More than 25 years of AKMB-news: one way to reflect the work within art and museum libraries

2021 ◽  
Vol 46 (4) ◽  
pp. 104-108
Author(s):  
Margret Schild
Keyword(s):  
Founding Member ◽  
The Arts ◽  
History Of

AbstractThis article describes some important steps within the history of the journal AKMB-news, published in cooperation with the board of the AKMB, and dedicated to subjects of the day-to-day work: information about the arts, museums and libraries. The author is founding member of the AKMB and a member of its editorial board since 1995.

Roger LeTourneau, 1907–1971

1972 ◽  
Vol 3 (3) ◽  
pp. 361-363 ◽  
Author(s):  
Edmund Burke
Keyword(s):  
United States ◽  
North Africa ◽  
Middle Eastern ◽  
Active Role ◽  
The United States ◽  
Founding Member ◽  
Middle Eastern Studies ◽  
History Of ◽  
Middle East Studies

On 7 April 1971 Professor Roger LeTourneau died unexpectedly at Aix-en-Provence following routine surgery. A founding member of the Middle East Studies Association of North America, and a member of the editorial board of the International Journal of Middle Eastern Studies, Professor LeTourneau had for over a decade taken an active role in encouraging the development of Middle Eastern Studies in the United States, especially in the growth of his field of specialization, the history of North Africa. His influence, both personal and professional, and his contribution to scholarship were exceptional.

Klimt, Gustav (1862–1918)

2018 ◽  
Author(s):  
Sharon Jordon
Keyword(s):  
Modern Art ◽  
Art Museum ◽  
Turn Of The Century ◽  
Arts And Crafts ◽  
The Public ◽  
Founding Member ◽  
The Arts ◽  
Imperial Court ◽  
Gustav Klimt ◽  
History Of

Gustav Klimt had an indelible influence on the artistic and cultural innovations that occurred in Vienna at the turn of the century. He was a founding member and public figurehead for the city’s Secession, an organization responsible for exhibitions that introduced the public to the latest developments in European modern art. His associations with leading members of the city’s cultural and intellectual elite, and his collaborations with leading artists, architects, and designers resulted in many important artworks. In 1876, at age 14, Klimt enrolled at the recently founded Kunstgewerbeschule (Imperial and Royal School of Applied Arts and Crafts), where he spent seven years. Klimt soon established his reputation for large paintings in public buildings as part of the redevelopment of the Ringstrasse: a series on the history of theatre for the new Burgtheater (Imperial Court Theatre), 1886–1888, was followed by murals in the Kunsthistorisches Museum (Art Museum), 1891, featuring female personifications of the arts of ancient cultures, showing Klimt’s growing interest in women as a primary subject in his work. Klimt received the Emperor’s prize for his realist painting Auditorium Theatre (1888), which includes more than 100 portraits of leading Viennese citizens making up the theatre’s audience.

Introduction: Emotion, History and the Arts

2018 ◽  
Vol 7 (2) ◽  
pp. 117-128 ◽  
Author(s):  
Erin Sullivan ◽  
Marie Louise Herzfeld-Schild
Keyword(s):  
Historical Change ◽  
Carson Mccullers ◽  
Emotional Life ◽  
Review Section ◽  
The Arts ◽  
Wide Range ◽  
War Correspondents ◽  
History Of ◽  
Johan Huizinga

This introduction surveys the rise of the history of emotions as a field and the role of the arts in such developments. Reflecting on the foundational role of the arts in the early emotion-oriented histories of Johan Huizinga and Jacob Burkhardt, as well as the concerns about methodological impressionism that have sometimes arisen in response to such studies, the introduction considers how intensive engagements with the arts can open up new insights into past emotions while still being historically and theoretically rigorous. Drawing on a wide range of emotionally charged art works from different times and places—including the novels of Carson McCullers and Harriet Beecher-Stowe, the private poetry of neo-Confucian Chinese civil servants, the photojournalism of twentieth-century war correspondents, and music from Igor Stravinsky to the Beatles—the introduction proposes five ways in which art in all its forms contributes to emotional life and consequently to emotional histories: first, by incubating deep emotional experiences that contribute to formations of identity; second, by acting as a place for the expression of private or deviant emotions; third, by functioning as a barometer of wider cultural and attitudinal change; fourth, by serving as an engine of momentous historical change; and fifth, by working as a tool for emotional connection across communities, both within specific time periods but also across them. The introduction finishes by outlining how the special issue's five articles and review section address each of these categories, while also illustrating new methodological possibilities for the field.

