Archives of American Art

The manipulation of colour, form and texture within a commercial design activity is a core competency for an industrial designer. The job of the Industrial designer is to use colour, form, texture, temperature and movement to deliver a sensory experience that evokes a desired response. The core deliverables of an industrial designer are embedded within an evidence-based and user-centred approach to product design. Social functionality may often be most easily seen through the delivery of Brand. The aim of this paper is to provide education practitioners with a template to facilitate the introduction of Brand construction to undergraduate industrial design students through the visual and physical embodiment of a product. The objectives of this paper are to: provide signposting to the underpinning theories of the template; describe the template; show examples of student work that demonstrate the outcomes of template application; and, highlight where students have used the template within brand related design competitions to produce successful design outcomes.

American Journal of Gastroenterology: October 1999 - Volume 94 - Issue 10 - p 3093 doi: 10.1111/j.1572-0241.1999.03093.x

The Archives of American Art, an archival unit of the Smithsonian Institution, with generous support from the Terra Foundation for American Art, has developed a digitization methodology to provide Web access to the papers of artists, dealers, critics, historians and art world figures that have been scanned in their entirety. The Archives’ unique role as an aggregator and distributor of primary resources through microfilm beginning in 1954, and adoption of the tools designed by and for archivists, including the USMARC AMC format in the 1980s, and particularly Encoded Archival Description (EAD) in the late 1990s, provided the operational infrastructure, capacity, and conducive environment that led to its ability to fully digitize and provide access to entire collections. The scalable infrastructure and workflow put in place where digitization and Web presentation seamlessly follow the fundamental archival work of arrangement and description demonstrate that a digitization methodology for archival collections need not be dictated by mismatched technology and approaches at the item or object level practiced by libraries and museums.

Après l’arrestation et le jugement ultérieur en Israël (1961) de Adolf Eichmann, de temps en temps on trouve dans la litérature américaine des avis divergents sur son degré de psychopathologie – ou même l’absence de celle-ci – le plus connu étant l’explication du cas par le concept de “la banalité du mal” de Arendt (1963) . La publication éventuelle de son protocole Rorschach ( Miale & Selzer, 1975 ) n’a pas éclairci les contradictions: La majorité des auteurs qui l’ont examiné, sûrement dû en bonne partie aux déficiences de l’administration du test, l’ont considéré superficiellement sans en faire un dépouillement individuel poussé; seul McCully (1980) a tracé, et ouvertement publié, les lignes générales d’un abord plus attentif. En considérant conjointement le protocole Szondi obtenu simultanément – mais largement ignoré – chez notre sujet ( Szondi, 1983 ), nous entreprenons une réinterprétation approfondie. En profitant des travaux de Mélon (1975 , 1976 ) et Peralta (1995a) sur les correspondances structurales entre les deux épreuves, et en nous appuyant sur la technique Classique Suisse du Rorschach (Bohm, 1951) perfectionnée par Salomon (1962) et Peralta (1996) dans le sens psychanalytique, nous arrivons à un diagnostic défini qui nous permet de situer les conceptualisations de Arendt dans un autre contexte. Nos résultats nous conduisent à insister, comme Rorschach le fit en son temps, sur l’importance capitale d’un dépouillement formel – perceptanalytique – détaillé conduisant à une intégration globale des réponses dans un Psychogramme avant tout essai interprétatif, même (ou peut-être plus) dans des protocoles partiellement déficients comme celui-ci.

A DESCRIPTION of the Archives of American Art mustbegin with a precise definition.It is a series of collections of personal papers and of institutional and business records that reflect the history of the visual arts in the United States.In a technical sense, therefore, it is a repository of primary documentation acquired from a variety of sources rather than a true archives.Nor is its subject matter simply American art.The Archives is of a more comprehensive scope, embracing all those activities connected with creating, marketing, and collecting paintings, sculpture, decorative objects, and architecture in this country from their earliest manifestations in the 17th century to the present time.The Archives has its headquarters in, but is not a part of, the Detroit Institute of Arts.Its staff consists of six professionals and seven clerks and secretaries.The Archives receives no Federal, State, or municipal funds but relies instead on members whose financial contributions and fund-raising activities support the work of gathering, processing, and preserving documents.The need for such work had long been recognized by a few scholars and museum curators.The American Art Research Council, a similar entity founded in 1942, failed to generate widespread support.It was not until 1954, when growing public interest in American art became evident, that the Archives of American Art was established, chiefly through the efforts of two men whose personal involvement in the world of art enabled them to lay a firm groundwork for the organization.During the early 1950's when E. P. Richardson, then Director of the Detroit Institute of Arts, was conducting research for his Painting in America; the Story of 4^0 Years (New York, 1956), he "discovered that there was an up-todate, useful book on only one out of ten of the artists whom I wished to discuss." 1 Time and money were required for travel to sources scattered about the country.Relevant documents were often unkown or difficult to get at.While Dr. Richardson was struggling with these conditions, Lawrence Fleischman, an energetic art col-

