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Exhibition Review: Japanese Garments from Two Perspectives Kimono Style: The John C. Weber Collection, New York City: Metropolitan Museum of Art, June 7, 2022-February 20, 2023 Dressed by Nature: Textiles of Japan at the Minneapolis [Minnesota] Institute of Art, June 25-September 11, 2022 Ranging from the 18th to the 20th centuries, it includes a large number of period Western garments that borrow Japanese materials or effects, as well as contemporary garments by major Japanese designers, and various other traditional Japanese garments including theatrical costumes and work clothes in addition to the expected kimono. Although made of a natural material, silk kimono was upper-class and ceremonial, whereas this exhibition focused on everyday garments and other types of cloth made of commonplace, locally available materials, such as elm bark, hemp, rice straw, paper, nettle and even fish skin. [Extracted from the article]

In nineteenth-century New York, the collection, translation, and republication of documents related to colonial Dutch history was about more than antiquarianism or the ethno-centrism of Dutch-descended Americans. With the unprecedented support of the state of New York and U.S. ministers in Europe, the New York Historical Society (NYHS) orchestrated a much more ambitious project to reinscribe Dutch imperialism within a grander narrative of the state. This, they hoped, would situate New York at the centre of national history, and its archive as the nation's most important historical record. In doing so, the stewards of the state's archives and history worked to displace the burlesque rendition of New York's past popularized by Washington Irving, in favor of a unified, progressive, celebratory narrative. [ABSTRACT FROM AUTHOR]

Quality and excellence demand the efficient and effective delivery of high and consistent standards of performance. To achieve this, managers need to agree on how to measure performance in order to define what is being measured and how it will be measured, as well as the establishment of models of good practice to help deliver measurable improvements. Using data collected through in-depth interviews with museum executives in London, New York, and Washington, DC, this paper seeks to advance the discussion on how to measure the success of museums, and demonstrate that a performance framework is potentially useful in forging a culture of excellence that will permit museums to learn from each other's experience. [ABSTRACT FROM AUTHOR]

Henry Clay Frick (1849–1919), a pioneer in the Pittsburgh coke and steel industries and an enormously successful financier, amassed one of the most magnificent collections of Old Master paintings of America's Gilded Age. The Frick Collection, housed in Frick's mansion in New York City, was bequeathed to the public in 1919 and opened in 1935 as a museum. In this paper, the author explores Frick's tastes and acquisitions, and considers his aspirations, not only as a leading collector in the early twentieth century but also as the founder of The Frick Collection, which he intended to be his ‘monument’ [ABSTRACT FROM PUBLISHER]

Entering general discourse is the expression the 'Bilbao effect', referring to urban renewal spurred on through high-profile culture. Within its first year of opening, the Guggenheim Museum Bilbao with 1.3million visitors, had paid for its building costs and the city had become alive with the pulse of economic growth and development. Its success prompted requests to build Guggenheim 'branches' in dozens of other locations. The vision for a world wide network of museums, coordinated from New York was the brainchild of the Director of the Guggenheim Foundation, Thomas Krens. It was initiated as a means to raise funds for the Guggenheim by capitalising on its greatest assets —its name, reputation and art collection. Kren's driving ambition to expand the Guggenheim into a brand, critics say has instead stretched resources, prompted the development of decidedly 'commercial' exhibitions and tarnished the reputation of a great art collection. In this paper I plan to highlight areas of contention in the global reach of the the Guggenheim New York, by discussing the creation of its museum satellites in Bilbao, Berlin, La Vegas and to be completed in 2011, Abu Dhabi. The main focus of the discussion will be on the Guggenheim Museum Bilbao where the tensions between the global and the local are particularly apparent. [ABSTRACT FROM AUTHOR]

The article focuses on the papers presented by various artists to the Archives of American Art in New York City. Among the most beloved of art historians who lavished his time, energy, and intelligence on the institution is writer Milton W. Brown. The latest group of papers is from photographer Maryette Charlton that allows researchers to follow her early career in Chicago, Illinois. Figurative sculptor Richard McDermott Miller has given his papers special interest wherein about two thirds of them consist of professional correspondence with galleries, museums, and critics.

The article focuses on the artist Andre Emmerich's papers at the Andre Emmerich Gallery in New York City. According to the article, one group of documents had been destroyed in a warehouse fire and the remaining of Emmerich's archives had become the property of Sotheby's auction house when it acquired the gallery in 1998. It adds that Sotheby's decided to return the papers to Emmerich to dispose of as he wished. Emmerich's archives consisted of the inventor of card of every contemporary art object.