Reuniting the Arts: Notes on the History of an Idea

1994 ◽  
Vol 18 (1) ◽  
pp. 3-9 ◽  
Author(s):  
Wolfgang Domling
Keyword(s):  
The Arts ◽  
History Of

“The Fumes of Polonism and the Stench of Herzenism”: “Vestnik Zapadnoy Rossii” Against Class Revolution and Clas Reaction

2020 ◽  
Vol 58 ◽  
pp. 118-134
Author(s):  
Aleksandr E. Kotov
Keyword(s):  
Short History ◽  
South West ◽  
The People ◽  
History Of ◽  
Stereotypical Image

The journal of Ksenofont A. Govorsky “Vestnik Yugo-Zapadnoy I Zapadnoy Rossii” (“South-West and West Russia Herald”) is known in the history of pubic thought as odious and reactionary. However, this stereotypical image needs some revision: the anti-Polish discourse on the pages of the magazine was not so much nationalistic as anti-aristocratic in nature. Considering the “Poles” primarily as carriers of the aristocratic principles, the editorial board of the magazine claimed to protect the broad masses of the people. Throughout its short history, the magazine consistently opposed both revolutionary and aristocratic propaganda. However, the regional limitations of the problems covered in the magazine did not give it the opportunity to reflect on the essential closeness of the revolutionary and reactionary principles. Yu.F. Samarin and I.S. Aksakov – whose conservative-democratic views, on the whole, were close to “Western Russianism”, promoted by the authors of “Vestnik Yugo-Zapadnoy I Zapadnoy Rossii”, managed to reach that goal.

Conclusion

2017 ◽  
Author(s):  
Andrea Harris
Keyword(s):  
New York ◽  
Twentieth Century ◽  
New York City ◽  
Driving Force ◽  
George Balanchine ◽  
Current State ◽  
The Arts ◽  
History Of ◽  
Lincoln Center

The Conclusion briefly examines the current state of the New York City Ballet under the auspices of industrial billionaire David H. Koch at Lincoln Center. In so doing, it to introduces a series of questions, warranting still more exploration, about the rapid and profound evolution of the structure, funding, and role of the arts in America through the course of the twentieth century. It revisits the historiographical problem that drives Making Ballet American: the narrative that George Balanchine was the sole creative genius who finally created an “American” ballet. In contrast to that hagiography, the Conclusion reiterates the book’s major contribution: illuminating the historical construction of our received idea of American neoclassical ballet within a specific set of social, political, and cultural circumstances. The Conclusion stresses that the history of American neoclassicism must be seen as a complex narrative involving several authors and discourses and crossing national and disciplinary borders: a history in which Balanchine was not the driving force, but rather the outcome.

Impact of the 2020 crises on the arts and culture in the United States: The effect of COVID-19 and the Black Lives Matter movement in historical context

2020 ◽  
Vol 27 (4) ◽  
pp. 449-465
Author(s):  
Stanley N. Katz ◽  
Leah Reisman
Keyword(s):  
United States ◽  
Historical Context ◽  
The United States ◽  
Cultural Organizations ◽  
Black Lives Matter ◽  
The Arts ◽  
Arts And Culture ◽  
History Of ◽  
Cultural Sector ◽  
The Impact

AbstractThis article discusses the impact of the COVID-19 pandemic and the Black Lives Matter movement on the arts and cultural sector in the United States, placing the 2020 crises in the context of the United States’s historically decentralized approach to supporting the arts and culture. After providing an overview of the United States’s private, locally focused history of arts funding, we use this historical lens to analyze the combined effects of the pandemic and Black Lives Matter movement on a single metropolitan area – Philadelphia, Pennsylvania. We trace a timeline of key events in the national and local pandemic response and the reaction of the arts community to the Black Lives Matter movement, arguing that the nature of these intersecting responses, and their fallout for the arts and cultural sector, stem directly from weaknesses in the United States’s historical approach to administering the arts. We suggest that, in the context of widespread organizational vulnerability caused by the pandemic, the United States’s decentralized approach to funding culture also undermines cultural organizations’ abilities to respond to issues of public relevance and demonstrate their civic value, threatening these organizations’ legitimacy.

