Smithsonian American Art Museum Research Articles

Issue Information

CoverCrossroad #2, by Esphyr Slobodkina, ca. 1942–1945, oil on fiberboard, 43 1/2 × 33 1/2 inches. Courtesy of the Slobodkina Foundation.Photo: Smithsonian American Art Museum, Gift of Patricia and Phillip Frost, 1986.92.92

Wavelength Selection Using a Modified Camera to Improve Image-Based 3D Reconstruction of Heritage Objects

ABSTRACT Tools for image-based 3D-reconstruction are commonly used for cultural heritage applications; however, wider usage has increased variability in the quality of output 3D models. Geometric variations between 3D models acquired with differing methods make metric conservation applications such as condition monitoring and measuring change over time challenging. This article presents an investigation of wavelength selection using a modified off-the-shelf DSLR camera and bandpass filters to improve input image quality in a 3D-reconstruction study of a wooden sculpture of a coyote and turtle from the Smithsonian American Art Museum. The sculpture has a large crack of concern to conservators, but its curved, dark shiny surface challenges image-based dimensional monitoring. Selecting infrared wavelengths rather than the visible light for 3D reconstruction input images reduced specular surface reflections and improved image contrast resulting in improved recording of the 3D shape. 3D-reconstructions using infrared radiation produce better reconstructions than those using visible light. In this case reconstructed surface discrepancies between visible light are ∼0.6 mm whilst those using infrared are ∼0.3 mm. Results suggest that reflected infrared images are more forgiving and flexible for recording 3D data over time for dark, shiny wooden surfaces and thus improve the reliability and comparability of image-based 3D-reconstruction.

Covers

Next article FreeCoversPDFPDF PLUSFull Text Add to favoritesDownload CitationTrack CitationsPermissionsReprints Share onFacebookTwitterLinked InRedditEmailQR Code SectionsMoreCover: Frederick Eversley, Untitled (Parabolic Lens), 1971. Three-color, three-layer cast polyester, 36 ½ diam. × 9 ⅞ in. Museum of Modern Art, Acquired through the generosity of Michael S. Ovitz and Gary and Karen Winnick, and Committee on Painting and Sculpture Funds. Digital Image © The Museum of Modern Art / Licensed by SCALA / Art Resource, N.Y. © Fred Eversley, Courtesy of the artist and David Kordansky GalleryBack cover: Edward Greene Malbone, Robert Macomb (left) and Mrs. Robert Macomb (Mary Cornell Pell) (right), ca. 1806. Watercolor on ivory, each 3 ¾ × 3 in. Metropolitan Museum of Art, New York, Bequest of Irving S. Olds, 1963 Next article DetailsFiguresReferencesCited by American Art Volume 36, Number 3Fall 2022 Sponsored by the Smithsonian American Art Museum Article DOIhttps://doi.org/10.1086/723297 © 2022 by Smithsonian Institution. All rights reserved.PDF download Crossref reports no articles citing this article.

Announcements

Previous article FreeAnnouncementsPDFPDF PLUS Add to favoritesDownload CitationTrack CitationsPermissionsReprints Share onFacebookTwitterLinkedInRedditEmail SectionsMoreDetailsFiguresReferencesCited by American Art Volume 36, Number 2Summer 2022 Sponsored by the Smithsonian American Art Museum Article DOIhttps://doi.org/10.1086/721683 Views: 26Total views on this site © 2022 by Smithsonian Institution. All rights reserved.PDF download Crossref reports no articles citing this article.

