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Geopolitical bordering practices affect not only migrants and refugees, but also non-human animals, environments, and Indigenous communities. But metaphorical borders also exist inside and are imposed on everyone. These include emotional, psychic, and cultural borders that limit freedoms. This article examines the potential solidarities for and multi-scalar politics of building an abolitionist praxis rooted in this expansive notion of borders and our collective struggles to cross or abolish them altogether. It examines US-based artist Patricia Vázquez Gómez's art exhibition BorderXer, first exhibited in Portland, Oregon, U.S.A. in 2019, to develop a geographical analysis of 'borderXers' (border crossers) that operates at scales from the flesh, to body, to community, to the transnational. The artist uses photographic, installation, textual, and video works to connect audiences' own experiences of borders imposed on their bodies and psyches to the material geographies of the US/México borderlands. These borders limit both freedom of movement and freedom to be in relation and community with others. These works unsettle dominant and dominating notions of borders and reveal possibilities for the remaking of exclusionary border relationalities. I argue that the aesthetics of the exhibition develop an abolitionist perspective on borders that exceeds the artist's explicit calls for 'open borders'. [ABSTRACT FROM AUTHOR]

The article discusses an exhibition at the Chazen Museum of Art that focuses on the work of Israhel Van Meckenem, a fifteenth-century printmaker. Van Meckenem was known for his business savvy and branding, often appropriating and reissuing the work of his contemporaries. The exhibition showcased a selection of 50 prints from Van Meckenem's collection, including loans from major American museums. The article highlights Van Meckenem's use of branding and his copies of engravings by other artists. It also mentions his creativity in depicting everyday life and animals. The author argues that while some may consider Van Meckenem a pirate, making copies of prints was common at the time and played a significant role in the print market. The article concludes by emphasizing the need for further investigation into the business of prints during this period. [Extracted from the article]

Darağaç is a former industrial, lower-income neighborhood in Turkey's third-largest city, Izmir. In 2015 several artists settled in the area and started a nonprofit initiative called the Darağaç Collective (DC). DC has since organized numerous art events and exhibitions, receiving considerable interest and publicity. Yet, to date, the changes in Darağaç's material landscapes have been subtle, and the area remains ungentrified, unlike similar examples in Turkey. This article argues that the collaborative art practice spearheaded by DC played a major role in the preservation of the neighborhood's urban texture. The artists became neighbors with the residents, benefited from the expertise of mechanics, and drew inspiration from the site, while the local community has contributed to the production, exhibition, and appreciation of artworks. Thus, art has become a tool for sociability and a catalyst for interpersonal, cultural, and cross-class exchanges, which could offer an alternative route to art-led urban change in Turkey. [ABSTRACT FROM AUTHOR]

To conduct an in-depth analysis of global users' emotional and aesthetic preferences for rural cultural brands and to accurately assess the varying popularity of different design elements across countries, this study utilizes the EmoRuralSim simulator in combination with artificial intelligence and text mining techniques. The study creates a virtual environment for emotion and language simulation and constructs a Design, Emotion, Region (DER) relational model. By building a virtual user group that encompasses the languages and cultures of 15 countries, and employing an intelligent recommendation system, the study achieves precise matching of regional preferences with product styles, offering personalized design recommendations. The findings indicate that Brazilian users favor festive, vibrant, and colorful elements, with a preferred style leaning towards folk cultural activities and art exhibitions. Their match degree, product preference index, and regional adaptability score are 78%, 0.75, and 8.2, respectively. Additionally, users from Russia, Japan, Germany, South Korea, and Thailand exhibit high emotional resonance with designs related to rural architecture, handicrafts, and performing arts, with evaluation values of 0.89, 0.82, and 0.81, respectively. This study reveals the complex interactions between emotions and design elements in a cross-cultural context, providing valuable insights for the international promotion of rural cultural brands. [ABSTRACT FROM AUTHOR]

Armour is very rarely shown in the non-Islamic art of medieval India after appearing, albeit infrequently, in the Indian art of earlier centuries. Subsequently, the representation of armour would become significantly more common. Nevertheless, there are exceptions, notably on temple carvings and carved vīragal hero or memorial stones from what had been the Hoysaḷa kingdom in the southern Deccan region. This article seeks to interpret these carvings, to identify the reality of the armour shown and to explain its socio-political context. Potential links are drawn between such carved representations and the terminology of armour as used in medieval India. The article concludes by looking at the possible survival of medieval armour technology and styles in the continued use of textile-based armours in southern India into and beyond the early modern era. [ABSTRACT FROM AUTHOR]