Often archives are our best hope for reusing irreplaceable data from historic research, but how do we go from jumbled paper records to a format scientists can actually use? With a heck of a lot of work, that’s how. This presentation describes how two archivists and a data librarian teamed up to illuminate the work of Charles Robertson, a botanist turned entomologist from the late eighteenth and early nineteenth centuries who produced one of the most in-depth pollinator studies ever conducted. Robertson’s work provides essential baseline data for contemporary research, but his publications lack the level of methodological detail required today. Valuable contextual details were buried in his archived correspondence, but making those records scientifically useful required a lot more than digitization. We also deciphered handwriting, identified correspondents, investigated outdated species names, and traced the insect specimens Robertson exchanged with his network of collaborators. Although we started by looking for data in Robertson’s correspondence, we ended up with more of a collections-as-data approach and created a dataset about the network of scientists represented in his correspondence. The resulting dataset can be used as data to analyze Robertson’s correspondence or as a discovery tool to help researchers pinpoint the digitized records of most interest to them. This case study provides a window into the puzzling, unpredictable, and rewarding process of historical data rescue with lessons learned about spinning straw into gold.

Often archives are our best hope for reusing irreplaceable data from historic research, but how do we go from jumbled paper records to a format scientists can actually use? With a heck of a lot of work, that’s how. This presentation describes how two archivists and a data librarian teamed up to illuminate the work of Charles Robertson, a botanist turned entomologist from the late eighteenth and early nineteenth centuries who produced one of the most in-depth pollinator studies ever conducted. Robertson’s work provides essential baseline data for contemporary research, but his publications lack the level of methodological detail required today. Valuable contextual details were buried in his archived correspondence, but making those records scientifically useful required a lot more than digitization. We also deciphered handwriting, identified correspondents, investigated outdated species names, and traced the insect specimens Robertson exchanged with his network of collaborators. Although we started by looking for data in Robertson’s correspondence, we ended up with more of a collections-as-data approach and created a dataset about the network of scientists represented in his correspondence. The resulting dataset can be used as data to analyze Robertson’s correspondence or as a discovery tool to help researchers pinpoint the digitized records of most interest to them. This case study provides a window into the puzzling, unpredictable, and rewarding process of historical data rescue with lessons learned about spinning straw into gold.

The article examines a series of serigraphs by American artist Sarah Charlesworth, titled Tabula Rasa, created in 1981, and analyses them in the context of the artistic medium. The serigraphs by Charlesworth, who is associated with the Pictures Generation movement, challenge the semiotic interpretation of images as carriers of ideological messages or allegorical structures, a perspective commonly held by critics from the Pictures circle. Earlier works by the artist, referenced in the article, can also be read through this lens. Due to its reinterpretation of Joseph Nicéphore Niépce’s 1832 or 1833 photograph of a set table, which is shrouded in uncertainty and ambiguity, Tabula Rasa prompts a reconsideration of the artistic medium and its contested status in the context of the so-called post-medium era. The primary point of reference for these considerations are the writings of American “October” journal critic Rosalind E. Krauss, particularly her book Under Blue Cup (2011).

A refugee from Lithuania, Aleksandra Kasuba (1923–2019) arrived in the U.S. in 1947 and built a successful career in the competitive, male-dominated post-World War II New York’s art world. Beginning with small ceramic tile artworks that evolved into multi-media mosaics, Kasuba’s artistic vision expanded to shaping architectural spaces. From 1953 to 1970, appearances in exhibitions organized by the Museum of Contemporary Craft introduced her art to American and international audiences. Her pivotal solo exhibition at an important New York gallery in 1966 led to complex collaborations with noted architects for projects in major U. S. cities. Her innovative monumental designs in marble, brick and granite were focal points of public buildings and spaces. This article examines her key commissions completed from 1970 to 1986 in Chicago, New York City, Rochester, N.Y., Buffalo, N.Y., and Washington, D.C.

