The Evolution of Comics Art Exhibitions in the United States, 1930–1951

2020 ◽  
pp. 66-87
Author(s):  
Kim A. Munson
Keyword(s):  
United States ◽  
The United States ◽  
Art Exhibitions

The Challenges of Displaying “Asian American”: Curatorial Perspectives and Critical Approaches

2007 ◽  
Vol 5 (1) ◽  
pp. 12-32
Author(s):  
ShiPu Wang
Keyword(s):  
United States ◽  
Asian American ◽  
Financial Support ◽  
American Art ◽  
The United States ◽  
Community Leaders ◽  
Art Exhibitions ◽  
The Past ◽  
Critical Approaches ◽  
Racial Demographics

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.

REPRESENTATION OF HISTORY: CONTEMPORARY ART IN MUSEUMS OF CONSCIENCE

2020 ◽  
pp. 116-132
Author(s):  
Tat'yana Yu. Mironova ◽  
Keyword(s):  
United States ◽  
Contemporary Art ◽  
Historical Memory ◽  
The United States ◽  
Art Exhibitions ◽  
Holocaust Memorial ◽  
Memorial Museum ◽  
Holocaust Memorial Museum ◽  
Changing Attitudes ◽  
Historical Issues

Contemporary art more and more actively interacts with the nonartistic museums. For instance, biological, historical as well as anthropological museums become spaces for contemporary art exhibitions or initiate collaborative projects. This process seeks to link different types of materials to make the interaction successful. Thus, several questions appear: can we talk about interaction, if the museum becomes a place for the exhibition devoted to the topics of history, ethnography or biology? Does any appearance of contemporary art in the museum territory become a part of intercultural dialogue? And how do we assess and analyze the process of interaction between these two spheres? Among nonartistic museums working with contemporary art the museums of conscience appear to be one of the most interesting. This type of museums is quite new – it developed in 1990s when the International Coalition of Sites of Coscience was created and the United States Holocaust Memorial Museum was founded. The interaction between contemporary art and museums of conscience starts to develop in the context of changing attitudes towards historical memory as well as widening the notion of museums. In this situation museums need new instruments for educational and exhibitional work. Contemporary artists work with the past through personal memories and experience, when museums turn to documents and artifacts. So, their collaboration connects two different optics: artistic and historical. Thus, it is possible to use the Michel Foucault term dispositif to analyze the collaboration between artists and museums. Foucault defines the dispositif as a link between different elements of the system as well as optics that makes us to see and by that create the system. The term allows us to connect the questions of exhibition work with philosophical and historical issues when we analyze the projects in the United States Holocaust Memorial Museum, Yad Vashem and Auschwitz-Birkenau.

The Evolution of Comics Art Exhibitions in the United States, 1930–1951

2020 ◽  
pp. 66-87
Author(s):  
Kim A. Munson
Keyword(s):  
United States ◽  
World War Ii ◽  
The United States ◽  
Comic Strip ◽  
Metropolitan Museum ◽  
World War ◽  
Art Exhibitions ◽  
Graphic Arts ◽  
Metropolitan Museum Of Art ◽  
Walt Disney

This 2018 essay by art historian Kim A. Munson shares the details of her research on exhibits of original comic art in U.S. museums and galleries from 1930-1954.  This chapter discusses several shows of the 1930’s from Thomas Nast at the Whitney (1932) to the display of the first Walt Disney animation cel purchased by the Metropolitan Museum of Art (1939). This chapter discusses World War II exhibits at the Metropolitan. This chapter discusses The Comic Strip: Its Ancient and Honorable Lineage and Present Significance, organized for the American Institute of Graphic Arts by Jessie Gillespie Willing (AIGA, 1942), which is a touring exhibit with historical works, comics, and comic books. Milton Caniff was a pioneer and advocate of comics exhibits representing himself (The Art of Terry and the Pirates 1939-1946) and  later with the newly formed National Cartoonist Society organizing many shows including 20,000 Years of Comics (1949 Savings Bond Tour), and American Cartooning (Met Museum, 1951).

scholarly journals Advancing American Art and Intercultural Confrontations in Germany, 1945–1948

2019 ◽  
Vol 7 (1) ◽  
pp. 971-990
Author(s):  
Frank Mehring
Keyword(s):  
United States ◽  
World War Ii ◽  
American Art ◽  
The United States ◽  
Early Years ◽  
Military Government ◽  
Art Exhibitions ◽  
Cultural Mediator ◽  
Post War

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.

