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The article focuses on an addition to the papers of American art gallery owner Richard Kuhlenschmidt at the Archives of American Art, which include photographs of letters from Las Vegas, Nevada casino signage. The author provides a brief biography of Kuhlenschmidt and discusses the gallery operated by Kuhlenschmidt and Tim Jancar in an apartment in Los Angeles, California, and the gallery he operated with Joan Simon Menkes in West Hollywood, California.

As postponement of first births continues in the United States, women and couples will likely continue to turn to assisted reproductive technologies (ART) to overcome biological barriers to childbearing. This paper uses stochastic projections to estimate the potential impacts of ART on the US total fertility rate (TFR) overall and across sociodemographic groups using publicly available data. Assuming the trends in ART continue and the TFR remains at the mean estimate, the projection shows the ART TFR will rise from 0.023 accounting for 1.29% of the mean projected TFR in 2020 to 0.048 or 2.64% of the TFR by 2040. However, for the TFR of women over 30, this percentage is estimated at 2.68% in 2020 and 5.60% by 2040. Group-level projections quantify stratification by parity, race, and education assuming trends across these groups continue. Overall, the results show that if current trends continue, growth in demand for ART will likely increase, especially at older maternal ages, even as inequalities by race and social class remain. These projections provide a picture of ART births if inequality in access and outcomes is not addressed and highlight the need for attention to policies that address these disparities. [ABSTRACT FROM AUTHOR]

The article focuses on changes to catalogues prepared for African art exhibitions. Such publications have served as guides to exhibitions in the 1970s and 1980s. A chronological examination of bibliographic citations in the journal of African art catalogue in the U.S. demonstrates the growing importance of the catalogues. The catalogue was considered as one of the significant forms for disseminating scholarly writing on African art.

In this article, the author looks back at the Forward Exhibition of American modernist art held in May 1917 in the Lower East Side neighborhood of New York City. More specifically, the author examines the role played by the exhibition's organizer, the People's Art Guild, in its attempt to bring the latest art movements to working-class immigrants. A brief history of the guild, which was founded by the educator and art critic John Weichsel in 1915, is presented. The author argues that Weichsel and the People's Art Guild not only sought to bring modern art to the people but also attempted to revolutionize the relationship between artists and the public.

This article presents an interview with Martha Wilson, director and founder of Franklin Furnace, an institution that provides gallery for art exhibitions and installations in the U.S., regarding her decision to sell the artist book collection of Franklin Furnace to the Museum of Modern Art and the decision's implication to the institution. According to Wilson, the decision was the right thing for the collection since she believes that the largest collection in the U.S. of artist books published internationally after 1960, made of paper, should not be stored in a loft made of wood, with no climate-control, no museum conditions. In addition, the institution was unsuccessful at raising money for conservation of individual artists' books. As discussed further, Wilson said that though artist books are now recognized by the art world as a whole category in its own right, there was no term artist books in 1976 and just of evolved out of the mud, as the term performance art also evolved during this same period, to describe whatever it was the artists were doing.

The article highlights several papers acquired by the Archives of American Arts in New England. It reports that the Archives of American Arts microfilmed and documented several papers by devoted to F. Holland Day (1864-1933). It also highlights the dual careers of Charles Webster (1872-1930) and Marion Campbell Hawthorne (1870-1945). It reports on the Papers relating to the 1913 Armory Show 50th Anniversary Exhibition, received in 1995 from Margaret Gillis Carlton, consisting of her entire working file.

The article presents information about discussion on topics related to policies on teaching economics and regulated industries. United Nations Education, Scientific and Cultural Organization (UNESCO) wishes to ascertain the opinions of American economists regarding economic programs it had best undertake in the future. Accordingly, UNESCO and the American Economic Association (AEA) have scheduled a joint session at the Association meetings in Chicago between December 28, 1964 and December 30, 1964. Meanwhile members of the Association are invited to submit written proposals for consideration by UNESCO. Some of these will be discussed at the joint session, together with the role of UNESCO in the field of international economic inquiry. A panel discussion may be utilized. Arrangements have been made for an art exhibition in conjunction with this year's Annual Meeting of the AEA. The Division of Forest Economics and Policy of the Society of American Foresters is in process of compiling a worldwide directory of workers in the economics of forestry.