We are in Open Circuits: Writings by Nam June Paik

We Are in Open Circuits: Writings by Nam June Paik is a large, illustrated monograph with no image of the iconic artworks for which Paik is most known. There are no walls of stacked televisions, no Buddha watching himself on TV. This collection of writings, from the Nam June Paik Archive (Smithsonian American Art Museum) and a range of international publications, are the reproduced formatting and facsimiles of the artist’s typewritten scores, essays, letters and handwritten journal entries, postcards and notes. The book is wonderful to browse as an aesthetic artifact but it is also a resource and record of a dynamic mind responding to a changing world from the late 1950s into the mid-1990s. The editor introductions to each of the thematic sections (Music and the Avant-garde; Transforming Video and Television; Culture and Politics; and Commentaries and Letters) provide an historical and cultural context for Paik’s writing. Paik’s writing, however, is deeply interdisciplinary, nonlinear and networked. No single text stays within the bounds of the topic heading. This makes for an exhilarating reading experience within a single text but is somewhat overwhelming to navigate as a collection in book form, despite a fairly comprehensive index. The reader, curious about Paik’s networked thought processes, would benefit from digital versions of the texts in a searchable and richly annotated database. But such a digital resource would miss the material expressions of the writing itself as presented in this large format book. The artifacts of Paik’s time-worn philosophical fragments, about the artist’s role in a world being reshaped by technology, have the feel of prophecy; messages of hope and warning addressed to our current moment.Paik was an interdisciplinary and cosmopolitan artist at a time when electronic media was bringing the world virtually closer together after a devastating war. With a background in music, philosophy and aesthetics, he made his name in Germany and New York in the 1960s with his Cage-inspired scores in the neo-Dada Fluxus movement. In the 1970s, inspired by McLuhan’s media theory and the democratic promise of television, Paik pioneered “video art” with works encompassing broadcast TV, single-channel video, video installations and (mostly unrealized) plans for experiments with satellite television. The notes, plans and writings in We Are in Open Circuits cover this extraordinary artistic growth. Paik was clearly ambitious, seeking out connections and opportunities to make his visionary ideas a reality. His writing shows an instinct for grand entertainment, often accompanied by humor, within a serious art world. For example, he writes: Nietzsche said a hundred years ago, God is dead. I say, now paper is dead, except for toilet paper. If Joyce lived today, surely he would have written his Finnegan’s wake on video tape because of the vast possibility for manipulation in magnetic information storage.Paik’s writing also shows a practical artist attending to technical details in his notes and plans for exhibition, as well as to details of the theoretical frameworks in his grant reports.We Are in Open Circuits contains Paik’s most prescient speculative essays about technology: “Global Groove and Video Common Market” (1970), “Media Planning for the Post-Industrial Age” (1974), “Random Access Information” (1980) and “Art & Satellite” (1984). “Expanded Education for a Paper-less Society,” typewritten in 1968, begins: Suppose a girl in Kentucky wants to study the Japanese Koto instrument and a graduate at UCLA wants to experiment with certain Persian or Afghanistan musical instruments. How would they do this? … The mailable television (i.e., video tape) would enable the individual lessons for many subjects to be given from anywhere to anywhere.The artist who coined the term “electronic superhighway” also aimed to “make technology ridiculous.” Technology was for him not just a new medium for artistic self-expression but a generator of a new conviviality and a participatory human culture, involving chance, indeterminacy, simultaneity and fun, along with technical rigor. We Are in Open Circuits shows how much of Paik’s art was woven with his philosophical thinking about what happens when we are all connected.

Alexander von Humboldt and the United States: Art, Nature, and Culture by Eleanor Jones Harvey

