journal for Museum and Archives Professionals 15, no. 1 (March 2019): 5–41. http://dx.doi.org/10.1177/1550190619832383.
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The history of Prajnaparamita, Goddess of Wisdom, a twelfth-century Indian Buddhist sculpture in the National Gallery of Australia collection, has been researched and evaluated through a dedicated Asian Art Provenance Project. This article describes how the sculpture was traced from twelfth-century Odisha, India, to museums in Depression-era Brooklyn and Philadelphia, through dealers and private collectors Earl and Irene Morse, to Canberra, Australia, where it has been since 1990. Frieda Hauswirth Das (1886–1974), previously obscured from art-collecting records, is revealed as the private collector who purchased the sculpture in India in around 1930. Incidental discoveries are then documented, extending the published provenance of objects in museum collections in the United States and Europe. Finally, consideration is given to the sculpture’s changing legal and ethical position, and the collecting rationales of its various collectors. The case study illustrates the contributions provenance research can make to archeological, art-historical, and collections knowledge, and elucidates aspects of the heterodox twentieth-century Asian art trade, as well as concomitant shifts in collecting ethics.
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Gardner, James B. "Trust, Risk and Public History: A View from the United States." Public History Review 17 (December 22, 2010): 52–61. http://dx.doi.org/10.5130/phrj.v17i0.1852.
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In the public history and museum communities today there is much difference of opinion over the concept of ‘radical trust,’ which basically argues for us to give up control and trust the public to develop content for our websites and exhibitions and provide direction for our work. Most public historians and curators are happy to share authority with the public, but are we now expected to yield all authority? Are we now taking historian Carl Becker’s well-known phrase ‘everyman his own historian’ and updating it to ‘every person his or her own curator’? What is the role of historical knowledge in a world of opinion? Unfortunately, at the same time that many of us are embracing risk online, in a world we have little control or even influence over, we seem to be stepping back from risk taking in our museums, on our own turf. We’ve become risk averse—afraid to make mistakes, afraid of trying new approaches and tackling the historically controversial or the ambiguous. Rather than the ‘safe place for unsafe ideas’ that Elaine Gurian proposed, we have become no more than safe places for safe ideas. We need to push back on both fronts. Public historians should be thought leaders, not followers—not wait to see what the future holds for us but rather try to shape that future.
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Sciulli, David. "Professions before Professionalism." European Journal of Sociology 48, no. 1 (April 2007): 121–47. http://dx.doi.org/10.1017/s0003975607000318.
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For over seventy years the sociology of professions has revolved around empirical generalizations drawn from four modern exemplars of nineteenth century Britain and United States: law and medicine, science and engineering. We identify qualities constitutive of professionalism in an occupation during the ancien regime, on the Continent, and in a field unrelated to the four just noted: seventeenth century French painting and sculpture. These constitutive qualities point to the significance of a distinctively structural and institutional approach to the sociology of professions.
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Gradinskaitė, Vilma. "In Search of Missing Collection: The Case of Artist Albert Rappaport." Art History & Criticism 17, no. 1 (November 15, 2021): 31–42. http://dx.doi.org/10.2478/mik-2021-0003.
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Summary The artist Albert Rappaport was born in Anykščiai in 1898. In 1911, the family emigrated to New York. Rappaport became an American citizen in 1925 and began to travel widely. He studied fine art in New York, Paris, Dresden and Munich. He visited South America, Africa and traveled extensively through Europe (1925–1927, 1933, 1937–1939), returning to the United States now and again. The artist participated in several dozen exhibitions. He showed his work in Paris, Rome, Florence, Barcelona, Palma de Mallorca, Copenhagen, Mexico City, Havana, New York, Calgary and Montreal, in addition to his solo exhibitions in 1937 in Warsaw and Vilnius, and in Kaunas, Riga and Tallinn in 1938. After Rappaport’s death, in March 17, 1969 in Montreal, his collection of artworks disappeared and has thus far not been found. To date, two of his painted portraits are known to exist – one belongs to the private collection of Jonathan C. Rappaport, another is on display at the Jewish Public Library in Montreal.
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Mount, Sigrid Docken. "Evolutions in exhibition catalogues of African art." Art Libraries Journal 13, no. 3 (1988): 14–19. http://dx.doi.org/10.1017/s0307472200005769.
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Since their appearance in the early 20th century, catalogues prepared for exhibitions of African art have undergone a gradual transformation. Beginning as mere checklists many of these publications have, in the 1970s and 80s, evolved into major scholarly works whose significance transcends their original purpose as guides to the exhibitions. Changes occurring over the years are traced through examination of the form and content of representative catalogues and by review of the reception by art historians of many of these works into the corpus of literature of African art. The growing importance of exhibition catalogues as important art historical documents is also demonstrated by a chronological analysis of bibliographic citations in the major scholarly journal of African art in the United States. Finally, scrutiny of sources and annotations included in an important bibliographic guide to the literature of African art indicates how firmly established the exhibition catalogue has become as one of the most important publication forms for the dissemination of scholarly writing on African art.[This paper won the ARLIS/NA Gerd Muehsam Award for 1986. We hope to publish a sequel in a future issue, on exhibitions of African art in Africa and the development of catalogues written by Africans. Editor].