This essay explores how the authors' curatorial process has roots in wonder : how it is one of inquiry beginning and ending with open questions. The authors describe how their "crip" curatorial methods can be used to refuse extractive practices that might result from a disengaged wonder and to generate exhibitions that hold both the viewers and the artists with the care necessary to move passive viewing into a reciprocal engagement that can lead to an activist turn. These curatorial methods acknowledge and embrace medical professionals as potentially fellow disabled people and view them as current or potential allies. Through the participatory nature of the art in the exhibitions the gallery becomes a space of encounter one that creates support structures for people to build out from their individual personal experiences and to become part of something shared across people objects memory and experience. However this shared space is not intended to collapse into ever fully knowing or understanding another person's experience. Critically it is also a shared engagement where access to someone else's story or body or memories is not freely granted. Crip curation takes seriously the intentional omissions of both viewers and artists that upend not only what we get to know but how we get to know it and emphasizes that what we get to know and how we know it necessarily remains incomplete; viewers and artists alone retain full access to their own experiences. [ABSTRACT FROM AUTHOR]

This review essay examines an art exhibition that envisions the future infrastructure of quantum computing and the sociopolitical and aesthetic visions it might bring about. Visitors are encouraged to reflect on past concepts of computing and the transformative power of technology. The exhibit tackles the challenge that computer-based infrastructures—the infrastructure of infrastructures—poses for the historiography of computing. This review places the exhibit's perspective of quantum computing infrastructures within the broader context of computing and information history. [ABSTRACT FROM AUTHOR]

North American dress and textile museums have long been rooted in colonial ideals due to the long-standing perpetuation of Eurocentrism as superior to all other ways of knowing. The fashion and textile art exhibition Material Resistance: Social Justice and Empowerment Narratives Told Through Cloth (2022), curated by graduate students, contested these colonial traditions and instead centered the stories, lived experiences, and empowerment of marginalized communities. The exhibition featured social justice-focused textile works of five artists and three community organizations. The curatorial team explored methods to re-envision how curators can center social justice and empowerment within fashion and textile exhibitions through innovative approaches, building upon previous curatorial scholarship that values collaboration and combines tenets of post-critical museology, intersectionality, and self-determination. By prioritizing the voices of the show's artists and community members, being intentional about the curatorial selection and accessibility, providing opportunities for community engagement, and practicing repatriation, we provide an example of curatorial practice centering the people, not the system that has often disenfranchised them. [ABSTRACT FROM AUTHOR]

The rapidly evolving nature of emerging technologies renders artworks made using such technologies a challenging category of objects to be handled by institutions. This paper presents real scenarios of how art made with Virtual Reality (VR) and Augmented Reality (AR) is acquired, exhibited and finally preserved by museums and art institutions, presenting a clear picture of a particular period. Though an extensive body of literature and studies deal with the preservation of 'New Media', very few focus on the challenges faced by museums and private institutions when it comes to artworks that use VR/AR. We used in-depth interviews with eight museum professionals working in six key institutions that engage with VR/AR artworks, and four artists, who create such works, in order to define current institutional practices, understand the challenges museum professionals face when dealing with VR/AR artworks, and identify the preservation-related concerns of artists working with these technologies. [ABSTRACT FROM AUTHOR]

This article reconstructs the story of the "Chinese Painting Exhibition" in the USSR, brought to Moscow and Leningrad in 1934 by the prominent Chinese artist Xu Beihong. The exhibition covered a period from the Han dynasty up to the 1930s, and, for the first time, presented Chinese art to the Soviet audience. Before arriving in the USSR, the show toured Europe, where it was extremely popular and considered the first successful attempt to present Chinese art in the West. In contrast, the exhibition's perception in the Soviet Union was rather contradictory. The reasons for that could be found in the ongoing Soviet artistic discourse and preconceived vision of Chinese art. Based on archival materials, this study reveals the process of the exhibition's organization and focuses on the image of China and Chinese art constructed by its curators. Additionally, this article examines the reception of the show by both professional and mass Soviet audiences in conjunction with the Soviet ideology towards fine art, foreign art exhibitions of the 1930s, and existing narratives on China, which shaped the optic of Soviet visitors. [ABSTRACT FROM AUTHOR]