Reviewed by: Alexander von Humboldt and the United States: Art, Nature, and Culture by Eleanor Jones Harvey Laura Dassow Walls (bio) Alexander von Humboldt and the United States: Art, Nature, and Culture eleanor jones harvey Smithsonian American Art Museum, in association with Princeton University Press 2020 444 pp. Few books on Alexander von Humboldt, the nineteenth century's world-famous explorer, scientist, and popular writer, are fully equal to their subject; this one is. It was created to accompany the exhibition at the Smithsonian American Art Museum (SAAM), Alexander von Humboldt and the United States: Art, Nature, and Culture, which opened in March 2020—just days after COVID-19 shut down the nation—and ran through July 2021. Fortunately the exhibit lives on, thanks to the online materials which include an illuminating video tour and a trove of additional educational materials, suitable for classroom use from elementary grades through college courses. [End Page 302] Even more fortunately, the exhibit will live on for decades to come in the pages of this magnificent book. Eleanor Jones Harvey, senior curator at the SAAM, has not only assembled a stunning exhibition; she has also written a panoramic narrative that takes in the full sweep of nineteenth-century American science, politics, art, literature, and culture. The result is a mammoth volume, its dense text leavened with scores of supplemental illustrations and interleaved with 110 full-color plates reproducing the exhibition's artworks and historical documents, the whole beautifully bound and wrapped in a lavish cover. This all makes it look superficially like an exhibit catalogue, a coffee-table book suitable for idle browsing. It may be that, but it's also much, much more, a book that begs to be read and reread. The more one studies the complex conversation offered here between the narrative and images, the more pathways it opens for further inquiry. As for the text itself, Harvey has written a rich, detailed, and lengthy scholarly monograph that brings Humboldt's America, and Humboldt himself, fully to life. She draws on the full range of world scholarship on Humboldt (including several works by the author of this review); but to it she adds reams of new information drawn from her own original archival research, including revelatory passages from Humboldt himself that have never before appeared in English. Even the most experienced Humboldt scholars will find surprises on every page, and all will appreciate the thoroughly annotated citations in Harvey's lengthy footnotes. The volume is capped off with the exhibition catalogue, plus a "selected" bibliography that nevertheless runs for twenty-four of its elephant-folio pages. The result is arguably the finest and most extensive single volume in English on the profound and far-reaching impact on the United States by that world-renowned German scientist, explorer, diplomat, artist, writer, and all-around force of nature, Alexander von Humboldt. Suppressed after his death by authorities suspicious of his poetic prose and hostile to his prodemocratic, anti-imperial politics, Humboldt today is overshadowed by his followers—especially the most famous of them, Charles Darwin. But in his own day, Humboldt was widely recognized not only as the world's most famous living scientist, but also as one of the era's most famous human beings, the very icon of science itself, seen as a progressive and humanistic endeavor open to all. For most of the nineteenth century, he was a ubiquitous presence, a point of reference in science, politics, culture and the arts across the Americas, Eurasia, and the British Commonwealth. We live, said Emerson, in "the Age of Humboldt." [End Page 303] To unpack Emerson's statement is a tremendous project, as this book—which is literally so large and heavy that reading it is a project in itself—makes clear. Humboldt's vision is impossible to describe briefly because it embraced, literally, everything there is; as many have noted, he was perhaps the last human being in modernity who could attempt to hold all knowledge in one brain. One could call him encyclopedic, for he sought to behold the full extent of the natural world in one grand, interconnected unity: his writings ranged from the celestial sphere composed of stars...

“What Does It Matter Where My Body Happens to Be?” A Personal View of Online Art Museum Tours

ABSTRACT When the pandemic temporarily closed U.S. museums in March 2020, it also halted on-site museum tours. Some museums responded by developing or expanding their virtual programs, including online tours. The author, an in-gallery docent at the Smithsonian American Art Museum, trained during the pandemic to give virtual tours. Comparing in-person with computer-mediated art museum tours, she acknowledges that virtual tours are an essential part of museum outreach and education, enabling those who are unable to travel to an art museum to strengthen their critical thinking skills and learn more about American art and culture. But she also advocates for in-person museum-going, arguing that our bodies play a key role in viewing art objects and in experiencing their spatial locations.

