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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]

This paper is a critical review of the exhibition "Surrealism: Desire Unbound" at the Tate and Metropolitan Museums of Art. The author argues that the majority of the art represents a variety of perverse solutions to male gender anxiety, solutions that most often take the form of viewing the female body as a fetish object or as an object for sadistic drives. She interprets such aggression toward females as being a consequence of the era in which these works were created: Europe between two world wars. Female self-representation is juxtaposed with male-generated art and demonstrates how women artists reclaimed their gaze and desire. [ABSTRACT FROM PUBLISHER]

The article offers information on artist Roy Frank Staab and his work. It states Staab attended Layton School of Art and had his first exhibition in 1977, in Paris, France. In 1980, he moved to New York City and worked for Metropolitan Museum of Art in New York. However Staab in 1983 shifted to working entirely in nature, employing natural materials from each site and became a peripatetic artist.

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.

This article examines Frank Lloyd Wright's House on the Mesa project, which, despite its familiarity to most historians of twentieth-century architecture, has never been thoroughly studied within the general context of Wright's expansive oeuvre and the specific circumstances of the Museum of Modern Art's 1932 Modern Architecture: International Exhibition. Numerous drawings for the project survive in the Frank Lloyd Wright Archives at Taliesin West, although only photographic evidence survives of the original model. Scattered references to the project appear in Wright's writings, most notably his correspondence with wealthy Denver businessman George Cranmer, whose family served as a kind of inspirational muse for the architect. Of special importance is a letter from Wright to critic Lewis Mumford recently discovered in the Lewis Mumford Papers at the University of Pennsylvania. Handwritten on the back of a photograph of the project's model, Wright's letter sheds new light on some of the project's technical innovations, which included textile-block walls, cantilevered roofs, and stepped casements. Less a response to the International Style, as is commonly held, the project was Wright's model of individualized, machine-age luxury for a merit-based democracy. [ABSTRACT FROM AUTHOR]

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.

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.

Museums can no longer pretend to be mere containers of art or other cultural treasures; their fascinating legacy for posterity is definitely not just the respective collection, but also its idiosyncratic articulation and ulterior resignification. This essay surveys sifting trends in the re-staging of modern museographies; but instead of using New York's MoMA as the obvious paradigm, pride of place is given here to the Muzeum Sztuki in Łódź (Poland). Its original Neoplastic Hall survived only from June 1948 until October 1950; but it was reconstructed ten years later, prefiguring other museographical remakes of avant-garde art displays. Thereafter, it also became, in many ways, a typical example characterising postmodern museological trends. All in all, it could perhaps be discussed nowadays in the light of critical museology as a referential case in the history of heritagised museographies. [ABSTRACT FROM AUTHOR]

Fantastic Art, Dada, Surrealism (1936), curated by Alfred H. Barr at the Museum of Modern Art (MoMA), New York, was the first major exhibition of outsider art at the epicentre of the art world. The entrance of outsider art in the art museum coincided with the changing role of the curator: from a custodian of fine arts to an exhibition author with creative agency. The disconnection of outsider art from canonized art history and the peculiar appearance of the works and their makers inspired new curatorial narrations and settings. Barr's inclusive vision of modern art and curation was, however, strongly criticized, and a few years later that vision was replaced by a hierarchical one demanding the exclusion of outsider art from the art museum. The developments at MoMA between 1936 and 1943 exemplify how outsider art served as a catalyst for the curatorial turn in which the division between the roles of curator and artist began to shift. [ABSTRACT FROM AUTHOR]

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The article presents information on "Mortal Coils," an installation by Carolee Schneeman exhibited at the Penine Hart Gallery in New York, N.Y. in March and April 2007. Schneeman is a member of the International Society for the Arts, Sciences & Technology (ISAST) and author of the paper "The Blood Link: Fresh Blood—A Dream Morphology and Venus Vectors" published in a number 27 issue of the "Leonardo" periodical. The installation included newspaper clippings, 35-millimeter photographic slides, and motorized manila ropes.