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Mitchell, Richard E., and Cornelius C. Vermeule. "Greek and Roman Sculpture in America: Masterpieces in Public Collections in the United States and Canada." Journal of Aesthetic Education 21, no. 4 (1987): 158. http://dx.doi.org/10.2307/3332842.
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Sinelnyk, Alina. "Curating the international profile of contemporary Chinese ink medium art: The Third Chengdu Biennale (2007) and The Met’s Ink Art (2013–14)." Journal of Contemporary Chinese Art 9, no. 3 (November 1, 2022): 289–312. http://dx.doi.org/10.1386/jcca_00068_1.
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This article aims to shed light on a curatorial momentum that was generated at the turn of the 2010s in the broader international art world, allowing contemporary Chinese ink works for the first time within the context of the new century to have a more geographically widespread spotlight of attention under a dual label of the Indigenous and the international. Indeed, in the run up to the 2008 Beijing Olympic Games, the curatorial approach to ink art in both China and North America and Europe began to change, emphasizing not only ink’s cultural uniqueness but also its transcultural applicability. The pioneering event to do this was the Third Chengdu Biennale in China, following which there was a noticeable escalation in similar exhibitions across countries like the United States or the United Kingdom. These ranged from the ground-breaking Ink Art: Past as Present in Contemporary China (2013–14) at New York’s Metropolitan Museum of Art (The Met) to exhibitions at international auction houses and commercial galleries, such as Christie’s or the London-based Saatchi Gallery. By focusing on the Third Chengdu Biennale and The Met’s Ink Art exhibition as the two case-study examples, this article elucidates in what specific ways present-day Chinese ink works were framed by these two significant internationally oriented exhibitions, as well as what kind of critical reception this attracted. Drawing from this analysis, the article also provides a reflection on this curatorial momentum’s both achievements and limitations, suggesting that altogether they present an important foundation for present-day curators to devise new constructive ways of positioning Chinese ink as the global contemporary medium of artistic expression.
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Altinoba, Buket. "‘Anybody can do sculpture, it is purely mechanical’: Harriet G. Hosmer and the relation between sculpture, reproduction and machine invention." Sculpture Journal 33, no. 1 (March 2024): 29–46. http://dx.doi.org/10.3828/sj.2024.33.1.03.
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This article examines the work of Harriet Goodhue Hosmer, focusing on her unique approach to sculpture in the context of evolving ideologies and technological advances in the nineteenth century. The various facets of her life and career, shaped by the collaborative nature of sculpture making in this period, shed light on her identity as both a sculptor and inventor. Hosmer’s work and aspirations to be a harbinger of a new status for women that celebrated female strength and power can be seen against the backdrop of several nineteenth-century freedom movements, but also the emergence of spiritualism in the United States. Exploring invention, authorship and reproduction and revealing the processes of making sculpture in different sizes and materials, this article also incorporates notions of gender by discussing Hosmer and her goal of creating surrogates and machine inventions, considering the mutual interaction of body and technology. Hosmer’s success and her dedication to inventions is drawn out alongside the challenges she faced as a female sculptor in a male-dominated field. Drawing on Gilbert Simondon’s insights into invention, the article suggests that Hosmer’s commitment to invention and the ownership of her creations not only established her as a professional inventor, but also secured her an enduring place in the history of art and science.
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Anna, Emma. "ACT_VISION." Journal of Public Space 7, no. 3 (December 31, 2022): 143–56. http://dx.doi.org/10.32891/jps.v7i3.1593.
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This paper takes the form of personal memoir as a reflection on art in the public domain and a means by which to re-tell the conceptual development and evolution of IMAG_NE, a concrete poem and public sculpture. The concept was first developed for my Masters of Arts (Art in Public Space) at RMIT University. Initially an aid to assist my own personal creative evolution, the artwork has now toured as an ephemeral installation to communities across Australia, New Zealand, Europe and the United States of America and has been widely used as a tool to promote community initiatives and collective visioning. Joseph Beuys’s theories of a “social sculpture” are drawn upon as a conceptual framework to underpin IMAG_NE and its agenda to promote individual and societal change. The power of the human imagination is evoked in an ongoing conference with a broad range of sites, communities and individuals. The impact of IMAG_NE is demonstrated through key examples including its appearance at numerous large public sculpture festivals and significant cultural sites. Recent developments surrounding the work’s presence in the Central Coast community of New South Wales, Australia, provides further evidence of the work’s importance and impact, and motivation for the continuation of the project into the post-Covid 19 pandemic era.
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Mehring, Frank. "Advancing American Art and Intercultural Confrontations in Germany, 1945–1948." International Journal for History, Culture and Modernity 7, no. 1 (November 2, 2019): 971–90. http://dx.doi.org/10.18352/hcm.594.