Review: ¡Printing the Revolution! The Rise and Impact of Chicano Graphics, 1965 to Now, by E. Carmen Ramos, Tatiana Reinoza, Terezita Romo, and Claudia E. Zapata

Review: <i>¡Printing the Revolution! The Rise and Impact of Chicano Graphics, 1965 to Now</i>, by E. Carmen Ramos, Tatiana Reinoza, Terezita Romo, and Claudia E. Zapata

Museum Authorship and the Conservation of Media Installations: Two Case Studies from the Smithsonian American Art Museum

ABSTRACT In 2017 and 2018 the Smithsonian American Art Museum (SAAM) engaged in long-term conservation projects for two of its most iconic artworks, For SAAM (2007) by Jenny Holzer (b. 1950) and Megatron/Matrix (1995) by Nam June Paik (1932–2006). In both works, underlying technologies were replaced due to failure and obsolescence. Contemporary art conservators have developed methods and ethics for evaluating these fraught decisions. Stakeholders designate work-defining properties to establish an artwork’s identity, and assess treatments and exhibitions based on whether these properties persist. However, an artwork’s identity always has a degree of fluidity and contingency. The culture of the collecting institution and the opinions of those involved influence treatment decisions and the resulting evolution of the artwork and its identity. This paper presents case studies that highlight the creative and authorial roles museum staff play in conserving and exhibiting iterative artworks. Conservators are becoming more comfortable acknowledging the subjective and authorial decisions they make when managing change in artworks. Effective documentation acknowledges these roles and in so doing leaves the door open for future practitioners to reinforce previous decisions or reevaluate them and follow alternative paths.

About the Authors

Previous articleNext article FreeAbout the AuthorsFull TextPDF Add to favoritesDownload CitationTrack CitationsPermissionsReprints Share onFacebookTwitterLinked InRedditEmailQR Code SectionsMoreJenny Anger is professor and chair of art history at Grinnell College. She is the author of Paul Klee and the Decorative in Modern Art (2004) and Four Metaphors of Modernism: From Der Sturm to the Société Anonyme (2018). Anger’s long-standing interest in gender and art extends here to an exploration of mental illness.Paisid Aramphongphan earned a Ph.D. in the history of art and architecture from Harvard University, and previously held a Terra Foundation Postdoctoral Fellowship at the Smithsonian American Art Museum. His book Horizontal Together: Art, Dance, and Queer Embodiment in 1960s New York is forthcoming (May 2021).David Brody is a professor of design studies at Parsons School of Design at the New School. He is the author of Housekeeping by Design: Hotels and Labor (2016) and Visualizing American Empire: Orientalism and Imperialism in the Philippines (2010), and co-editor of Design Studies: A Reader (2009). He is on the editorial board of American Art.Rhoda Eitel-Porter is the editor of Print Quarterly, based in London. Her master’s thesis was on portraits of women by Otto Dix; her Ph.D. dissertation on Cesare Nebbia was published in 2009. Much of her research focuses on Italian art of the sixteenth century, and American and German art of the twentieth century.Elizabeth S. Hawley is a visiting assistant professor in art history and visual studies at Northeastern University. She received her PhD from the CUNY Graduate Center, and her research on Native and non-Native art in the American Southwest has been supported by the Lunder Institute, Wolfsonian-FIU, and the Pittsburgh Foundation.Jennifer Quick holds a Ph.D. from Harvard University. She was previously Research Curator for the Polaroid Consultant Photographers Collection at the Harvard Business School. Her book manuscript, “Back to the Drawing Board: Ed Ruscha, Art, and Design in the 1960s” is under contract with Yale University Press.Jennifer Van Horn is an associate professor of art history and history at the University of Delaware. She is the author of The Power of Objects in Eighteenth-Century British America (2017) and her second book, Portraits of Resistance: Activating Art During Slavery, is due for publication next year.Kristina Wilson is a professor of art history at Clark University and the author of numerous books, articles, and essays on modernist design and modernist fine art practice in the United States. Her book Mid-Century Modernism and the American Body: Race, Gender, and the Politics of Power in Design is due for publication in April 2021. Previous articleNext article DetailsFiguresReferencesCited by American Art Volume 35, Number 1Spring 2021 Sponsored by the Smithsonian American Art Museum Article DOIhttps://doi.org/10.1086/714334 Views: 198 © 2021 by The Smithsonian Institution. All rights reserved. Crossref reports no articles citing this article.