An introduction to a diary written by the museum director Jere Abbott during a trip he took to Russia between 1927 and 1928 is presented. It deals with topics including his studies at Harvard University, where he visited during his travels and his work at the Museum of Modern Art (MoMA) in New York City.

The article focuses on artist Norman Lewis who founded the Cinque Gallery in New York City along with artists Romare Bearden and Ernest Crichlow. Topics include Lewis friendship with artists such as Mark Rothko and Ad Reinhardt; views of Lewis on German Expressionism, Mexican mural painting and African sculpture; and the exhibition "Norman Lewis: Paintings and Works on Paper, 1934-1979" at the University of Connecticut from March 17-April 10, 1980.

Focuses on a conference hosted by Emilio Ambasz at the Museum of Modern Art in New York entitled "Institutions for a Post-Technological Society: The Universitas Project." Remarks from Ambasz regarding the role of many institutions in solving the problem of environmental design; Aim of the Universitas Project discussed during the conference; Discussion on the discipline of architecture and other technological and theoretical discourses.

The article provides an outline of a project for establishing the Film Library of the Museum of Modern Art in 1928 in New York City. The film library intends to trace, catalogue, preserve and exhibit in museums and colleges single films or programs of all types of film. The plan of the museum is to create an active film library whose activities would compile and annotate a card index of films to edit and assemble these films into programs for exhibition and to circulate projection machines to colleges and museums. New copies of films are secured for the library of the museum and are carefully preserved, while the negatives are renewed indefinitely. In this paper, preservation methods for films made before 1909, between 1909 and 1918 and since 1918 are tackled.

The article offers information on the conservation workshops of the Subcommission on Education and Culture's Museum Committee, under the Indo-US Joint Commission on Economic, Commercial, Scientific, Technological and Cultural Cooperation. These workshops include the "Conservation of Library and Archive Materials," that was held in New York, N.Y., and Washington, D.C., on June 12-16, 1978 and the "Air Pollution Damage to Cultural Property," that was held in New York, N.Y., and Washington, D.C., on May 10-14, 1982.

The article focuses on celebrated Russian artist Nicholas Roerich and his paintings displayed at the Nicholas Roerich Museum in New York City. The artistic legacy of Roerich is said to be commensurated with his other accomplishments and honors other than the estimated 7000 paintings produced in his lifetime. Among the paintings featured include "And We Are Opening the Gates," "Wanderer from the Resplendent City" and "Battle in the Heavens."

The article presents a reprint of the article "Virtual fabrics: the Met puts its textiles on line," by Suzy Menkes, which appeared in the September 26, 1995 issue of the "International Herald Tribune." It features the Antonio Ratti Textile Center of the Metropolitan Museum of Art in New York. The center, which is designed for online textile study and conservation, would include the collection of 3,600 textiles of the museum. The benefits and features of the center are discussed.

While significant scholarly attention has been paid to retail in gentrified neighborhoods, the origins of this specific form of urban commerce are less clear. The history of New York’s SoHo neighborhood provides a way to explain how and why art galleries, boutiques, and restaurants have come to define the retail landscape of gentrification. It also can help scholars answer two important questions about the arts and city life: how do artists and art galleries spark retail growth? Furthermore, outside of the economic activity created by the sale of art, how do they inspire economic development and gentrification? In the case of SoHo, the art market, government arts funding, and the sweat equity of artists were of central importance in drawing visitors into the neighborhood. These artistic tourists eventually became the customer base for area retail, shaping its distinctive commercial landscape. [ABSTRACT FROM PUBLISHER]

The article focuses on the similarities between the Museum of Modern Art in New York City and the Moderna Museet in Stockholm, Sweden. It informs that the Moderna Museet was developed from the collection of the National Museum, which is one of the first public art collections. It is stated that both museums share a period of comparable experimentation in the late 1960s and early 1970s. The Museum of Modern Art ranks highest in terms of financial support and critical acclaim. It discusses several aspects regarding museums of today which include role of museums in politics, war, activism, new technologies and cultural experimentation.

The article discusses the significance of the development of the Dendur Room of the Metropolitan Museum of Art in New York to architecture. It mentions that the Dendur Room was formative in the development of discourses on indoor air in museums. It notes that the Temple of Dendur was first offered to the U.S. government in 1963 in exchange for funds to be used in the Aswan High Dam project. It details the Dendur proposal of the Metropolitan Museum of Art.

