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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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