Back Cover

Previous article FreeBack CoverFull TextPDF Add to favoritesDownload CitationTrack CitationsPermissionsReprints Share onFacebookTwitterLinked InRedditEmailQR Code SectionsMoreBack cover. Werner Wolff, photographer, Add and Leonard Bates. From “Furniture Designer,” Ebony 6, no. 1 (February 1951): 70. Beinecke Rare Book and Manuscript Library, Yale University, New Haven, Conn. Previous article DetailsFiguresReferencesCited by American Art Volume 35, Number 1Spring 2021 Sponsored by the Smithsonian American Art Museum Article DOIhttps://doi.org/10.1086/714335 Views: 158 © 2021 by Smithsonian Institution. All rights reserved. Crossref reports no articles citing this article.

Front Matter

Previous articleNext article FreeFront MatterPDF Add to favoritesDownload CitationTrack CitationsPermissionsReprints Share onFacebookTwitterLinkedInRedditEmail SectionsMoreDetailsFiguresReferencesCited by American Art Volume 35, Number 1Spring 2021 Sponsored by the Smithsonian American Art Museum Article DOIhttps://doi.org/10.1086/714333 Views: 66 © 2021 by Smithsonian Institution. All rights reserved. Crossref reports no articles citing this article.

Alexander von Humboldt and the United States: Art, Nature, and Culture by Eleanor Jones

Reviewed by: Alexander von Humboldt and the United States: Art, Nature, and Culture by Eleanor Jones Laura Turner Igoe (bio) Keywords Alexander von Humboldt, Philosophy, Natural world, Nature, Visual arts Alexander von Humboldt and the United States: Art, Nature, and Culture. By Eleanor Jones Harvey with a preface by Hans-Dieter Sues. (Washington, DC: Smithsonian American Art Museum in association with Princeton University Press, 2020. Pp. 443. Paper, $75.00.) In the Alexander von Humboldt and the United States catalogue and exhibition at the Smithsonian American Art Museum, Eleanor Harvey takes a deep dive into nineteenth-century American thought and culture to tease out traces of Humboldt, “arguably the most important natural philosopher of the nineteenth century” (25). Although hardly a household name today, Humboldt was one of the best known and admired public figures [End Page 480] until his death in 1859. The Prussian-born naturalist traveled the globe and wrote more than 36 books and 25,000 letters to a global network of correspondents. His theory of the interconnectedness of humans and nature, radical at the time, formed the basis of his five-volume magnum opus, Cosmos: A Sketch of the Physical Description of the Universe (1848–59). An international bestseller, Cosmos had a profound impact on past and current understandings of the natural world, inspiring visual artists, writers, and scientists from Charles Darwin to Rachel Carson. Although Humboldt spent only six weeks in the United States in 1804, discussing the Louisiana Purchase with Thomas Jefferson and inspiring Charles Willson Peale to come out of artistic retirement to paint his portrait, he proclaimed himself “half an American” and had a lasting impact on the nation’s cultural identity through his publications and correspondence. Each of the eight chapters in Alexander von Humboldt and the United States examines an area of Humboldt’s cultural impact—from his influence on early American naturalist–explorers to his lifelong advocacy of abolition and his deep interest in Native American ethnography. Humboldt’s imprint on American thought and culture has received a resurgence of scholarly attention in recent decades, most notably by literature scholar Laura Dassow Walls and historian Andrea Wulf, whose bestseller, The Invention of Nature: Alexander von Humboldt’s New World, thrust the polymath into popular culture.1 Harvey’s exhibition and catalogue, however, cement Humboldt’s significance to the visual arts, as she investigates his impact on Peale, Samuel F. B. Morse, Frederic Edwin Church, Carleton Watkins, Albert Bierstadt, George Catlin, and Karl Bodmer, and their visions of the natural world and its inhabitants. Densely researched and dizzying in its chronological and cultural expanse, the catalogue convincingly lays out Humboldt’s significant mark on U.S. cultural identity and artistic production. Because of the COVID-19 pandemic and the Smithsonian’s extended closures in 2020 and 2021, the Alexander von Humboldt and the United States catalogue has become, in many ways, a stand-in for the shuttered exhibition. Originally slated to open in March of 2020, the exhibition has only been open to the public for nine weeks (three weeks longer than Humboldt’s short stay in the United States). A number of online resources, [End Page 481] however, including lectures, tours, animated videos, and a complete checklist and label copy, provide multiple layers of access during the museum’s closure. Still, the catalogue and these virtual platforms cannot replicate the experience of viewing in person the masterworks Harvey has assembled, including the skeleton of a mastodon excavated by Peale in the early nineteenth century and borrowed from the Hessisches Landesmuseum in Darmstadt, Germany. Harvey described her clearest revelation in “dusting for [Humboldt’s] fingerprints” across U.S. culture as finding his “far reaching influence on the development of what has been called America’s ‘wilderness aesthetic,’” defined as “finding positive value in uncultivated territory” (35). Because of Humboldt, the United States adopted nature and “the concept of wilderness specifically—as an emblem of the scale and scope of our cultural ambitions,” giving rise to the Hudson River School of landscape painting (29). Unfortunately, there is little critical interrogation of the darker side of this “wilderness aesthetic” and its affiliated colonialist enterprise.2 For Americans to embrace uninhabited wilderness as...