Chelsea, on Manhattan's Far West Side, has with startling speed become the center of Contemporary Art in New York City and the United States. Between 1998 and 2005 (December), the number of galleries there grew from 71 to at least 239, dwarfing other art districts in the United States and supplanting SoHo, once the most dynamic gallery neighborhood in New York City. This mega-gathering of publicly accessible, Chelsea galleries offers a magnificent window of opportunity for research on Contemporary Art, both on the art works and on their audience. Our research, extending over five years, suggests that the current Contemporary Art gallery scene in Chelsea is too complex and interesting to be adequately grasped though a single theoretical lense. Approaches that stress the commercialization and (in stronger versions) the commodification of art are consistent with some features of Chelsea such as the agglomeration of commercial galleries, the rise of the global gallery, and the threat that the commercial real estate market may replace galleries with residential condominiums and/or stores selling more profitable merchandise. Yet some of Chelsea's most interesting features do not fit this model. These include Chelsea's role as providing a giant free art show for people few of whom are ‘consumers’ (i.e. purchasers) of art, its place as a flexible and open structure of opportunity for artists that far surpasses the opportunities offered by museums, and the fact that the vast majority of galleries are not global or star but small, boutique-like operations selling unique products each one of which proclaims its individuality and the creativity of the artist who produced it. Above all, a commodification theory fails to jibe with the active way the audience attributes meaning to the art and with the way the audience often scrutinizes the art for ways in which it may be significant for their lives. [ABSTRACT FROM AUTHOR]

The article focuses on the establishment of the Museum of Sex in Manhattan, New York and its roots in archaeology, ethnography and natural history. Its inaugural exhibition called NYC Sex: How New York City Transformed Sex in America proclaimed that New York City had pioneered transformation is modern sexual mores that occurred everywhere in the U.S. during the 20th century.

Early in the twentieth century, antiquarian collectors began installing displays of early American period rooms in art museums. Over the course of the century, improved scholarship into early American life allowed curators to reinterpret these displays, usually with increasing accuracy. Nonetheless, conceptions of early America were invested with shifting ideological connotations that resonated deeply at crucial moments in the twentieth century, influencing curatorial interpretations. The following article provides a historiographic overview of museum period room interpretations, using one room as a case study. [ABSTRACT FROM AUTHOR]

Community art museums emerged during the late 1960s and early 1970s as alternatives to mainstream art museums. However, these nontraditional/ethnic art organizations have become increasingly similar to established museum models. This article examines the historical evolution of a community art museum in New York City and the factors that contributed to its conventionalization. The study suggests that fieldwide economic and professional pressures were the driving forces behind the transformation of this organization. [ABSTRACT FROM AUTHOR]

Presents the living installation "The House With the Ocean View," performed by Marina Abramovic at the Sean Kelly Gallery in New York City.

Focuses on the American Folk Art Museum in New York City. Design of the building; Building's architects; Role of the collector of folk art; Connection between discursive strategies within academic specialization and the social construction of artistic movements; Definition of folk art; Subtextual meaning behind the epistemology of the collection.

Discusses changes in the perception and status of motorcycling and motorcycles as exemplified in the 1998 exhibition `The Art of the Motorcycle' at the Solomon R. Guggenheim Museum in New York City, New York. Objects displayed in the exhibition; Claims magnified in the exhibition.

The recent discovery of a purportedly integral print of Carl Th. Dreyer's LA PASSION DE JEANNE D'ARC (Société Générale de Films, 1928) calls for a comparison of this copy with other key prints. This article analyzes the five principal variant prints and demonstrates that this new copy is essentially the same as the well-known version held by the Ginémathèque Francaise, Paris, and the Department of Film of the Museum of Modern Art, New York. [ABSTRACT FROM AUTHOR]

Focuses on the exhibitions of African Art in two New York City museums, at the Brooklyn Museum in 1923 and at the Museum of Modern Art in 1935. Use of terms and arguments of art history in making a case of the aesthetic value of African objects; Change in the nature of museum display; Changing conception of museums in the United States; Evolution of the art museum.

The article reports on the numbering systems of museums. Museum's numbering systems are the process of listing, counting, numbering and marking art collection. They cause difficulties through multiple systems within individual museums, adding coded information and identification code and mixing digits with letters, abbreviations, roman numerals and punctuations. Museums also have three numbering systems adopted from the Metropolitan Museum of Art in New York and from the Indian Pueblo Cultural Center in Albuquerque.