The article focuses on American sculptor Lorado Taft who gave lectures throughout his career to educate the public about art. Taft reportedly wanted to make oustanding works of art available to all American children. Other topics include Taft's occupational achievements, educational agenda, and advocacy for alternatives to art exhibition spaces.

An essay is presented on the emergence of American Israeli art in the post World War II U.S. It offers a history of the first group exhibition of Israeli art "Seven Painters of Israel," with an aim to educate audiences about Israel, its achievements, and significance. It includes Israeli artists like Mordecai Ardon, Moshe Castel, and Yehoshua Kovarsky. It discusses the growing prowess of Israeli artists where they crafted a brand of cultural patronage to the apparent arts boom in the U.S.

In 1952, Edward Steichen made an extensive European tour in preparation for the exhibition The Family of Man (1955). The goal of the trip was to contact European photographers, inform them about the forthcoming exhibition and collect photographs for possible inclusion in the exhibition. Based on archival sources and oral interviews, this paper discusses the rationale, strategy and results of the trip, including the Museum of Modern Art exhibition, Post-War European Photography (1953). Insight into the formation of the Family of Man is gained by comparing the photograph-gathering strategies Steichen used in Europe with those used later in the United States. [ABSTRACT FROM AUTHOR]

Meta Warrick Fuller created "Ethiopia for the America's Making Exposition," a 1921 fair that focused on the contributions of immigrants to American society. Fuller's original small-scale model, now lost and known only through surviving photographs, was the first of several versions she created during her lifetime of the sculpture, variously called "Ethiopia," "Awakening Ethiopia," "Ethiopia Awakening," or "The Awakening of Ethiopia." It filled a need for African Americans to formulate an authentic racial identity by looking to the grand achievements of Egyptian history while also supporting the romantic ideal of Christian Ethiopia as a symbol of black liberation.

Provides information on the art exhibit titled 'Isaac Stoltzfus, Pennsylvania Dutch Gothic,' which ran from January 6-23, 1999 at the Rosenberg Gallery in New York University. Features of the exhibit; Assumptions about the nature of actuality; Description of the images in the exhibit.

Discusses several artworks using traditional and digital imaging technology from artists involved in the Digital Atelier and Unique Editions exhibitions in the United States. Tide by Bonny Lhotka; DNA by Dorothy Simpson Krause; Gargantua by Karin Scminke.

Features several artworks presented at the School of Visual Arts in New York City in November 2000. `Egg Machine,' by Casey Reas; `Vortex Temple,' by Anne Marie Banks; `Scenic Views Abound,' by Dan Younger.

An introduction is presented in which the editor discusses various reports within the issue on topics including the impact of community arts on the generation of social capital, the internationalization strategies of art exhibitions, and heritage conservation in the U.S.

The article offers information on the new acquired papers of Southeast painter Jervis McEntee and sculptor Seymour Lipton and the symposium "Cult, Culture and Consumers: Collecting the Work of Self-Taught Artists in 20th Century America," on October 26, 1990 sponsored by The Archives of American Art and the National Museum of American Art. It mentions that McEntee papers donated by William Gaffken adds to the Archives substantial material about McEntee while papers of Lipton is donated by the artist's heirs. It also states that presentations are given by Avis Berman, art critic and writer, Susan L.F. Isaacs, doctoral candidate in folklore and folklife and Kinshasha Cornwill, executive director of Studio Museum in Harlem at the symposium.

Proposes plans for a sequel to an exhibition of artists' works created on or attached to a blank piece of fine paper and displayed at the N.A.M.E. Gallery in Chicago Illinois in 1978. Number of participants; Final housing of irregular forms; Impact of restrictions of size and surface.