Bibliotheksangestellte (Mittlerer Dienst) Als vierjähriges Kind kam die am 27.April 1902 in Berlin als Tochter des Kaufmanns Moses Löwen thal und dessen Ehefrau geborene Anna Löwenthal mit ihrer Familie nach Dresden.Nach dem Schulbesuch war sie zwei Jahre in der Hauswirtschaft tätig, bevor sie 1919 für ein Jahr in einem Mädchenpensionat in Baden-Baden unterrichtet wurde.1920 kehrte Löwenthal nach Dresden zurück und lernte in den folgenden beiden Jahren an der Altstädter Frauenschule.Am 14. Mai 1922 bat sie um Aufnahme als Praktikantin an der Sächsischen Landesbibliothek in Dresden, doch erst im Oktober 1922 wurde sie zum Volontariat und zur Ausbildung für den Mittleren Dienst an wissenschaftlichen Bibliotheken zugelassen.Dafür wechselte sie im Frühjahr 1924 an die Universitätsbibliothek Leipzig, wo sie ihre Prüfung am 24.September 1924 mit Erfolg ablegte.Nach einem Jahr noch immer auf der Suche nach einer Anstellung, bat Löwenthal Ende 1925, sie weiterhin als Bewerberin für den Mittleren Dienst an der Landesbibliothek zu führen.Auch ihre durch ▶Martin Bollert unterstützte Bewerbung um eine Stelle beim Landesstaatsbauverein blieb erfolglos.Ab September 1926 konnte ihr Bollert einen befristeten Vertrag als Bibliotheksgehilfin für täglich 5 Stunden in der Musikabteilung anbieten.Da sie ihre Arbeit zuverlässig erledigte, setzten sich ihre Kollegen Arno Reichert, ▶Hans Hofmann und ▶Ewald Jammers im April 1928 für ihren Verbleib an der Landesbibliothek ein: "Dass man daran denkt, ihr diese neue Stelle vorzuenthalten, weil Fräulein Löwenthal Jüdin ist, nehmen wir nicht an; aus diesem Grunde darf sich eine Zurücksetzung nicht rechtfertigen lassen." 1 Ab Mitte Juli 1928 war sie als Bibliotheksangestellte an der Sächsischen Landesbibliothek tätig.Doch zum 31.Januar 1931 erhielt Anna Löwenthal, wie ▶Lucie Walter und acht weitere Kolleginnen und Kollegen, aufgrund der staatlich angeordneten Sparmaßnahmen ihre Kündigung, wurde allerdings nach einer Gehaltskürzung doch weiterbeschäftigt.Im Fragebogen, den alle Angestellten im öffentlichen Dienst im Zuge des "Gesetzes zur Wiederherstellung des Berufsbeamtentums" im Juni 1933 auszufüllen hatten, schrieb Löwenthal, wie ihre Kollegin Walter, nur "Ich bin Jüdin".Am 20.Juli 1933 verfügte das Sächsische Ministerium für Volksbildung ihre Entlassung zum 31.August 1933.Vier Tage später übermittelte ihr Bollert die Kündigung.Das Einzige, was er in dieser Situation noch für Löwenthal tun konnte, war, ihr ein gutes Arbeitszeugnis auszustellen.So bescheinigte er: "Sie besitzt gute Gaben des Geistes und ist geschickt im praktischen Anfassen ihrer Aufgaben.Ihr Fleiss und ihre Arbeitsfreude sind gross und sie ist erfüllt von ernstem Verantwor-1

The Smithsonian's Archives of American Art holds in its collections millions of handwritten documents. Curatorial projects bring focus to the personal and historically significant qualities of these resources. This article provides an overview of two recent projects organized by the Archives of American Art: the publication Pen to Paper. Artists’ Handwritten Letters from the Smithsonian's Archives of American Art (Princeton Architectural Press, 2016) and the 2014–2015 exhibition A Day in the Life: Artists’ Diaries from the Archives of American Art. With the Transcription Center as an entry point, the Archives expanded its presentations of primary sources to online audiences. The article discusses the primary goals of our transcription projects, specifically, enhanced interaction between people and our collections. The article also considers strategies of online communication and analysis of the projects’ outcomes.

Planning practitioners, policymakers, and scholars often explain the history and impact of public housing in the United States in terms of budgets, expenditures, units produced, social composition,...

Founded in 1954, the Smithsonian’s Archives of American Art collects, preserves and makes available primary sources documenting the history of the visual arts in the United States. More than 16 million items strong, its collections comprise the world’s largest single source for letters, diaries, financial records, unpublished writings, sketchbooks, scrapbooks and photographs created by artists, critics, collectors, art dealers and art societies – the raw material for scholarship in American art.

American Journal of Gastroenterology: July 2003 - Volume 98 - Issue 7 - p 1640 doi: 10.1111/j.1572-0241.2003.07603.x

Michael Ann Holly, Panofsky and the Foundations of Art History. Ithaca and London. Cornell University Press, 1984. 267 pp., $11.25 (cloth). An article from journal RACAR : Revue d'art canadienne / Canadian Art Review (Volume 13, Number 1, 1986, pp. 5-88), on Érudit.

Garnett Mccoy; Richard D. Mckinzie. The New Deal for Artists. [Princeton:] Princeton University Press. 1973. Pp. xii, 203. $17.50 and Francis V. O'Connor, edite

Mary Bartlett Cowdrey; George Caleb Bingham: River Portraitist. By John Francis McDermott. (Norman: University of Oklahoma Press, 1959. xxviii + 454 pp. Illustr