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With the arrival of the digital age and technology, creation of art and its replication reached a whole new pinnacle. Increasingly, conservators find themselves dealing with editions, copies, and replicas as part of their job. Indeed, the replication of a work of art, be it paper or a 3D printed sculpture, is becoming one of many conservation measures that may serve as a preventive conservation technique, protecting the art from excess levels of light, travel, or handling, or as a tool to better understand the art. Replication of a digitally existing master for each new display may be the artist's intent, or enable simultaneous multiple displays of the same work as per the artist's directive. This article describes the making of an Exhibition Copy of the American artist Mike Kelley's The Wages of Sin, a pile of partly melted wax candles atop a readymade, commercially sourced table. Owned by the Whitney Museum of American Art, New York, the highly complex three-dimensionality and materiality of this iconic work of art posed significant challenges to replicate. The following description illuminates the conceptual aspects considered, why and how the replica was made, and decision-making processes throughout its fabrication, exploring materiality and technical issues. The role of the Whitney's Replication Committee in this project is discussed, including participation of its curators, archivists, and other museum professionals, along with an explanation of the Committee's choice of the term 'Exhibition Copy' to describe the replica. The account of the collaboration and coordination of the project with the Mike Kelley Foundation and external fabricators is central to this comprehensive project. Ramifications for future use of the Exhibition Copy within the museum management, documentation, loans, and wall labels, and its legal and publication consequences conclude this paper. [ABSTRACT FROM AUTHOR]

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The article discusses the activities of the Archives of American Art in New York State. The collection of former Brooklyn Museum Curator John I. H. Baur's papers include draft manuscripts of books, photographs of painting and sculpture, and correspondence. Sculptor Christopher Wilmarth kept records of his artistic masterpieces, his teaching, and his exhibitions. The Archives microphotographed an installment of Charles Seliger's diary, which provides Seliger's informed commentary on the New York art community.

Throughout his life, American artist George Luks (1867–1933) actively cultivated his public identity as a hard drinking, raucous symbol of old New York. Like his contemporaries associated with the Ashcan School, Luks both patronized and painted eateries known for inexpensive food and saloons with reputations for free-flowing beer and wine. He depicted and discussed these venues in paintings and in the popular press. Additionally, he saved commentary on these establishments in a clipping scrapbook, where he also kept art critics’ discussions of his work and exhibitions. Luks’s last series of paintings, Scenes of Revelry in Old New York, is an expression of two important publics the artist leveraged to disseminate and authenticate his carefully crafted identity: (1) the bars and cafés of New York City, and (2) the pages of periodicals and magazines. The posthumous publication of the series in Vanity Fair in 1934 presents Luks’s depiction of his experiences in a New York City at the turn of the twentieth century. The paintings, contextualized for the reading public by Benjamin DeCasseres, compress Luks’s memories of bars and cafés from decades past. In Scenes of Revelry and in his personal scrapbook, Luks utilized the bars and cafés of New York City, in addition to the pages of magazines and newspapers, as a venue to for the performance of his constructed self. [ABSTRACT FROM AUTHOR]

The article reports on the acquisitions made by the New York office of the Archives of American Art compiled as of September 2000. American photographer, filmmaker, painter and downtown character Maryette Charlton has donated a group of papers that includes letters from Xenia Cage, Dimitri Hazdi and Lillian Kiesler, and tape recordings of Leon and Owen Elliott. The Archives has also acquired papers of LLoyd Goodrich that includes letters and postcards from Reginald Marsh, Betty Burroughs Marsh and Yasuo Kuniyoshi.

The article presents news briefs regarding the New York center of the Archives of American Art. The Archives has acquired the papers of painter, writer and sculptor Lily Harmon. A Philadelphia, Pennsylvania art dealer has lent to the Archives two sketchbooks of Abstract Expressionist painter William Baziotes for microfilming. The papers of Abstract Expressionist sculptor Reuben Kadish were also borrowed by the Archives.

The article focuses on the influence of Swedenborgian doctrines on the works of American painter George Inness. American philosopher and psychologist William James provides insight into the Swedenborgian interpretation of Inness's art. He provides an ideal frame of reference for understanding Inness. James and Inness were acquainted and even went sketching together once. They live near each other in New York and moved in the same social circles. The paper provides several examples of Inness's paintings.

The article presents news briefs related to American art in New York. Joyce A. Sharpey-Schafer made major additions to the papers of painter Francis Davis Millet in the Archives of American Art. A small but significant set of papers of Stuart Davis has been donated by his son, Earl. A huge addition has been made to the papers of Marcel Breuer.

The article reports on the acquisitions made by the New York office of the Archives of American Art as of December 1993. The Archives has acquired the album titled "John Frederick Kensett Memorial Exhibition Installation at the National Academy of Design" that contains 47 photographs of Kensett's exhibition held on March 24-29, 1873. The Archives also received a gift of papers of American painter, printmaker and educator Lewis Rubenstein that contains his more than 80 volumes or journals and 10 sketchbooks.

The article presents news briefs regarding the New York region of the Archives of American Arts. A group of papers of Frank Stella were given to the Archives in this quarter. The Archives has also acquired from Mildred Baker, catalogues of in important exhibitions in the New York area. Informative letters between the collector Donald Graham and the late Brenda Kuhn, were also acquired.

The article presents an in-depth examination into the history of the 1939 New York World's Fair and its artistic culture. Focus is given to the prominence of the modernist movement and its aesthetics within its featured mural art exhibitions. Contextual information is given regarding the planning of the World's Fair between 1935 and its launch in 1939. Analysis is offered regarding the abstract techniques used in several murals, highlighting their thematic connections to the ideologies of the Works Progress Administration which commissioned them. Specific works and artists profiled include Philip Guston, Byron Browne, and Louis Schanker.

Presented is the text of a round table discussion of the art exhibition "The Third Mind: American Artists Contemplate Asia 1860-1989," presented at the Guggenheim Museum, New York City , in January 2009. The art show focused on the complicated relations between American artists and the philosophy and culture of Asia. Discussing the exhibition are Seth McCormick, Reiko Tomii, Hiroko Ikegami, Jeffrey Wechsler and Midori Yoshimoto. A response is provided by Alexandra Monroe, the curator of the exhibition.

The article presents news briefs regarding the New York center of the Archives of American Art. The Archives has finally acquired the papers of Walter Pach. The institution has borrowed a huge scrapbook on Louis Comfort Tiffany for microfilming. Harold Rome has given to the Archives, Alfred Valente's portfolio of photographs of artists.