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"Radiophilia" by Carolyn Birdsall is a comprehensive study of the history and future of radio. The book explores the author's personal affection for radio and delves into the first hundred years of the medium, focusing primarily on analogue radio transmission and reception. Birdsall's research is situated at the intersection of studies of emotion and fandom, offering examples of fan creativity, performance, and community formations. The book also examines the transnational aspects of radio and incorporates non-Western sources and examples from diverse listening communities. It explores the dimensions of radiophilia, including the senses, intermediality, and the significance of material culture. The book is divided into four chapters that cover different facets of listeners' attachments to radio: loving, knowing, saving, and sharing. It highlights the importance of involving communities of fans and ordinary listeners in the preservation and expansion of radio archives. The final chapter explores the various ways in which an emotional attachment to radio can be shared, including broadcasts consumed in community settings and museum exhibits. Overall, "Radiophilia" makes important contributions to the fields of Radio Studies and Sound Studies, emphasizing transnational and interdisciplinary research and the need to continue remapping Sound Studies. The book also addresses questions of fandom in relation to radio and advocates for a more inclusive approach to the study and preservation of radio history. [Extracted from the article]

Pablo Helguera (Mexico City, 1971) is a New York based artist working with installation, sculpture, photography, drawing, socially engaged art and performance. Helguera's work focuses in a variety of topics ranging from history, pedagogy, sociolinguistics, ethnography, memory and the absurd, in formats that are widely varied including the lecture, museum display strategies, musical performances and written fiction. His work as an educator has usually intersected his interest as an artist. This intersection is best exemplified in his project, The School of Panamerican Unrest (2003-2006), a nomadic think-tank that physically crossed the American continent by car from Anchorage, Alaska to Tierra del Fuego, making 40 stops in between. Covering almost 20,000 miles, it is considered one of the most extensive public art projects on record as well as a pioneering work for the new generation of artworks regarded under the area of socially engaged art. The contribution, in the form of a conversation, will retrace Helguera's work to focus on questions of publicness, art and participation in a moment in which socially engaged practices are increasingly established in the contemporary art realm. By articulating the artist's strategies and operating methodologies, the aim is to shed light on ways in which art can contribute to widen the public discourse on the social and political life and create accessible spaces of meeting, confrontation and dialogue, in which a counter-narrative to the dominant neoliberal frame work can take place. [ABSTRACT FROM AUTHOR]

This research examines artist networks created by shared museum exhibition. While previous research on artistic careers assesses self-cultivated networks, historical recognition may be further influenced by connections created by important others, such as museum curators and art historians. I argue when museum exhibitions show artists together, curators are creating symbolic associations between artists that signal the artist's import and contextualization within his or her peer group. These exhibition-created associations, in turn, influence historians who must choose a small selection of artists to exemplify a historical cohort. The research tests this idea through a cohort of 125 artists' exhibition networks in the Museum of Modern Art, New York, from 1929 to 1968 (996 exhibitions). Individual network variables, such as number and quality of connections, are examined for impact on an artist's recognition in current art history textbooks (2012-2014). Results indicate certain connections created by exhibition have a positive effect on historical recognition, even when controlling for individual accomplishments of the artist (such as solo exhibitions). Artists connected with prestigious artists through "strong symbolic ties" (i.e., repeated exhibition) tend to garner the most historical recognition, suggesting robust associations with historical peers may signify an artist's exemplary status within his or her cohort, and consequent "good fit" into the historical narrative. [ABSTRACT FROM AUTHOR]

A commemorative medal in the Hunterian, University of Glasgow, marks Danish journalist and adventurer, Frits Holm's (1881-1930) attempt to remove in 1908 a monument recording the first arrival of Nestorian Christianity in China (AD.635). Unsuccessful in his attempt at its removal, Holm commissioned a replica of the stele in local stone, carved directly from the original and shipped it to New York, where, for ten years, it was displayed in the Metropolitan Museum of Art. Even at the time it was questioned whether a copy had any artistic merit, but such was the Nestorian stele's fame as a Christian document that it ended up in the Vatican Museum and was itself a source from which cast copies were made and distributed around the world. The paper discusses Frits Holm's 'adventure', which provided him with the perfect opportunity for self-promotion, and addresses the position of the copy to collecting practices, especially by Westerners in China during the first decades of the twentieth century. Despite his efforts, Holm could never escape his failure to acquire the original object. [ABSTRACT FROM AUTHOR]