This essay explores Charles Henri Ford’s Poem Posters series of 1964–65 and the ‘Having Wonderful Time Wish You Were Here’: Postcards to Charles Henri Ford exhibition at the Iolas Gallery (New York, 1976). Ford’s editorship of View magazine (1940–47) is well known in scholarship on surrealism’s reception in America, but less frequently addressed are the ways in which his later artistic and curatorial practice self-consciously continued the publication’s mission of promoting a queer and partisan identity for the movement. Ford does more than simply enable surrealism to resonate further than its epicentre. He intervenes at the level of historiography, an action, this essay argues, which is implicated in his efforts to rethink the movement’s sexual politics. Drawing on Elizabeth Freeman’s scholarship on queer temporalities, this essay considers how Ford’s anachronistic recourse to surrealism in the 1940s and again in the 1960s, long after the movement was said to have passed its expiry date, aligns disruption of linear narratives of avant-gardism with a recalculation of its customary heteronormativity. [ABSTRACT FROM AUTHOR]

The author discusses the collection of the works of English author and illustrator William Blake by U.S. businessman Lessing J. Rosenwald. He mentions several exhibitions that featured the books or prints, a list of Rosenwald's acquisition with date and seller, and several personal reminiscences.

Copyright scholarship is largely a debate about the tension between owners and users. Complaints have been legion that copyright law privileges owners with entitlements incompatible with the nature of the creative act. These complaints have been directed against the hegemony of economic justifications over copyright law emphasizing the utility in expanding the spectrum of the right, and competing social and cultural approaches that reject ideals of original authorship. Such arguments have been asserted by generations of scholars struggling to redefine copyright in order to afford users and the public comprehensive access rights and privileges, while preserving authors' rights commensurate with their efforts. In their competing arguments, scholars protect only a few convenient aspects of the creative process. In this way they have propounded incomplete and misguided understandings of the creative process, of who takes part in its formation, and of how the value that results ought to be rewarded. Because copyright regulates ownership and dissemination of socially created properties, the wrongs in incomplete justifications have left many misconceptions about the right unchallenged. These wrongs affect copyright law's ability to evolve into a law relevant to a cultural and networked life that values participation over singularity. This Article argues that scholars and the courts were unaware of a fundamental element defining the social reality of contemporary copyright and aims to remedy this lack of awareness. It articulates an innovative approach to copyright by arguing that works of art and authorship are expressions of dialogical transactions both between and among artists and authors, and between them and the public. These transactions have become a defining virtue of cultures that create and distribute the properties of social life through networks of information. Using transactions--a term familiar in economicoriented theories--to explain social processes is new to literature on intellectual property. Dialogue, as contrasted with other forms of speech-communications, is an advanced form of communication. It defines the rituals and social movements of traditional and digital cultures, and it features in the process of translating interhuman relations into the language of creative properties. These relations emerge from the intertextual and intervocal nature of dialogue between two distinct conditions: authors and others. This Article argues that these conditions give dialogue its unique social stature and offers a definition of dialogue as an advanced form of communication that voids closure and finality. This Article shows how the failure of prevalent justifications--whether economic or social--to treat creative works as dialogical, disturbs our expectation that copyright will "promote the Progress of Science and the useful Arts . . . . [ABSTRACT FROM AUTHOR]

The article reviews the exhibition "Brilliant! New Art from London" at the Walker Art Center, Minneapolis, Minnesota from October 22, 1995-January 7, 1996.

The article analyzes the work of video and performance artist Sharon Hayes, focusing on the video installation "SLA Screeds" #13, 16, 20, 29, which were exhibited at the Whitney Museum of American Art in New York City from June 21, 2012 to September 9, 2012. Topics include Hayes's use of loudspeakers, the role of radio and television in her work, and political aspects of Hayes's work in relation to the 1974 kidnapping of Patricia Hearst by the militant group Symbionese Liberation Army (SLA).

A case study is presented on the American photographer Martha Rosler's 1988 participatory photographic project with members of the American self-organized group of homeless people Homeward Bound Community Services, including the project's 1989 exhibition titled "If You Lived Here..." hosted by the Dia Art Foundation in New York City, New York. The political aspects of the Homeward Bound photography project, including homeless people's political agency, are discussed.

