scholarly journals Aluminum: History, Technology, and Conservation

2019 ◽  
pp. vi-220
Keyword(s):  
American Art ◽  
Analytical Techniques ◽  
Art Museum ◽  
Conservation Strategies ◽  
Art Conservation ◽  
Architectural Elements ◽  
Hands On ◽  
Aluminum Corrosion ◽  
Archaeological Objects ◽  
Repair Techniques

The current volume brings together papers presented at the 2014 “Aluminum: History, Technology and Conservation” conference held at the Smithsonian Institution’s American Art Museum; the conference was followed by a hands-on workshop held at the National Air and Space Museum’s Steven F. Udvar-Hazy Center, which utilized the museum’s collections to illustrate aluminum’s use, conservation challenges, and repair techniques as well as to introduce participants to analytical techniques such as X-ray fluorescence for the identification of aluminum alloys and finishes. The three day international conference and two-day workshop were co-hosted with the Smithsonian Institution, the Foundation for the American Institute for Conservation and the International Council of Museums Committee for Conservation Metals Working Group. An unprecedented group of speakers, organizers, and sponsors made possible the first ever conservation conference solely dedicated to aluminum. The conference featured presentations by twenty-seven speakers from Europe, Asia, Australia, and North America who explored various aspects of degradation phenomena and conservation strategies for aluminum objects, from sculpture to aircraft, from nineteenth-century jewelry to underwater archaeological objects. The proceedings are divided into eight categories and represent the various themed sessions: the history and manufacturing of aluminum, corrosion and deterioration, characterization and identification, conservation of archaeological objects, conservation and use in contemporary art, conservation of architectural elements, surface treatments and inhibition, and preventative conservation.

Decolonizing the Colony: Challenges to Systemic Change in the American Art Museum

2021 ◽  
Vol 10 (2) ◽  
pp. 202-229
Author(s):  
Andrew Mcclellan
Keyword(s):  
Social Justice ◽  
White Supremacy ◽  
Systemic Change ◽  
American Art ◽  
Art Museum ◽  
Art Museums ◽  
The Face ◽  
Physical Spaces

This article seeks to identify impediments to, as well as opportunities for, change in American art museums in the face of demands for social justice and greater inclusivity. Focusing specifically on the representation of American art in well-established encyclopaedic museums, I argue that inherited collections and taxonomies, mapped onto the physical spaces of museums, limit the speed and degree to which aesthetic priorities, values and narratives may adapt in order to meet shifting demographics and visitor expectations. In effect, the challenge for many museums is to confront and navigate an institutionalized form of white supremacy baked into their intellectual and material foundations. I end by analysing several recent strategies that have aimed at dismantling conventions and complicating the canon.

Thoughts and Highlights Involving an Urban Museum Education Partnership and a University

2021 ◽  
pp. 186-204
Author(s):  
Bryna Bobick
Keyword(s):  
Higher Education ◽  
Elementary Students ◽  
Undergraduate Students ◽  
Museum Education ◽  
Art Museum ◽  
Urban Art ◽  
Hands On ◽  
Museum Professionals ◽  
University Museum ◽  
The University

This chapter examines the partnership between an urban art museum and a university. It involves museum educators, art education faculty, and undergraduate students. It specifically explores the development of hands-on museum activities for elementary students created by the university participants. The chapter is written from a higher education perspective. It provides a description of all facets of the partnership from its planning to the completion of the museum activities. The partnership provided the university students authentic museum experiences and ways to make professional connections with museum professionals. Recommendations for those who wish to develop university/museum partnerships are shared.

Hopps, Walter (1932–2005)

2018 ◽  
Author(s):  
Ken D. Allan
Keyword(s):  
New York ◽  
Los Angeles ◽  
American Art ◽  
The United States ◽  
Art Museum ◽  
Pop Art ◽  
Marcel Duchamp ◽  
Robert Rauschenberg ◽  
The 1960S ◽  
Joseph Cornell

Walter Hopps was an American art dealer and curator of modern and contemporary art. Best known for organizing the first museum retrospective of Marcel Duchamp in 1963 at the Pasadena Art Museum (now the Norton Simon), Hopps was a pioneering example of the independent, creative curator, a model that emerged in the 1960s in the United States From his start as an organizer of unconventional shows of California painters on the cultural fringe of conservative Cold War-era Los Angeles, Hopps became one of the most respected, if unorthodox, curators of his generation, holding a dual appointment at the end of his life as 20th-century curator at Houston’s Menil Collection and adjunct senior curator at the Solomon R. Guggenheim Museum in New York. Some of his noted exhibitions include: in Pasadena, a 1962 group show that helped to define pop art, The New Paintings of Common Objects; the first U retrospectives of Kurt Schwitters (1962) and Joseph Cornell (1967); Robert Rauschenberg retrospectives in 1976 and 1997 at the National Museum of American Art and Menil Collection, respectively; a 1996 survey of Edward Kienholz for The Whitney Museum of American Art; and a James Rosenquist retrospective in 2002 at the Guggenheim.

Fried, Michael (1939--)

2018 ◽  
Author(s):  
Danielle Child
Keyword(s):  
New York ◽  
Art Criticism ◽  
Three Dimensional ◽  
American Art ◽  
Art Museum ◽  
Late 20Th Century ◽  
Princeton University ◽  
Clement Greenberg ◽  
The 1960S ◽  
Canonical Texts

Michael Fried is an American art critic, literary critic and art historian. Fried is most well-known for his art criticism, which contributed to the debates on modernist painting and sculpture that were played out in the pages of American art journals, such as Artforum, during the 1960s. In 1958, while studying English as an undergraduate at Princeton University, Fried met Clement Greenberg, whose theories on modernist painting influenced Fried’s subsequent writings and art criticism. He later studied under Richard Wollheim while at Oxford University. The formalist influence of Greenberg’s art criticism is prevalent in Fried’s two canonical texts on modernist art: "Three American Painters: Kenneth Noland, Jules Olitski, Frank Stella" (1965), the catalogue essay for an exhibition curated by Fried at Harvard’s Fogg Art Museum; and "Art and Objecthood" (1967). The former focuses upon three second-generation New York School painters, considered to be "high modernist." The latter is a defense of modernist painting against a new form of three-dimensional work that he terms "literal," now known as minimalist, sculpture. The argument initiated in these two essays formed a key moment in the debates that defined late-20th-century modernist art history. In the late 1960s Fried moved away from writing art criticism, focusing instead on modernist art in the 19th and early-20th centuries. He recently returned to contemporary art with his text Why Photography Matters as Art as Never Before.

Can Philosophical Change Take Hold in the American Art Museum?

Art Education ◽  
1998 ◽  
Vol 51 (2) ◽  
pp. 15 ◽  
Author(s):  
Melinda M. Mayer
Keyword(s):  
American Art ◽  
Art Museum
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