This article considers the role of varied agents in the circulation of Papunya art across the relations between the Australian and the international art fields. My analysis follows an exhibition that took place at New York University’s Grey Gallery in 2009, tracing in particular the international circulation of the highly valued ‘early Papunya boards’. By focusing on the unsettled nature of Aboriginal art’s circulation and the problem of producing its value socially in a world that is not consolidated, I consider Bourdieu’s ‘field of cultural production’ as still becoming. Finally, my argument should caution against assuming that ‘antipodean fields’ might be addressed as autonomous from international agents, circuits of distribution and so on. It also questions Bourdieu’s tendency to treat national art fields as independent. [ABSTRACT FROM PUBLISHER]

The article reminisces on the two-part exhibition "1 + 1 = 3," which was organized by Gallery 1199 in New York and the Muse Community Museum in Brooklyn, New York for "Where We At" in 1986. Organizers African American artists Charles Abramson and Senga Nengudi claimed that the show was an erotic equation. The main feature of the project was the pictures of the five pairs of African American artists photographed by African American photographer and artist Coreen Simpson.

The article reminisces on the two-part exhibition "1 + 1 = 3," which was organized by Gallery 1199 in New York and the Muse Community Museum in Brooklyn, New York for "Where We At" in 1986. Organizers African American artists Charles Abramson and Senga Nengudi claimed that the show was an erotic equation. The main feature of the project was the pictures of the five pairs of African American artists photographed by African American photographer and artist Coreen Simpson.

The article discusses the 1964-1965 New York World's Fair, held in New York City. It comments on the lack of a fine arts pavilion and examines international art displayed in individual nations' pavilions, particularly reflecting on the exhibitions of Spain, Mexico, the Vatican, and the United Arab Republic (Egypt). The author also discusses Fair Corporation President Robert Moses and suggests that the fair emphasized commercialization. Other topics include the absence of representatives from the Union of Soviet Socialist Republics (USSR), the participation of nations that had recently become independent, and a perceived lack of high culture at the fair.

The article reviews the exhibition "The Cartesian MathArt Hive," organized by the Bowery Poetry Club in New York City.

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.

In this article we argue that the upsurge of digital technology in contemporary art practice is requiring artists, art institutions and audiences to engage with time in new ways. Beginning with the way institutions such as New York's Museum of Modern Art broke with the museological paradigm of only displaying 'dead' art, we then examine how the emergence of video art in the 1960s created new practices of time-based spectatorship and altered exhibition protocols. From this vantage, we identify and address a key tendency in the present, namely the move away from conceiving the artwork as a finished object, in favour of the production of open platforms requiring the participation of the public in order to generate their content. We argue that this new setting for art is complex and ambivalent, enabling both new forms of collaboration and social engagement, but also pushing art towards the 'experience economy' of commodified leisure. [ABSTRACT FROM AUTHOR]

The article reviews several exhibitions including "Rörelse i konsten," and "Art of Assemblage," by at the Museum of Modern Art in New York City.

The article reviews the exhibition "Eisbergfreistadt: The Fictive and the Sublime" at the Yancey Richardson Gallery in New York.

The article reviews two books and an art exhibition, including "Gustave Courbet: Galeries nationales du Grand Palais," at the Metropolitan Museum of Art, New York from February 27 to May 18, 2008 and Musée Fabre, Montpellier, France from June 14 to September 28, 2008, "Gustave Courbet, Bertrand Tillier, Dominique de Font-Réaulx, Michelo Hilaire, Laurence des Cars, Bruno Mottin and Dominique Lobstein: Metropolitan Museum of Art" and "The Most Arrogant Man in France: Gustave Courbet and the Nineteenth-Century Media Culture," by Petra ten-Doesschate Chu.

The article focuses on the 1970 exhibition of artist Robert Morris at the Whitney Museum of American Art in New York City and two organizations: the Art Workers' Coalition (AWC) and the New York Art Strike Against War, Racism, and Repression (Art Strike). The AWC and the Art Strike are often referred to as vehicles for artists' to protest the Vietnam War, racism and sexism; however, the author presents the organizations as unions, since minimalist artists liken themselves to blue color workers.

This article examines the role of contemporary art in a post-9/11 context through The American Effect exhibition at the Whitney Museum of American Art in New York in 2003. This exhibition displayed a range of artworks from around the world that specifically engaged with, commented upon and interrogated the USA's pre-eminent position as a global superpower. In the politically charged climate after 9/11, the exhibition offered itself as a critical voice amid the more obvious patriotic clamour: it was one of the places where Americans could ask (and answer) the question, 'Why do they hate us so much?' Although The American Effect claimed to be a space of dissent, it ultimately failed to question, let alone challenge, US global hegemony. Instead, the exhibition articulated a benevolent patriotism that forced artwork from other nations into supplicating and abject positions, and it obscured the complex discursive networks that connect artists, curators, critics, audiences and art museums. [ABSTRACT FROM AUTHOR]

The article focuses on an artists' group, Collaborative Projects Incorporated (Colab), that formed in New York City in May of 1977. Reportedly, Colab is known for establishing unconventional temporary art shows and for providing emerging artists with exhibition opportunities while focusing on the new technologies and multimedia formats to engage wider audiences.