Among about a dozen of instruments represented on the intarsias once decorating the studiolo of Federico da Montefeltro (1422-1482) in Gubbio, there is a cetra. The intarsias were designed by the Sienese Francesco di Giorgio (1439-1501) and executed by the Florentine workshop of Giuliano (1432-1490) and Benedetto da Maiano (1442-1497) in about 1478-1482. Currently they are on display at the Metropolitan Museum of Art in New York, Rogers fund 39.153. The representation of the cetra is detailed and realistic, allowing us to make conclusions about a number of features of the instrument, otherwise known only from visual sources and literary references. The six wooden fret blocks are all of uniform height, and both nut-facing and bridge-facing edges of each block are perpendicular to the strings. Instrument's nine strings are grouped in four courses (2-2-3-2 strings). The tuning was possibly diatonic. As the instrument was likely of smallish size, diatonic frets on a short string length was easier to stop than narrower chromatic ones. Also the instrument's musical function may have been playing chords to accompany singing and playing simple dance tunes in a chordal texture, rather than playing elaborate melodies, voice parts in counterpoint or any kind of intabulated counterpoint. Still unresolved question is the purpose of the hook on the back of the neck, which does not facilitate playing the instrument, but rather impedes the use of the left hand in fretting the notes on the fingerboard. The discussion of the features of the instrument represented in the intarsia, is supported by data taken from its copy, built by the Umbrian luthier Luca Piccioni (2018). [ABSTRACT FROM AUTHOR]

The article focuses on the work of historian Richard Rabinowitz and the exhibition "Slavery in New York" he developed at the New-York Historical Society. The author discusses the challenges involved in curating the first two centuries of African American history from New Amsterdam and New York, explores how Rabinowitz used artifacts excavated from African American burial grounds, and examines the importance of interpretation and imagination in developing museum exhibits.

This article documents some of the experimentation in museum installation designs for the exhibition of non-Western objects during the 1930s and 1940s. This is a period in which ethnographic artefacts were being displayed as artworks in natural history museums and in which the exhibition of such objects in art museums drew on techniques characteristic of not only natural history museums, but also commercial urban window displays (which were themselves enjoying a period of dazzling exuberance). The article focuses on one collection of Pacific Islands objects now housed at the Buffalo Museum of Science and on the installation designs of René d'Harnoncourt and Trevor Thomas. It responds to the provocation of Alfred Gell's influential writings on art and agency, specifically, his conception of art as entrapment and enchantment-his claim that artworks captivate, and thus exert a kind of (secondary) agency on people (patients). [ABSTRACT FROM AUTHOR]

Baruch College began an information studies minor that reinforces the principles of information literacy. However, it did not employ a visual component as a method of teaching information literacy skills. To fill this gap, a new course, using the process of researching and preparing an exhibit script to teach undergraduates information literacy skills, was developed. In this course, students have the opportunity to become creative, while at the same time learning the organizational and research skills needed to compose exhibit proposals, write labels and press releases, and, finally, to produce an exhibit script. [ABSTRACT FROM PUBLISHER]

This essay is the result of a case study that I conducted at a National Design Museum in the USA. Specifically, I reviewed collaboration between this museum and the public educational system intended to enhance K-12 students' understanding of design and improve overall quality of art education. The focus is on identification of educational practice specifically geared toward maximizing the effectiveness of education in design in a design museum. It is significant to note that design museums help to engender appreciation of ordinary objects and enhance understanding of how both they and mass-produced images have been used to effect social, political and technological change. This case study analyses a summer institute programme at the Cooper-Hewitt National Design Museum in New York City and explores the role and importance of design-based learning. The finding overall was that design education is useful for K-12 students in terms of developing thinking processes. When they engage in the process of designing, they learn to observe, identify needs, seek and frame problems, work collaboratively, explore solutions, weigh alternatives and communicate their ideas verbally and visually. The design process offers opportunities for self-assessment, critiquing work in progress, revision and reflection. [ABSTRACT FROM AUTHOR]

The article reviews an exhibition "Home Delivery: Fabricating the Modern Dwelling" which was at the Museum of Modern Art in New York City in Spring 2008.

This article reviews the exhibition "Beyond Babylon: Art, Trade, and Diplomacy in the Second Millennium B.C." showing at the Metropolitan Museum of Art in New York City until March 15, 2009.

This article examines relationships between the museum fashion exhibit, viewing publics, and historians. It takes as a case study AngloMania: Tradition and Transgression in British Fashion, held at the Metropolitan Museum of Art, May 3-September 4 2006, as an example of a possibly new type of exhibition merging art-historical research with contemporary styling and viewing practices. [ABSTRACT FROM AUTHOR]

The article reviews three exhibitions including "Remaking the Metropolis," at the Museum of the City of New York from February 1 to May 28, 2007, "The Road to Recreation," at Queens Museum of Art in New York from January 28 to May 27, 2007, and "Slum Clearance and the Superblock Solution," at Wallach Art Gallery in Columbia University in New York from January 31 to April 14, 2007.

The article presents a travel guide to museums in Manhattan, New York City. It offers information on the collections of each museum and other museum events and activities, such as tours, education programs, exhibits and performances. It cites each museum's admission fees and business hours. Some of the museums featured here are the American Folk Art Museum, Asia Society, Center for Jewish History, The Cloisters, Cooper-Hewitt National Design Museum, and Dahesh Museum of Art.

The article reviews the exhibition "Freedom From Fear: FDR Commander-in-Chief," on display at the FDR Presidential Library and Museum in Hyde Park, New York from September 6, 2005 to November 5, 2006.

