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.

A DESCRIPTION of the Archives of American Art must begin 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.

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.

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.

Journal Article George Caleb Bingham: River Portraitist. By John Francis McDermott. (Norman: University of Oklahoma Press, 1959. xxviii + 454 pp. Illustrations, notes, appendixes, sources, and index. $15.00.) Get access Mary Bartlett Cowdrey Mary Bartlett Cowdrey Archives of American Art Search for other works by this author on: Oxford Academic Google Scholar Journal of American History, Volume 47, Issue 1, June 1960, Pages 132–133, https://doi.org/10.2307/1891302 Published: 01 June 1960

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.

Richard D. Mckinzie. The New Deal for Artists. [Princeton:] Princeton University Press. 1973. Pp. xii, 203. $17.50 and Francis V. O'Connor, edited and with an introduction by. Art for the Millions: Essays from the 1930s by Artists and Administrators of the WPA Federal Art Project. Greenwich, Conn.: New York Graphic Society. Greenwich, Conn.: New York Graphic Society. 1973. Pp. 317. $22.50 Mckinzie Richard D.. The New Deal for Artists. [Princeton:] Princeton University Press. 1973. Pp. xii, 203. $17.50. O'Connor Francis V., edited and with an introduction by. Art for the Millions: Essays from the 1930s by Artists and Administrators of the WPA Federal Art Project. Greenwich, Conn.: New York Graphic Society. 1973. Pp. 317. $22.50. Garnett Mccoy Garnett Mccoy Archives of American Art Search for other works by this author on: Oxford Academic Google Scholar The American Historical Review, Volume 80, Issue 2, April 1975, Pages 527–528, https://doi.org/10.1086/ahr/80.2.527 Published: 01 April 1975

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.

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.

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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.