Party Strength in the United States: Some Corrections

1975 ◽  
Vol 37 (2) ◽  
pp. 641-642 ◽  
Author(s):  
Paul T. David
Keyword(s):  
United States ◽  
The United States ◽  
Party Strength

Correlative microscopy in distrubuted (client/server) computing environments: tools for catalyzing the rapid dissemination of information about the cell biology of the human prostate

1995 ◽  
Vol 53 ◽  
pp. 682-683
Author(s):  
A. Hakam ◽  
J.T. Gau ◽  
M.L. Grove ◽  
B.A. Evans ◽  
M. Shuman ◽  
...  
Keyword(s):  
United States ◽  
Cell Biology ◽  
Tissue Bank ◽  
The United States ◽  
Prostate Adenocarcinoma ◽  
Correlative Microscopy ◽  
Client Server ◽  
Critical Elements ◽  
Transplant Organ

Prostate adenocarcinoma is the most common malignant tumor of men in the United States and is the third leading cause of death in men. Despite attempts at early detection, there will be 244,000 new cases and 44,000 deaths from the disease in the United States in 1995. Therapeutic progress against this disease is hindered by an incomplete understanding of prostate epithelial cell biology, the availability of human tissues for in vitro experimentation, slow dissemination of information between prostate cancer research teams and the increasing pressure to “ stretch” research dollars at the same time staff reductions are occurring.To meet these challenges, we have used the correlative microscopy (CM) and client/server (C/S) computing to increase productivity while decreasing costs. Critical elements of our program are as follows:1) Establishing the Western Pennsylvania Genitourinary (GU) Tissue Bank which includes >100 prostates from patients with prostate adenocarcinoma as well as >20 normal prostates from transplant organ donors.

Digital image acquisition, processing, and analysis in a polymer microscopy laboratory

1994 ◽  
Vol 52 ◽  
pp. 454-455
Author(s):  
Vinod K. Berry ◽  
Xiao Zhang
Keyword(s):  
United States ◽  
Image Analysis ◽  
Digital Image ◽  
Image Acquisition ◽  
Image Transmission ◽  
The United States ◽  
Quantitative Image Analysis ◽  
Quantitative Image

In recent years it became apparent that we needed to improve productivity and efficiency in the Microscopy Laboratories in GE Plastics. It was realized that digital image acquisition, archiving, processing, analysis, and transmission over a network would be the best way to achieve this goal. Also, the capabilities of quantitative image analysis, image transmission etc. available with this approach would help us to increase our efficiency. Although the advantages of digital image acquisition, processing, archiving, etc. have been described and are being practiced in many SEM, laboratories, they have not been generally applied in microscopy laboratories (TEM, Optical, SEM and others) and impact on increased productivity has not been yet exploited as well.In order to attain our objective we have acquired a SEMICAPS imaging workstation for each of the GE Plastic sites in the United States. We have integrated the workstation with the microscopes and their peripherals as shown in Figure 1.

Silence of the Land: On the Historical Irrelevance of Territory to Congressional Districting and Political Representation in the United States

2001 ◽  
Vol 15 (01) ◽  
pp. 53-87 ◽  
Author(s):  
Andrew Rehfeld
Keyword(s):  
United States ◽  
House Of Representatives ◽  
Political Representation ◽  
The United States ◽  
Representative Government ◽  
Congressional District ◽  
Congressional Districts ◽  
Communities Of Interest

Every ten years, the United States “constructs” itself politically. On a decennial basis, U.S. Congressional districts are quite literally drawn, physically constructing political representation in the House of Representatives on the basis of where one lives. Why does the United States do it this way? What justifies domicile as the sole criteria of constituency construction? These are the questions raised in this article. Contrary to many contemporary understandings of representation at the founding, I argue that there were no principled reasons for using domicile as the method of organizing for political representation. Even in 1787, the Congressional district was expected to be far too large to map onto existing communities of interest. Instead, territory should be understood as forming a habit of mind for the founders, even while it was necessary to achieve other democratic aims of representative government.

A quarter century of changes in oral health in the United States

1995 ◽  
Vol 59 (1) ◽  
pp. 19-57 ◽  
Author(s):  
BA White ◽  
DJ Caplan ◽  
JA Weintraub
Keyword(s):  
United States ◽  
Oral Health ◽  
The United States ◽  
Quarter Century
Sign in / Sign up

Export Citation Format

Share Document