The article features several museums located in Manhattan, New York City. The American Folk Art Museum features collection of works of artists and craftspeople from the 18th century to the present. The Asia Society museum exhibits Asian and Asian-American art. The Center for Jewish complex archives Jewish history, art and literature. The University Museum represents archival documents from the American Sephardic communities.

The article presents information of an exhibition series. Flight was the third installation of a year long exhibition series, Points of Entry, in the four storefront windows of the Lower East Side Tenement Museum in New York City. Points of Entry was sponsored by the Lower Manhattan Cultural Council and the Lower East Side Tenement Museum. The series explores the significance of immigrant communities in New York City, their experiences since 9/11, the issues surrounding new immigration policies and global realities. All four windows create a narrative that imagines the conditions of today's targeted immigrants; while at the same time remembering a history of one hundred years of immigration to the U.S. from all over the world. Flight examines the contradictions between ideas of American Democracy, i.e., freedom, opportunity and diversity, and the exclusionary logic of homeland security and racial profiling. It evokes the silent erasure of working class immigrant communities that takes place outside the notice of the nation-body.

The article focuses on an exhibition organized by the U.S. wing of Metropolitan Museum of Art in conjunction with the Central Park Conservancy in New York State. The exhibition demonstrates both the amount of valuable documentation that has been lost and the benefit that has accrued to posterity because of lucky finds on the part of those who now understand the importance of preserving sketches and original renderings, including submissions to design competitions. Here on display is the winning entry in the design competition to create Central Park.

Critics have regarded Beaumont Newhall's tenure as the MoMA's curator of photography in the late 1930s as the first manifestation in the Photography Department of a larger problem at the MoMA as a whole: the attempt to define by fiat a 'modernist aesthetic' in photography as it had in the other arts. Newhall's first large-scale exhibition, however, belies this interpretation. Photography: 1839-1937, used a wide range of images and innovative display strategies to illustrate the entire domain of photography (X-rays to movie stills) rather than define or promote a high art separate from the popular origins of the medium. This inclusiveness, I argue, was based on the theories of Alois Riegl, a late nineteenth century art theorist who eschewed value distinctions between so-called high and low art. By applying Riegl's theories to this seminal exhibition, Newhall re-defined the role of the modern curator to that of an archivist: one who gathers, but leaves the creation of meaning to the viewer. [ABSTRACT FROM AUTHOR]

Presents information on several exhibitions and museums that focus on geosciences. Information on the exhibition 'Dinosaurs of Patagonia,' at the Casa de la Cultura museum in Ushuaia, Argentina; Description of the Rose Center for Earth and Space exhibit at the American Museum of Natural History in New York City; Features of the Discovery Point museum at Discovery Quay in Dundee, Scotland.

Between 1909 and 1929, John Cotton Dana directed New Jersey's Newark Museum and pioneered the museum exhibition of mass-produced goods, initiating a trend among American art museums, including the Metropolitan Museum of Art and the Museum of Modern Art in New York. Through his work, Dana hoped to reform the museum community, society and industry. He saw his museum's activities as a progressive response to the problems of increased industrialization, an expanding consumer culture and the country's search for a national aesthetic based on the machine. This paper examines Dana's influence by investigating his correspondence, publications and exhibitions, including the first display in America of modern industrial design, the 1912 exhibit of the work of the Deutscher Werkbund. [ABSTRACT FROM AUTHOR]

Reports on the exhibition `Sensation,' which featured the works of Chris Ofili at the Brooklyn Museum of Art in New York City, New York from October 2, 1999 through January 9, 2000. Description on Ofili's works; Controversy surrounding the exhibition; Value of Ofili's painting which was sold in 1999.

Recounts the experiences of children at Morris L. Eisenstein Learning Center in creating a school museum exhibit in New York City, New York in 1998. Information on a suspension bridge model built by the children; Significance of experiences in gaining social and academic skills; Outcome of the project.

Features the exhibition 'Fashion and Surrealism,' held at the Fashion Institute of Technology in New York. Works from the worlds of fashion and art; Trends in fashion design; Influences of Classical art; Publication of an exhibition catalog; Near exclusion of the works by important women Surrealists from the exhibition.

Features modernism, formalism and politics in the cubism art exhibition of 1936 at the Museum of Modern Art in New York. Historiography of earlier-20th-century modernism; Revolutionary development of modern art with focus on cubism and abstract art; Catalog of the exhibit; Works and artists included in the exhibition.

The author discusses the conceptual design process that led to the creation of a computer exhibit at the New York Hall of Science, a hands-on" science museum in Queens, New York. His discussion incorporates critical consideration of some of the broader pedagogical, social and philosophical issues that both inform and have impact on the use and abuse of interactive exhibits in public spaces. [ABSTRACT FROM AUTHOR]

Presents a critique on the sound art exhibition 'Soundings,' held at the Neuberger Museum of the State University of New York in Purchase, New York. Cross-referencing and combining of aural and visual art; Popularity of sound art in the U.S.; Chronological history of sound art; Documentation of sound installations.