Visionaries and Stewards

For fifty years, the Smithsonian American Art Museum (SAAM) has fostered new scholarship through its residential fellowship program, the oldest and largest in the world for the study of American ar...

Out of the Shadows

From the early days of video art in the 1960s and 1970s to the networked museum of today, the Smithsonian American Art Museum’s attitude toward the moving image has reflected and, in turn, influenced the expansion of the American art canon within universities, grant-making bodies, and the public’s perception of contemporary creative expression in the United States. In this paper I will trace film, video, and digital media as a focus of scholarship in SAAM’s academic programs, as well as the ways in which it intersects with the museum’s own investment in new media by the establishment of relevant curatorial positions and landmark acquisitions (e.g., the Nam June Paik Archive).

Announcements

Previous article No AccessAnnouncementsPDFPDF PLUS Add to favoritesDownload CitationTrack CitationsPermissionsReprints Share onFacebookTwitterLinkedInRedditEmail SectionsMoreDetailsFiguresReferencesCited by American Art Volume 34, Number 2Summer 2020 Sponsored by the Smithsonian American Art Museum Article DOIhttps://doi.org/10.1086/710479 Views: 14Total views on this site © 2020 by Smithsonian Institution. All rights reserved.PDF download Crossref reports no articles citing this article.

About the Authors

Previous article FreeAbout the AuthorsPDFPDF PLUSFull Text Add to favoritesDownload CitationTrack CitationsPermissionsReprints Share onFacebookTwitterLinked InRedditEmailQR Code SectionsMoreEliza Butler is a core lecturer in art history at Columbia University, where she received her Ph.D. Her research centers on the intersections of landscape, natural history, and material culture in late nineteenth- and early twentieth-century North America. Her writing has also recently appeared in Winterthur Portfolio.Maggie M. Cao is the David G. Frey Assistant Professor of art history at the University of North Carolina, Chapel Hill. She is the author of The End of Landscape in Nineteenth-Century America (2018). Her research focuses on the intersections of art with histories of technology, natural science, and economics in the eighteenth and nineteenth centuries.Sophie Cras is a maître de conferences (assistant professor) in contemporary art history at the Université Paris 1 Panthéon–Sorbonne, with a special interest in intersections between art and economics. Her first book, The Artist as Economist: Art and Capitalism in the 1960s, will appear in an English translation from Yale University Press in 2019.Michael D’Alessandro is an assistant professor of English at Duke University. His articles have appeared in The New England Quarterly, Studies in American Naturalism, Mississippi Quarterly, and J19: The Journal of Nineteenth-Century Americanists. Currently, he is working on a book project titled “Staged Readings: Contesting Class in Popular American Literature and Theatre, 1835–1875.”Chris Dingwall is a lecturer at Oakland University and author of Selling Slavery: Race and the Industry of American Culture (forthcoming). He recently co-curated African American Designers in Chicago: Art, Commerce, and the Politics of Race, an exhibition held at Chicago Cultural Center.Diana Seave Greenwald is assistant curator of the collection at the Isabella Stewart Gardner Museum. She completed her doctorate at the University of Oxford, where she also earned an M.Phil. in economic and social history. Her book Painting by Numbers: Economic Histories of Nineteenth Century Art is forthcoming from Princeton University Press.Diana