Kemper Museum of Contemporary Art & Design, Kansas City Art Institute, Kansas City, Missouri, 1991-1994

Competition Drawing of Grand Atrium Hall. Ink drawing on tracing paper, initialed, 11x17 inches [from photographic copy by Lance Burgharrdt]

Kemper Museum of Contemporary Art & Design, Kansas City Art Institute, Kansas City, Missouri, 1991-1994

Competition Drawing of Grand Atrium Hall, Permanent Collection Gallery and Changing Exhibition Gallery. Ink drawing on tracing paper, initialed, 11x17 inches [from photographic copy by Lance Burgharrdt]

Kemper Museum of Contemporary Art & Design, Kansas City Art Institute, Kansas City, Missouri, 1991-1994

Competition Drawing of [Floor Plan], untitled. Ink drawing on tracing paper, initialed, 11x17 inches [from photographic copy by Lance Burgharrdt]

Contributions from the E. M. Museum of Geology and Archaeology of Princeton College

No. 1 out of print

A Souvenir of the Art Museum of the City Library Association, Springfield, Mass., 1895.

On cover: The Springfield art museum.

General guide to the collections of the Pennsylvania museum and school of industrial art in Memorial hall, Fairmount park, Philadelphia, Pa.

Preface signed: E. A. B. [i.e. Edwin Atlee Barber]

Analyzing Visitor Perceptions of Personalization in Art Museum Interactive Technology

Thesis (Master's)--University of Washington, 2016-06

Sculptors' Drawings 1910-1980, Selections from the Permanent Collection Whitney Museum of American Art

Catalog of an exhibition held at the Visual Arts Gallery, Florida International University. Essayby Paul Cummings

Women artists demonstrate in front of the Museum of Modern Art because there are not enough women's art shown at museums

General note: Title and date provided by Bettye Lane.

Women artists demonstrate in front on Museum of Modern Art

General note: Title and date provided by Bettye Lane.

First protest by women against Museum of Modern Art

General note: Title and date provided by Bettye Lane.

Massachusetts College of Art and Design y Universidad de Cuenca. Acuerdo de Intercambio Estudiantil. Memorándum de Acuerdo entre Massachusetts College of Art and Design (Massart), Boston, Massachusetts, U:S:A. y la Universidad de Cuenca, Ecuador

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Theoretical critique of the work of art : co-producers in research

The ways in which the "traditional" tension between words and artwork can be perceived has huge implications for understanding the relationship between critical or theoretical interpretation, art and practice, and research. Within the practice-led PhD this can generate a strange sense of disjuncture for the artist-researcher particularly when engaged in writing the exegesis. This paper aims to explore this tension through an introductory investigation of the work of the philosopher Andrew Benjamin. For Benjamin criticism completes the work of art. Criticism is, with the artwork, at the centre of our experience and theoretical understanding of art – in this way the work of art and criticism are co-productive. The reality of this co-productivity can be seen in three related articles on the work of American painter Marcia Hafif. In each of these articles there are critical negotiations of just how the work of art operates as art and theoretically, within the field of art. This focus has important ramifications for the writing and reading of the exegesis within the practice-led research higher degree. By including art as a significant part of the research reporting process the artist-researcher is also staking a claim as to the critical value of their work. Rather than resisting the tension between word and artwork the practice-led artist-researcher need to embrace the co-productive nature of critical word and creative work to more completely articulate their practice and its significance as research. The ideal venue and opportunity for this is the exegesis.