An essay is presented which discusses the career of American sculptor Carl Andre, including his retirement and the Dia Art Foundation's exhibitions of his sculpture. An overview of his relationship with his deceased wife Cuban American artist Ana Mendieta, including her 1985 death resulting from falling from their New York City, New York apartment building and Andre's subsequent murder trial for it, is provided. Feminists' attitudes that he murdered Mendieta are discussed.

An essay is presented that discusses the site-specific exhibition "Americana" by the collaborative Group Material (GM) at the 1985 Whitney Biennial at the Whitney Museum of American Art in New York City. The exhibition was designed by the artists Doug Ashford, Julie Ault, Mundy McLaughlin, and Tim Rollins. Topics include the portrayal of U.S. President Ronald Reagan in the exhibition, the influence of poststructuralist and postmodern philosophy, and portrayals of American commodification.

In 1985–86, the Festival of India staged over seventy exhibitions in the United States in forty-two different states, emphasizing India's historical and vernacular traditions. Only three exhibitions presented “contemporary” Indian art, and while the term claimed a contemporaneity with the art of the northern Atlantic, these three shows simultaneously reified a geographic, temporal, and conceptual distance by pursuing a consistently introductory approach and by anchoring the work in the North American imaginary of India. The logic of the distant contemporary operates in the gallery contexts, curatorial choices, catalogs, and erasures of this exhibitionary moment. [ABSTRACT FROM PUBLISHER]

The article presents an update on architecture in the U.S. as of March 1986. Princes Charles and Diana visited the exhibition "The Treasure Houses of Britain," at the National Gallery of Art in Washington. Clearwater Publishing Co. will publish the "Blue Guide/Guides Bleus" on microfiche. Bus and subways maps will be featured in an exhibition in the 42nd street station in the New York City subway system.

The article announces that the third Children's Art Month in the U.S. will be in March 1963. It involves schools and many other youth and community groups, who endorsed the Children's Art Month, that are working towards such event, as previous celebrations show that the most successful activities were those with great attention to detail and careful advance planning. In preparation for the March 1963 celebration, the Crayon, Water Color and Craft Institute Inc. has revised and added to its Children's Art Month material, including a paper streamer that shows the Children's Art Month logo and slogan "Art Is Everywhere."

The article offers a review of the exhibition "Common Destinations: Maps in the American Experience," at the Winterthur Museum and Library, University of Delaware from April 20, 2013-January 5, 2014 in Winterthur, Delaware.

In this article, the author discusses the various uses of armory buildings in the U.S. from the late 19th-century to the early 20th-century. The author notes that armories were employed to host both military and civilian events, including various kinds of exhibitions. Particular focus is paid to the 1913 International Exhibition of Modern Art held at the 69th Regiment National Guard Armory in New York City, an event which subsequently came to be known simply as The Armory Show. More specifically, the author looks to the architecture of armory buildings, their traditions of display and media representations in order to uncover evidence of militarism, commerce and spectacle in the 1913 Armory Show and previous armory exhibitions.

In this article, the author looks back at the "The Forum Exhibition of Modern American Painters," held from March 13-25, 1916 at the Anderson Galleries in New York City. The exhibition was the brainchild of the American art critic Willard Huntington Wright, who envisioned it as an opportunity to demonstrate the significant achievements of modernist American artists who he believed had been overshadowed by the European art on display at the more renowned Armory Show of 1913. The article discusses the exhibition's mixed critical reception and the debates it generated about the identity and future of American art. Special emphasis is paid to the debate between Wright and the American art dealer Robert Coady regarding the role of abstraction within American modernism.

In 1928 the Museum of Fine Arts, Boston, opened a Decorative Arts Wing featuring New England period rooms dating from the 1690s to circa 1800 and installed by Edwin J. Hipkiss. Although popular throughout the century, the rooms were subject to change, including a substantial revision of the Oak Hill rooms (1800-1801) under the direction of Jonathan L. Fairbanks. The museum's period rooms were further reevaluated, reinstalled, and reinterpreted during the process of developing the Art of the Americas Wing, which opened in 2010 with the addition of two rooms from the Gleason House (ca. 1840) of Dorchester, Massachusetts. [ABSTRACT FROM AUTHOR]

An essay is presented on the exhibition "Feministische Kunst Internationaal (International Feminist Art, or FKI). Particular focus is given to the debates on the nature of feminist art which surrounded the exhibition. According to the author, FKI and similar art events allowed women artists to explore the feminist aspects of their practice and to create networks with other women artists. It is also suggested that FKI created dialogue between European and American feminist artists.