L. Linden is an independent scholar. Her book Ben Shahn’s New Deal Murals: Jewish Identity in the American Scene (2015) was selected as a finalist by the National Jewish Book Awards. She was the co-editor of The Social and the Real: Political Art of the 1930s in the Western Hemisphere (2006). Her work has also appeared in Prospects and American Jewish History.David McCarthy is a professor of art history at Rhodes College. He is the author of The Nude in American Painting, 1950–1980 (1998); Pop Art (2000); H. C. Westermann at War: Art and Manhood in Cold War America (2004); American Artists against War, 1935–2010 (2015); and numerous essays about American art of the mid-twentieth century.John Ott is a professor of art history at James Madison University and author of Manufacturing the Modern Patron in Victorian California: Cultural Philanthropy, Industrial Capital, and Social Authority (2014). His current book project is “Mixed Media: The Visual Cultures of Racial Integration, 1931–1954.”Alex J. Taylor is an assistant professor and academic curator in the history of art and architecture at the University of Pittsburgh. From 2014 to 2016, he was the Terra Foundation Research Fellow in American Art at Tate. He is currently completing a history of corporate art patronage in the 1960s.Anne Verplanck is an associate professor of American studies at Penn State, Harrisburg. She is writing “The Business of Art: Transforming the Graphic Arts in an Age of Mechanical Reproduction,” which explores such areas as entrepreneurship, innovation, and marketing to more fully understand the interplay of economics, social forces, and art.Alan Wallach is the Ralph H. Wark Professor Emeritus of art and art history and professor emeritus of American studies at the College of William and Mary. His publications include studies of Thomas Cole, the Hudson River School, and art museums in the United States. Previous article DetailsFiguresReferencesCited by American Art Volume 33, Number 3Fall 2019 Sponsored by the Smithsonian American Art Museum Article DOIhttps://doi.org/10.1086/707480 © 2019 by Smithsonian Institution. All rights reserved.PDF download Crossref reports no articles citing this article.

Critics and the Slippery Terrain of Latinx Art

When E. Carmen Ramos organized Our America: The Latino Presence in American Art (2013) at the Smithsonian American Art Museum in Washington, DC, art holdings of Latinx artists at the institution were minimal and unbalanced. The museum lacked works by foundational figures; entire groups like

Announcements

Previous article FreeAnnouncementsPDFPDF PLUS Add to favoritesDownload CitationTrack CitationsPermissionsReprints Share onFacebookTwitterLinkedInRedditEmail SectionsMoreDetailsFiguresReferencesCited by American Art Volume 33, Number 2Summer 2019 Sponsored by the Smithsonian American Art Museum Article DOIhttps://doi.org/10.1086/705628 Views: 230Total views on this site © 2019 by Smithsonian Institution. All rights reserved.PDF download Crossref reports no articles citing this article.

Preface

Previous articleNext article No AccessCommentariesPrefaceExecutive Editor: Robin VederExecutive Editor: Robin Veder Search for more articles by this author PDFPDF PLUSFull Text Add to favoritesDownload CitationTrack CitationsPermissionsReprints Share onFacebookTwitterLinkedInRedditEmail SectionsMoreDetailsFiguresReferencesCited by American Art Volume 33, Number 1Spring 2019 Sponsored by the Smithsonian American Art Museum Article DOIhttps://doi.org/10.1086/703706 Views: 82Total views on this site © 2019 by The Smithsonian Institution. All rights reserved.PDF download Crossref reports no articles citing this article.