This article is a case study that illustrates the complex intersection of art, politics, and diplomacy in the interwar period. Based on Finnish and Soviet archival documents and press publications, it examines the entire process of organising a Finnish art show abroad. The exhibition, held from 28 November to 24 December 1934, in Moscow, was seen as a landmark event, drawing significant attendance and fostering Finnish–Soviet cultural exchange. By analysing various factors contributing to its success, we provide a detailed picture of both artistic and political influences, demonstrating how cultural events can transcend mere aesthetic appreciation to become significant diplomatic tools. [ABSTRACT FROM AUTHOR]

This article explores the official exhibition of Austrian art held in May 1930 at The Society for the Encouragement of the Fine Arts in Warsaw. Showcasing 474 artworks by 100 artists, the exhibition spanned the years 1918–1930, a period marked by Austria's efforts to overcome post-war political isolation. The article examines the exhibition's rhetoric and its critical reception in Warsaw within the broader context of Polish–Austrian diplomatic relations, influenced by Austria's challenging political and economic situation and the priorities of the Second Polish Republic. The introductory essay in the exhibition catalogue, authored by Hans Tietze, emphasized Vienna's seminal role as a cultural center at the crossroads of European artistic trends. This approach aligned with the cultural diplomacy of Johannes Schober's government, which aimed to underscore a rhetoric of openness to the cultures of other nations, particularly the successors of the Habsburg Empire. This contrasted with the later identity policy of the Bundesstaat Österreich, which elevated Tyrol as emblematic of the core German–Austrian identity constructed in the new state. The analysis reveals that the exhibition represented the peak of Polish–Austrian cultural relations during the interwar years, suggesting the potential for broader engagement. However, this potential was short-lived, ultimately thwarted by the Anschluss of Austria to Germany in 1938. [ABSTRACT FROM AUTHOR]

Contemporary art consumption is predominantly online, driven by algorithmic recommendation systems that dictate artwork visibility. Despite not being designed for curation, these algorithms' machinic ways of seeing play a pivotal role in shaping visual culture, influencing artistic creation, visibility, and associated social and financial benefits. The Algorithmic Pedestal was a gallery, practice-based research project that reported gallerygoers' perceptions of a human's curation and curation achieved by Instagram's algorithm. This paper presents a technical analysis of the same exhibit using computer vision code, offering insights into machines' perception of visual art. The computer vision code assigned values on various metrics to each image, allowing statistical comparisons to identify differences between the collections of images selected by the human and the algorithmic system. The analysis reveals statistically significant differences between the exhibited images and the broader Metropolitan Museum of Art digital collection. However, the analysis found minimal distinctions between human-curated and Instagram-curated images. This study contributes insights into the perceived value of the curation process, shedding light on how audiences perceive artworks differently from machines using computer vision. [ABSTRACT FROM AUTHOR]

Artists have long been interested in the archival process. Their work examining and critiquing archives and archival concepts has attracted considerable scholarly attention; however, little attention has been paid to the perspectives of archivists, focusing instead on those of artists themselves, as well as critical theorists. This article focuses on how archivists consider and harness archives in their practice, examining their use of archives in exhibitions within museum and gallery settings (and, briefly, within libraries). Drawing on interviews with archivists and designers, this paper explores the display of archives through four key themes: contextualising (and, in turn, shaping) the exhibition of artworks; providing insights into the creative processes of artists and writers; enabling institutions to reflect on their collecting and curating practices; and using archives as objects for display in themselves. The discussion demonstrates a range of different perspectives that reveals the transformative possibilities of archives and their exhibition. [ABSTRACT FROM AUTHOR]