Scholarship on early American art focuses almost exclusively on the production of art and on the ideas that artists and their elite patrons intended to inculcate by placing artworks on display. This essay explores art spectatorship in the early republic and examines how middle-class audiences influenced the content of art displays created by members of the elite. Using readings of works by Washington Allston, John Lewis Krimmel, and Charles Bird King and print accounts of art exhibitions, it argues that the audiences at the Pennsylvania Academy of the Fine Arts stimulated a vigorous public discourse about its exhibitions that steered the Academy's purchasing toward historical paintings. The Academy's acquisition of Allston's Dead Man Restored demonstrates that spectators played a more significant role than scholars have previously recognized in the development of the fine arts in the United States. [ABSTRACT FROM AUTHOR]

As popular Indigenous museums have proliferated globally, the question of 'voice' has become as important as the question of 'truth.' This article explores the discourse of Indigenous voice and describes its intersections with media and the representation of Indigenous place in new exhibition practice. It suggests that while the discourse of Indigenous voice appears in many new exhibits, it varies in each particular site, leading to different possibilities for articulating Indigenous connections with land and environment. This article focuses on the Smithsonian Institution's National Museum of the American Indian (NMAI) in Washington D.C., the Canadian Museum of Civilization's First Peoples Hall, and the Chicago Field Museum's Ancient Americas exhibit, three popular, media-rich sites emerging in the twenty-first century. While the NMAI and First Peoples Hall center on conveying a sense of contemporary Indigenous voice, Ancient Americas focuses on third person, scientific accounts of the past. The exhibit emphasizes expert interpretations of Indigenous movement across land over time rather than first person, Indigenous narratives tracing connections with place. Therefore, Ancient Americas produces less narrative possibilities for addressing particular Indigenous concerns over contemporary environmental disruptions. This article explores the resulting tensions and suggests that variations in orientation toward Indigenous voice can shape opportunities for engaging different conceptions of land and environment. [ABSTRACT FROM AUTHOR]

'North American field guide: Kenneth Pietrobono's queer landscape of US Empire' offers a meditation on the photographic and exhibition strategies of Queens-based artist Kenneth Pietrobono. Chambers-Letson argues that Pietrobono builds a critique of the imperial and exclusionary practices of the US state by appropriating and (re)deploying the state's appurtenances of power, resignifying the landscape on which US nationalism is constructed and over which US power is exercised. As a point of critical entry, Pietrobono builds upon feminist and queer representational strategies, refusing direct figuration of the body while emphasizing the body of the spectator in the art encounter. Inviting the spectator to project a range of bodies into the landscapes that Pietrobono offers up, the artist asks the spectator to make connections between embodied experiences of race, gender, and sexual difference and the exercise and expansion of US Empire. [ABSTRACT FROM AUTHOR]

The article discusses the exhibition of Latin American art in the United States during the twentieth century, particularly commenting on the relationship between art, place, and identity. It examines the use of Latin American art for political, economic, and diplomatic purposes by the political organizations the Organization of American States (OAS), the U.S. Office of the Coordinator of Inter American Affairs (OCIAA), and the Center for Inter-American Relations (CIAR). The author also explores exhibitions at New York City's Museum of Modern Art (MoMA) and the influence of New York State's influential Rockefeller family in bringing artwork to the U.S. Artists discussed include Mexican muralists José Clemente Orozco and Diego Rivera.

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.

