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In an undated (ca. 1977) statement included in the papers, Allen writes, "I use paradox to explore experience as a process of shifting relations. Beginning in the late 1960s, Roberta Allen (b. 1945) developed an artistic practice that fused the perceptual concerns of minimalism and postminimalism with the philosophical and linguistic emphases of conceptual art. Allen made photographs of herself in an automated photobooth, performing poses she had sketched and storyboarded in advance, to the rhythm of the booth's camera. [Extracted from the article]

As the collection demonstrates, the Grinsteins were not just patrons of the arts and arts philanthropists, but lifelong friends of the artists they supported. In a postcard sent from Paris in 1971, Mark di Suvero confides that he misses the Grinsteins and the LA art scene, but announces he is "reading René Char, struggling w/the French. Papers recently donated to the Archives by the family of Elyse and Stanley Grinstein (1929-2016 and 1927-2014) document the central role the couple played in the Los Angeles art world from the 1960s through the early 2000s. [Extracted from the article]

I Visions of Nature i focuses on landscape photography produced in settler colonies of the Pacific Rim and employs an interdisciplinary approach, drawing on methodologies and theories from environmental history, geography, and art history. Both artists have appropriated imagery made by settler artists of their respective homelands to interrogate how settler visual culture took "land away from people". Visions of Nature: How Landscape Photography Shaped Settler Colonialism AND Colonization, Wilderness and Spaces Between: Nineteenth Century Landscape Painting in Australia and the United States: By Jarrod Hore. [Extracted from the article]

The article discusses abstract art and the camera-less photographic installations of American artist Alison Rossiter. Topics explored include the use of expired photographic paper by Rossiter to create photograms, the photo paper processing techniques of Rossiter to produce abstract images, and the factors being considered by Rossiter in her artistic titling practice.

The Paul J. Smith Papers, measuring 75 linear feet, provide a comprehensive record of the career of museum curator and director Paul J. Smith. The collection includes biographical material, personal and professional correspondence, audio recordings, interview transcripts, photographs, and research files related to exhibitions and publications. Smith's papers document his curatorial work, including landmark exhibitions such as Objects: USA and Craft Today: Poetry of the Physical. The collection also highlights Smith's engagement with experimental forms of artistic and material culture, particularly during the mid-1960s to mid-1970s. Additionally, the papers contain correspondence with notable artists and interviews and photographs of artists involved in the studio craft movement. [Extracted from the article]

Comic inpainting is essential for language localization and adapting comics into animations, involving the removal of speech boxes, textboxes, and sound effects while maintaining artistic integrity. This paper introduces an automated approach leveraging the Manga inpainting method by Xie et al., adapted for western comics like Tex Willer. Tex Willer comics, known for their fusion of Italian art and American Western imagery, pose unique challenges due to their distinct styles. Customized Manga Restoration and Structural Line Extraction codes are employed, along with automated mask generation using deep CNN-based speech balloon detection and segmentation. Our contributions include the development of a precise model tailored to Tex Willer Comics, resulting in visually coherent inpainting results. The paper follows a structured format, covering State-of-the-Art, methodology, results, and conclusions, aiming to streamline the process of western comic inpainting for professionals in the comics and animation industries. [ABSTRACT FROM AUTHOR]

This essay argues that Bay Area artist Jay DeFeo's overidentification with The Rose (1958–66), has resulted in a historiography that consistently—and as I claim, wrongly—frames her career thereafter in terms of aftermath. Against narratives of "before and after" upheld by writers on DeFeo, this essay maintains that The Rose represents neither a consummation nor a cleavage; rather, it came to stand for DeFeo for incipient possibility, encompassing and then generating a lexicon of forms. The still larger stakes involve the role collections intended for public archives play in private lives. The Archives of American Art's interest in DeFeo beginning in 1974 arguably accelerated her imaging of futurity, encouraging not just new work but her work's preservation—alongside that of related papers, diaries, records, and oral histories—in anticipation of future audiences who might still receive it. [ABSTRACT FROM AUTHOR]

In 1990, three years after Andy Warhol's death and one year after the fall of the Berlin Wall, the Museum of Modern Art (MoMA) organized the first one-man show of this pop artist in Eastern Europe. The Prints of Andy Warhol, although never shown at the MoMA in New York, traveled to the Fondation Cartier pour l'Art Contemporain in Jouy-en-Josas, France, the Národní Galerie in Prague, Czechoslovakia, the Staatliche Kunstsammlung in Dresden, the GDR, the Mücsarnok in Budapest, Hungary, and the Muzeum Narodowe in Warsaw, Poland. The current paper analyzes the cultural–political context of The Prints of Andy Warhol. It first discusses the place of both American pop art and Eastern Europe in MoMA's International Program (IP) and then explores the organizational challenges, art historical contents, and public reception of the exhibition. The paper concludes by examining the broader impact of The Prints of Andy Warhol on both the growing awareness of American pop art in Eastern Europe and MoMA's cultural diplomacy in this region after the fall of the Iron Curtain. [ABSTRACT FROM AUTHOR]

Charismatic, and dedicated to the continual evolution of her style, Arias-Misson crossed paths with Mark Rothko, Hans Hoffmann, Antoni Tàpies, and other leading avant-garde painters. A letter from Maria to Tàpies, introducing Arias-Misson to the artist, demonstrates the promise Hans saw in his student. Castillejo asserts, "Some of Nela Arias-Misson's works are ... a meaningful step in the direction we are working today, towards a minimal, zero art.... Literal art is a better word than minimal art. [Extracted from the article]