Whilst dementia is a global health concern, recent research indicates that behaviour changes can reduce its risk. This study aimed to explore the impact of an interactive visual art exhibition on adults' motivation for dementia risk reduction. Participants (N = 165) completed the Motivation to Change Behaviour for Dementia Risk Reduction 10-item scale before and after the exhibition. Paired-sample t-tests compared changes in total motivation levels, and positive and negative cues to action scores. Multilinear regression was employed to identify predictors of increased motivation post exhibit. Participants showed a significant overall increase in motivation for brain-healthy lifestyles immediately post-exhibit (t(62) = − 2.70, p = 0.009), particularly with positive cues to action. Longer time spent engaging in the exhibit was associated with increased motivational change (R2 = 0.177, F(6,156) = 5.605, p < 0.001). Findings indicate that interactive visual art exhibitions hold significant potential as a means of enhancing adults' motivation for dementia risk reduction. By offering positive cues to action, these exhibitions could serve as an innovative component of public health strategies focused on promoting brain-healthy lifestyles. Our results contribute to the relatively limited body of research on the development of arts-based interventions that are both engaging and scalable, with the capacity to reach diverse populations. Further investigation into the long-term effects and underlying mechanisms is warranted to inform the design of more efficacious public health programs to support global efforts on mitigating the burden of dementia. [ABSTRACT FROM AUTHOR]

Background: International research demonstrates an association between arts and culture activities and health and wellbeing. A similar association exists for sports event attendance and health. The aim of this study was to investigate associations between arts and culture engagement and attending sports events during the past year and self-rated health (SRH). Methods: A cross-sectional study. A public health survey with three reminders was sent to a stratified random sample of the adult 18–84 population in Scania in the southernmost part of Sweden in October-December 2019. The weighted response rate was 44%, and 40,087 total respondents were included in the present study. Analyses were performed in logistic regression models with multiple adjustments for age, education, country of birth, leisure-time physical activity (LTPA), smoking, alcohol consumption, and economic stress. Results: The prevalence of poor SRH was 32.8% among women and 27.6% among men. The prevalence of theatre/cinema attendance was 63.2% among women and 55.2% among men, arts exhibition/museum attendance was 41.0% among women and 36.0% among men, and for sports attendance it was 33.8% among women and 48.2% among men. All items included in the final models showed statistically significant associations with self-rated health in bivariate logistic regression models. In the multiple model, adjusted for all covariates including both men and women, the odds ratios (ORs) of poor SRH were statistically significant OR 1.21 (95% confidence interval: 1.14–1.29) for not visiting theatre/cinema during the past year, OR 1.11 (1.04–1.17) for not visiting arts exhibition and OR 1.31 (1.24–1.39) for not visiting a sports event. Conclusions: Significant associations between arts and culture engagement and sports event attendance, and SRH were observed, although effect measures were comparatively low for arts and cultural engagement. The results may be useful for informing public health promotion and prevention strategies. [ABSTRACT FROM AUTHOR]

AbstractOne of the best ways for archives to maintain operations and support learning and scholarly research is to actively raise awareness of the treasures they preserve and make accessible to all. By collaborating with other GLAM (galleries, libraries, archives, and museums) institutions to exhibit visually compelling materials, archives and special collections can expand services and benefits to their communities and institutions, locally and nationally. This article describes how Southern Illinois University Carbondale exhibited ground-breaking art in the Caresse Crosby Papers to amplify the contributions of African American and other diverse artists to the development of modern art. [ABSTRACT FROM AUTHOR]

This visual essay portrays how an artist-researcher-teacher investigates the idea of a/r/tography and constructivist teaching pedagogy while using her own artwork, Fantasy Museum, as a platform for teaching. Fantasy Museum features a series of digitally altered photographs of museum visitors viewing emptied artworks, and visitors are invited to draw their own collections inside the empty spaces, which will later be displayed together in exhibitions. An inquiry-based approach is adopted to facilitate viewers' participation. Fantasy Museum was shown in several solo and group exhibitions and classroom settings in Seoul, Korea and New York from 2014 to 2019. The project invited various participants (ages roughly between six and 40) to collaborate. This article illustrates the author's attempt to interweave her identities and practices into the project and possibly offers pedagogical implications for the readers. [ABSTRACT FROM AUTHOR]