The article examines the social aspects of American art in the post-war period with a focus on the works of poets Muriel Rukeyser and Robert Hayden. The significance of the text and visual image exhibition "Words at War" which was proposed by Rukeyser and held at the New York Public Library (NYPL) on June 18 to August 13, 1943 is mentioned. The politically Left avant-garde art sector's representation of American culture is mentioned. Hayden's poem "Middle Passage" and his connection of literary, poetics, and historical revisionism techniques are discussed. Constructivism in art including photomontage and factography is noted. The appearance of American industrialization in art is noted. The U.S. Works Progress Administration is mentioned.

The article presents an overview number of the key conservation issues and challenges that ephemeral media have presented at the Smithsonian Institution's National Museum of African Art in Washington, D.C. A discussion of the impact that light, temperature, humidity, oxygen, and the unpredictablity of materials and media that are used in ephemeral art have on the ability of museum conservators to protect ephemeral art from deterioration or adverse chemical reactions, is presented. The role that museum conservators play in the documentation of artists' materials and techniques is discussed.

The article reviews the exhibition "RACE: Are We So Different?," in Minnesota.

A literary criticism of the catalogue essay "The Evolution of a Black Aesthetic, 1920-1950," by David Driskell is presented. It discusses the exhibition "Two Centuries of Black American Art" at the Los Angeles County Museum of Art in California in 1976. It cites that the essay narrates the history of the reception of African-American art in the U.S. It also includes criticism of the era and introduces several artists and their styles.

This essay critiques several exhibitions on feminist art in the U.S., including "WACK! Art and the Feminist Revolution" at the National Museum of Women in the Arts in Washington, D.C., "Global Feminisms: New Directions in Contemporary Art" at the Brooklyn Museum of Art, and "Claiming Space: Some American Feminist Originators at the American University Museum, Washington, D.C.

With the onset of the Cold War, the federal government became concerned with the impact that the status and treatment of Chinese Americans as a racial minority in American society had on perceptions of the United States among populations in the Asian Pacific. As a response, the State Department's cultural diplomacy campaigns targeting the Pacific Rim used Chinese Americans, including Betty Lee Sung (writer for the Voice of America) and Jade Snow Wong and Dong Kingman (artists who conducted lectures and exhibitions throughout Asia). By doing so, the government legitimated Chinese Americans' long-standing claims to full citizenship in new and powerful ways. But the terms on which Chinese Americans served as representatives of the nation and the state--as racial minorities and as "Overseas Chinese"--also worked to reproduce their racial otherness and mark them as "non-white" and foreign, thus compromising their gains in social standing. [ABSTRACT FROM AUTHOR]

The article presents a glimpse into the short-lived phenomenon of caricature exhibitions, which flourished at American art schools between 1891 and 1914. More than sophomoric jokes or publicity stunts, these productions presented an opportunity for students to organize their own exhibitions and critique contemporary art. The students' creations included oil paintings and watercolors as well as assemblages of sometimes ephemeral items.

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. [ABSTRACT FROM AUTHOR]

The article focuses on the artwork and career of U.S. performance artist Adrian Piper. The author explores the various nontraditional exhibition venues used by the artist such as newspapers, magazines and public spaces. Reportedly, Piper's use of mass-media and marketing tactics increased her artistic capital and made her work more egalitarian in nature.

The article explores the combination of architecture and art as a broader product. The author suggests the replacement of architectural utilitarian design with what the author labels "artistic infrastructure." The philosophy and work of artist Yona Friedman regarding the nature of ethics in artistic design and the reaction of the client is described. Several case exhibitions in Germany, France, and California are given.

The articles presents information on art exhibits and workshops in the U.S. "The Border Film Project: El Proyecto Fronterizo Fotografico" is at the Scottsdale Museum of Contemporary Art in Scottsdale, Arizona. "An Unobserved Life: Folk Photography by Joe Schwartz," is at the Santa Barbara Museum of Art in California. CEPA Photography Arts Gallery in Buffalo, New York, offers internships for students to gain experience and earn college credit by working in a professional gallery setting.

The article presents a calendar of events of photography in the U.S. A lecture series will be held at the Herberger College of Fine Arts in Arizona State University through December 15, 2006. Evidence and Residues series of lectures and exhibitions will be conducted at Indiana State University Art Gallery through May 5, 2007.