Повний текст джерелаАнотація:
This article critically addresses the multivalent function of American art exhibitions in the period of de-Nazification and re-democratization. What kind of cultural and political parameters shaped the perception of American Art in Germany during the early post-war years? I investigate intercultural confrontations surrounding the project of advancing American art and the critical response of German audiences by first looking at the exhibition Advancing American Art from 1947. I then analyze the role of the transatlantic cultural mediator Hilla von Rebay to understand developments in the German perspective on American art. The German-born artist von Rebay emigrated in 1927 to the United States and organized the German tour of Zeitgenössische Kunst und Kunstpflege in U.S.A. (Contemporary Art and the Promotion of Arts in the U.S.A.) authorized by the Office of Military Government, United States (OMGUS) in 1948. The project of ‘advancing American art’ resembles a struggle with many setbacks due to lack of official support and finding a larger public in the early years after World War II.
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Rafiei Vardanjani, Ahmad. "United States Economic Sanctions on Iran and Their Impacts on the Middle Eastern Art Market." Arts 9, no. 4 (December 18, 2020): 132. http://dx.doi.org/10.3390/arts9040132.
Повний текст джерелаАнотація:
The United States’ sanctions on Iran have limited the Iranian art market’s connections with the international art network. Galleries try to compensate for such limitations through online marketing and exhibition. Thus, the sanctions not only impact the form of marketing exerted by dealers but also directly influence the type of artistic production. Such changes also reshape the art market in the Arab states. The transition from tangible to intangible has become a strategy for the regional market to bypass the sanctions and develop business with the global collectors and institutions. A quantitative analysis was used to demonstrate the impact of the sanctions on the art market in Iran and the United Arab Emirates. This analysis examined all exhibitions in 12 commercial galleries in Tehran and Dubai from 2009 to 2019, statistically assessing the index of changes over this period and calculating the variations, particularly during the years of intensified sanctions. The study indicates how the propensity of galleries for a digitally networked economy is becoming a solution to reduce the impacts of the sanctions in order for the galleries to maintain their clientele of international collectors and dealers.
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Balaghi, Shiva. "A Crooked Path through History: Iranian Exile Art." Social Research: An International Quarterly 91, no. 2 (June 2024): 687–706. http://dx.doi.org/10.1353/sor.2024.a930764.
Повний текст джерелаАнотація:
ABSTRACT: By tracing the relationship between the work and the world, Iranian exile art reveals alternative perspectives on key historical moments, from the 1953 coup to the current climate crisis. The artists Siah Armajani, Nicky Nodjoumi, Shirin Neshat, Simin Keramati, Arghavan Khosravi, Pouran Jinchi, and Gelare Khoshgozaran emigrated from Iran between 1960 and 2012. Through a range of media—from painting to sculpture, from political posters to film—these artists have developed a distinct visual language to convey their own exilic experience. Mapping this art offers a cartography of exile shaped by the fraught, overlapping histories of Iran and the United States.
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Dergacheva, V. E., and Yu G. Chernyshov. "The Caribbean Crisis in the Memory Politics of the USSR (Russia) and the United States: Comparative Characteristics." Izvestiya of Altai State University, no. 6(116) (December 18, 2020): 22–28. http://dx.doi.org/10.14258/izvasu(2020)6-03.
Повний текст джерелаАнотація:
This paper discusses and compares two national versions of memory politics (Soviet/Russian and American versions) in the context of the Caribbean crisis, one of the most resonant events of the Cold war. The paper describes how each country interprets the Caribbean crisis in the context of the changes that took place in the international arena and in domestic political life. The main methods of memory politics implementation that are typical for each of the parties to the conflict are analyzed. An attempt is made to identify common approaches to memory politics implementation and distinctive features specific to each of the parties. The authors pay special attention to the coverage of the Caribbean crisis in schoolbook, in declassified archival documents, in museum exhibitions and memorials dedicated to the history of geopolitical and ideological confrontation between the two superpowers. The paper describes the areas where the policy in question is most often applied. The issue of how the memory politics was related to the evolution of the identities of the two states during the Cold war and after its end is also touched upon.
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Cochran, Hannah J., Angela M. Bosco-Lauth, Franklyn B. Garry, I. Noa Roman-Muniz, and Jennifer N. Martin. "African Swine Fever: A Review of Current Disease Management Strategies and Risks Associated with Exhibition Swine in the United States." Animals 13, no. 23 (November 30, 2023): 3713. http://dx.doi.org/10.3390/ani13233713.
Повний текст джерелаАнотація:
African swine fever is a high-consequence foreign animal disease endemic to sub-Saharan Africa and the island of Sardinia. The U.S. is the world’s third largest pork producer, and ASF introduction would severely disrupt the pork supply chain, emphasizing the need to protect market access for U.S. proteins. However, niche producers raising swine intended for exhibition may not follow stringent biosecurity protocols, and livestock show circuits may promote untracked animal movement across the country, potentially exacerbating virus’ spread in the event of ASF incursion into the U.S. Youth membership in state or national swine organizations offers a route for outreach and educational activities to enhance foreign animal disease preparedness, and adult presence at swine exhibitions allows a wide variety of programming for all ages to better serve all levels of understanding.