Hooke recommemorated

1996 ◽  
Vol 50 (1) ◽  
pp. 139-140
Keyword(s):  
Social Life ◽  
Royal Society ◽  
Early Years ◽  
Domestic Life ◽  
Robert Hooke ◽  
Arts And Sciences ◽  
Personal Interaction ◽  
The Arts ◽  
Christ Church ◽  
History Of

Richard Nichols, The Diaries of Robert Hooke, The Leonardo of London, 1635-1703 . Lewes, Sussex: The Book Guild, 1994, Pp. 185, £15.00. ISBN 0- 86332-930-6. Richard Nichols is a science master turned historian of science who celebrates in this book Robert Hooke’s contributions to the arts and sciences. The appreciation brings together comments from Hooke’s Diaries , and other works, on each of his main enterprises, and on his personal interaction with each of his principal friends and foes. Further references to Hooke and his activities are drawn from Birch’s History of the Royal Society, Aubrey’s Brief Lives , and the Diaries of Evelyn and of Pepys. The first section of the book, ‘Hooke the Man’, covers his early years of education at home in Freshwater, at Westminster school and at Christ Church, Oxford, where he soon joined the group of experimental philosophers who set him up as Curator of the Royal Society and Professor of Geometry at Gresham College, Bishopsgate. Hooke’s domestic life at Gresham College is described - his intimate relationships with a series of housekeepers, including his niece, Grace Hooke, and his social life at the College and in the London coffee houses.

Novel Approaches for Assessing the Preservation of Historic Silks: A Case Study of the First Ladies' Gowns

MRS Bulletin ◽  
1992 ◽  
Vol 17 (1) ◽  
pp. 39-44 ◽  
Author(s):  
Mary Becker ◽  
Noreen Tuross
Keyword(s):  
American History ◽  
The United States ◽  
National Museum ◽  
First Ladies ◽  
Current Conservation ◽  
Unique Challenge ◽  
Conservation Project ◽  
The Arts ◽  
History Of ◽  
Analytical Approaches

Friable natural products are often used in articles of personal adornment, and the perishable nature of these materials presents a unique challenge to museums. At the Smithsonian's National Museum of American History, a collection of gowns worn by the First Ladies of the United States is a popular display of historical and sentimental import. Opened to the public on February 1, 1914, fifteen gowns were displayed as part of a “Period Costumes“ exhibit in the U.S. National Museum (now known as the Arts and Industries Building). Within just a few years, the exhibit was recognized as “one of the most interesting and popular in the Museum.” A First Ladies' Hall was created in the mid-1950s to exhibit the gown collection in period room settings. This design theme continued when the Hall moved to the Museum of American History and Technology (now the National Museum of American History) in 1964. The First Ladies' Hall was closed for renovation in 1987, allowing the curatorial staff to reassess the collection's use and conservators to perform long overdue examinations and treatments. Reinstallation of the exhibit is scheduled for spring 1992.The First Ladies' conservation project includes a history of each gown's use and exhibition as related to its physical condition and also includes stabilization treatments to meet the demands of future display. The current conservation project provided an unusual opportunity for extensive research into fabric deterioration of a popular and important collection. The goals of the research are twofold: first, to determine each object's state of preservation by studying the effectivenss of several analytical approaches with minimal destructive sampling and, second, to begin investigating the mechanisms involved in the degradation of silk, the material predominant in this collection.

Introduction

Popular Music ◽  
2007 ◽  
Vol 26 (1) ◽  
pp. 1-4
Author(s):  
David Horn
Keyword(s):  
African American ◽  
Popular Music ◽  
International Association ◽  
Outstanding Contribution ◽  
Global Network ◽  
Founding Member ◽  
Vernacular Music ◽  
The World ◽  
Set Up

This issue of Popular Music is produced in honour of Paul Oliver, in recognition of his outstanding contribution to popular music scholarship.Paul was a member of the original Editorial Board for Popular Music when it was set up in 1980 and continued to serve as a member of that body, and subsequently of the Editorial Group, until 1990. He was also a founding member of the International Association for the Study of Popular Music and has maintained a keen interest in the organisation, continuing to attend, and speak at, its international conferences. His vision of both the potential and the needs of the Association as a global network lay behind his proposal in 1985 that a project be undertaken to compile a worldwide encyclopedia of popular music, an idea which subsequently bore fruit in EPMOW (The Encyclopedia of Popular Music of the World). All these achievements are worth celebrating in themselves, but it is Paul's outstanding contribution to scholarship in the area of vernacular – particularly African-American vernacular – music that we wish to honour with this issue.

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