The Ethnographic Museum in Dubrovnik holds an extensive textile collection which includes a number of dresses and costumes from Croatia and neighbouring countries. Until recently, the costumes were displayed on mannequins created by the academic artist Zvonimir Lončarić (1927–2004). His sculptures are expressive forms made of terracotta, fibreglass, wood, metal, acrylic paint and other materials chosen for their visual appeal. Due to their importance, the museum considered the mannequins to be protected works of art in the permanent exhibition; however, they had a harmful effect on the costumes displayed. In 2018, after completing a series of conservation–restoration projects within the collection, it was decided to replace the existing mounts with new, museum-quality mannequins. Two project-based learning workshops were organised, led by a team of textile conservators from the University of Dubrovnik and the Croatian Conservation Institute, in collaboration with the curator of the Ethnographic Museum. This case study highlights the challenges of exhibiting ethnographic costumes by discussing past presentation methods and how new solutions have been implemented in line with the modern conservation–restoration profession. The new solutions take into consideration ethics, decision-making processes, and an understanding of contemporary materials and methodology. [ABSTRACT FROM AUTHOR]

Hope and Trauma in a Poisoned Land was a community engaged regional art exhibition that began as a mixed-method research project. The original purpose was to give voice to the stories of indigenous people living in uranium-contaminated regions of the Navajo Nation. It quickly expanded into a social practice art project, allowing for collaboration between individuals, artists, community members, and several different institutions. Participating artists attended a 4-day informational and interactive workshop about the uranium mining legacy, so that they fully understood contamination issues; the goal was for them to create art from an informed place. The investigators examined the psychological impact of the workshop and the exhibition on the artists as well as the community at large. We found that the greater the emotional impact on the artist, the greater their absorption while making the art and the greater their artwork creativity, as rated by objective evaluators. Community attendees reported increased knowledge about the issue, as well as feeling inspired to take action. Through engaging a community advisory council and artists and patrons on an intellectual, aesthetic, emotional, and compassionate level, we documented how this social practice art exhibition had an impact on our community. [ABSTRACT FROM AUTHOR]

The article reviews the exhibition "We are Yoruba" at the Afro Brazil Museum in São Paulo, Brazil, from October 23, 2004, including the history of African, particularly Yoruba, art in Brazil and its ties to Candomblé, and the contributions of collectors like Pierre Verger and Emanoel Araujo.

This article examines the transformation of photography in China during the 1980s, specifically the shift from state-controlled visual culture to a more diverse and independent artistic expression. It discusses the concept of the "third realm," an intermediate space between the state and society, and how it influenced photography during this period. The article explores the role of camera clubs in promoting aestheticism and propaganda photography, as well as the emergence of independent photography groups that challenged these dominant modes. It highlights the tensions and negotiations between different approaches to photography in China during the 1980s, and how collaboration between the state and society shaped its development. [Extracted from the article]

Sample this: a hypothetical menu book of fish recipes from both sides of the Bengal border; a barbed wire running through the Ichhamati, showing the river's indifference to political borders; a sandstone and fabric pillar standing as a metaphoric monument of unity between religions, commemorating Gandhi's peace march in Noakhali in 1946; an accordion book opening out, unfolding narratives immortalised in Ritwik Ghatak's films. These are some of the artworks that were showcased at The Legacy of Loss: Perspectives on the Partition of Bengal, an Art Exhibition that the Kolkata Partition Museum Trust (KPMT) organised in collaboration with the Kolkata Centre for Creativity (KCC), to commemorate the 74th anniversary of India's Partition. The Exhibition ran from 17 to 29 August 2021 at KCC, and was supported by Tata Steel and the Emami Foundation. Conceptualised and conceived by the late art historian, Dr. Rajasri Mukhopadhyay, and curated by KCC, this was an unique Exhibition on the Bengal Partition by five contemporary artists – Paula Sengupta, Vinayak Bhattacharya, Debasish Mukherjee, Amritah Sen and Dilip Mitra – each with a distinct style and perspective on the theme. As Rajasri Mukhopadhyay put it, Partition provided 'the psychological topography for this Exhibition. The pictorial narratives ... [found here] are embedded in the geographical sites of ancestry, the physical border, the trajectories of nostalgia in refugee colonies, and stories of inherited memories.' This paper will delve into the uniqueness of this Exhibition and argue for the importance of the Arts in preserving cultural memory, something that KPMT strongly believes in. [ABSTRACT FROM AUTHOR]