The article reviews the art exhibition "A Street Full of Presents," in October 1961 in New York City.

This essay serves to introduce Jasper Johns' most recent series of paintings and, in particular, Catenary (Manet-Degas) of 1999 (Private collection). It does this with reference to the use that Johns made of a note from Marcel Duchamp's Green Box when, in 1959, he had to provide a statement about his art for inclusion in the catalogue that accompanied the 'Sixteen Americans' exhibition at the Museum of Modem Art, New York. Johns' use of this note is considered with regard to seeing and understanding Flog of 1954-55 (Museum of Modem Art, New York), Souvenir of 1964 (Collection of the artist on loan to the San Francisco Museum of Modem Art), and Catenary (Manet-Degas). The essay insists on the distinction that can be made between the 'art object' and the 'work of art' and between the 'ordinary' or 'everyday self' of the artist who makes the former and the 'extraordinary self' of the artist that comes in place by way of the latter. In the work of art the human being tries 'to reach the Impossibility of a different way of being-in-the world and of being-at-one-with-itself'. [ABSTRACT FROM AUTHOR]

Highlights the exhibition 'Mirroring Evil: Nazi Imagery/Recent Art' at the Jewish Museum in New York. Artists who participated in the show; Art pieces included in the exhibition; Controversies surrounding the event.

Describes the Brewster Project, a plural and prismatic site-specific art exhibition in the one-street village of Brewster in Putnam County, New York. Premise of the project; Impossibility of returning to either an authentic form of site specificity or an organic notion of community while making every sincere and possible attempt to reach it; Relation of the individual to a larger community and its connection and impact on art practice.

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 an article about Sylvie Blocher, a French sculptor, as translated by Matthew S. Witkovsky and Thierry de Duve. Works of Blocher; Information on `Living Pictures,' Blocher's video works series project in New York City, New York; Naivete of the questions raised by the works; Summary of the relevant art conventions in the context of a video work.

The article examines art which focuses on postcolonial diasporas, using three exhibitions as examples. The diaspora communities featured in the exhibitions included South Asians living in Great Britain, Koreans living in New York City, and Philippinos living in California. The author notes that the exhibits were so focused on the diaspora experience that non-community members were unable to understand and appreciate the exhibits.

Features photographs of computer/video animation art scheduled screened at the Visual Arts Ampitheater and the New York Information Technology Center in November and December 1997 in New York. Definition of classical computer animation; Formal aesthetic of computer-generated animation; Reason for author's objection on human characters in `Toy Story.'

The article focuses on the anti-modernism of the members of the Group of Seven Artists in Canada who decided to ignore the Armory Show of 1913 in New York which featured works in modern art. It relates how the decision of the Group of Seven Artists to see the Armory Show was based on their rejection of modernist and European rhetoric, as well as their recognition that modernism was urban art. It describes how this action of the Group of Seven Artists contributed to the provincial character of art in Canada and the uncomfortable relationship of Canadian art to art of important urban centres worldwide.

Discusses the author's involvement with technology as a social and educational tool in the form of tape-recorded tours at the Picasso Retrospective exhibit of the works of Pablo Picasso at the Museum of Modern Art in New York City. Features of the recorded tour; Background to the growth of recorded museum tours; Features of the exhibit.

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.

Describes a retrospective exhibition of drawings, paintings and sculpture by Louise Bourgeois at the Museum of Modern Art in New York City in 1982 to 1983. Forms invented by Bourgeois; Argument that the works of Bourgeois are as logical as the geometry of Port-Royal; Method of drawing construction; Continuity in the artist's work.

The article reviews the exhibition "Gilded Lions and Jeweled Horses: The Synagogue to the Carousel--Jewish Carving Traditions" at the American Folk Art Museum in New York City from October 2, 2007 to March 23, 2008.

Focuses on the showing of the art exhibition titled 'Sensation' in New York City. Controversy surrounding the exhibition; Objection of Catholic officials.

The article highlights the session entitled On the Wall, Off the Wall: The Librarian as Exhibition Curator, during the 18th annual conference of the Art Libraries Society of North America, held in New York City on February 12, 1990. Information were provided on art exhibitions and programs in various settings. In addition, the technical aspects of library exhibitions were discussed. Presentations were conducted emphasizing the significance of library exhibition.