Art Interrupted : Advancing American Art and the Politics of Cultural Diplomacy / Georgia Museum of Art.

Material type: TextTextPublication details: Athens, GA : Georgia Museum of Art, University of Georgia , 2012Description: 273 p. : illus. ; 29 cmISBN:
  • 9780915977789
Subject(s): DDC classification:
  • 759.13 ART 
Summary: The catalogue for Art Interrupted includes a foreword from the three directors of the museums that collaborated to achieve this long awaited curatorial endeavor, as well as essays by Dennis Harper (Jule Collins Smith Museum of Fine Art), Mark White (Fred Jones Jr Museum of Art) and Paul Manoguerra (Georgia Museum of Art). Harper focuses on LeRoy Davidson's role as curator of Advancing American Art, White turns his attention to the influence of Wendell Wilkie's internationalist philosophy on the State Department's art program, and Manoguerra discusses the political and cultural context of the collection's dispersal, with the rise of the Cold War and the concept of containment. In addition, all 107 works in the exhibition appear in full-page, full-color reproductions, each accompanied by a descriptive essay. Appendices further lay out the comprehensive picture of the program.
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Item type Current library Call number Status Date due Barcode
Libro - Monografía Biblioteca Pública de San Miguel de Allende, A.C. Sala Ingles 759.13 ART (Browse shelf(Opens below)) Available 010648

Issued in connection with an exhibition held at the Georgia Museum of Art, Athens, Georgia, and three other institutions.

The catalogue for Art Interrupted includes a foreword from the three directors of the museums that collaborated to achieve this long awaited curatorial endeavor, as well as essays by Dennis Harper (Jule Collins Smith Museum of Fine Art), Mark White (Fred Jones Jr Museum of Art) and Paul Manoguerra (Georgia Museum of Art). Harper focuses on LeRoy Davidson's role as curator of Advancing American Art, White turns his attention to the influence of Wendell Wilkie's internationalist philosophy on the State Department's art program, and Manoguerra discusses the political and cultural context of the collection's dispersal, with the rise of the Cold War and the concept of containment. In addition, all 107 works in the exhibition appear in full-page, full-color reproductions, each accompanied by a descriptive essay. Appendices further lay out the comprehensive picture of the program.

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