Throughout the 1970s, a drive towards the diversification of mediums available to artists led to artists working across numerous mediums not usually associated with visual art. While some came to work with sound as a central focus in their practice, most used sound as a medium to be employed in particular artworks for conceptual purposes. The paper is focused on five audio and sound exhibitions presented in New York City between 1978 and 1984. These large group exhibitions were held in alternative art spaces and not-for-profit art galleries and have received little critical attention beyond reviews published in local newspapers and art magazines. As such, these exhibitions have all but disappeared from the history of sound in art and from art history in general. I will argue that this cluster of group shows signal to an emergent practice that was moving past the post-medium condition and conceptual art towards the postmodernism of the 1980s. These exhibitions point to an understanding of sound as a medium of visual art that is at odds with contemporary scholarship in the sonic arts, which favours a music-based understanding of approaches to sound within the art gallery. [ABSTRACT FROM AUTHOR]

In the history of Mongolian art, the beginning of modern painting is considered in connection with the "First Exhibition of Young Artists" in 1968. Although social-realist paintings developed at the beginning of the 20th century in line with the policies of the party and government, the colors and patterns of some artists' paintings were expressed with new thinking. In Mongolia, the development of modern art has been rapidly developing in recent years in the fields of Cubism, Impressionism, Surrealism, Abstract, and Expressionism, and dozens of works have been created. During this period, the artists and artists of our country kept pace with the global changes and innovations in the field of art studies, created new types of works of modern art, and continued to learn and develop new methods of theory and practice. Since 1990, Mongolia has transitioned from a centrally planned economic system to a market economic system, and individual ideals and freedom have increased not only in the industrial sector but also in the field of painting, and the direction of modern painting has begun to develop rapidly since then. In line with this, in addition to the public access to modern artworks, the need to read, understand, and explain their meaning and content has increased. Moreover, since 1990, the award for the best works of the year of the "Mongolian Art Gallery" has been won by works created in the genre of modern art, which indicates that this genre of art has taken a significant place in the history of Mongolian visual arts. Although modern paintings are being created in large numbers, there is a lack of research that evaluates and analyzes them from the point of view of art studies. In the works of some researchers, the subject of Mongolian modern painting became secondary research and was limited to mention, which is the reason for us to selectively study this topic. The purpose of the research is to analyze the development and classification of modern art of the late 20th and early 21st centuries, which are stored in art galleries. This study aims to create a trend of modernism or monalism that reflects Mongolian traditional thinking. [ABSTRACT FROM AUTHOR]

Copyright of Art & Interpretation / Sanat ve Yorum is the property of Ataturk University Coordinatorship of Scientific Journals and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Curated by the artist Barbara Jones (1912–1978) for the Whitechapel Gallery in London in 1951, Blackeyes and Lemonade was an exhibition of popular art or, what Jones defined as, "the things people make for themselves, or that are manufactured in their taste." The exhibits, which included a tiled fireplace in the shape of an Airedale dog, a giant anthropomorphic lemon, pub beer pulls, advertising posters, and industrially manufactured confectionary, posed a challenge to a codified and class-based conception of taste, fine art, and high culture that was prevalent in the post-war British museum. Through an analysis of the production and reception of Blackeyes and Lemonade, this paper charts the intellectual and practical battles Jones had to engage in to defend her selection and interpretation of objects, while simultaneously defining an unfamiliar branch of esthetic impulse and attempting to redirect what she called the "museum eye." Finally, the paper explores the role of the temporary exhibition in re-opening discussions about taste, class, and gender in the museum. [ABSTRACT FROM AUTHOR]

Copyright of ANIAV: Revista de Investigación en Artes Visuales is the property of Universidad Politecnica de Valencia and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of School Administrators is the property of School Administration Research Association, R.O.C. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Pittsburgh's Carnegie Institute was founded by the Scottish-born steel magnate Andrew Carnegie in 1895 and held the only annual art exhibitions in the United States open to artists from overseas. Prominent British artists Augustus John, Laura Knight, A. J. Munnings, and William Nicholson all served on the jury of award for the Carnegie's annual exhibitions in successive years, from 1921 to 1924. The bilateral relations between the United Kingdom and the US were sometimes strained during the 1920s. In comparison, the prominence of British art remained strong. While the influence of France in early twentieth century Anglo-American art has been well established, this article encourages an examination of the direct transatlantic links between the UK and the US. [ABSTRACT FROM AUTHOR]