"The Daros Latinamerica Collection, based in Zurich, is one of the most comprehensive private collections of contemporary art from Latin America. It includes over one thousand works by more than a hundred artists, comprising both individual works and groups of works in all media and genres, created mainly from the 1960s to the present day [...] From 2006, the Daros Latinamerica Collection developed Casa Daros in Rio de Janeiro as a platform for Latin American art, staging thematic and monographic work shows from 2013 to 2015. More than 20 exhibitions as well as numerous performances, lectures, artist talks, workshops, and other artistic projects presented successfully the key elements of the collection in Brazil, while at the same time creating a lively dialogue on Latin American art in Latin America." --'About' page.
"An open-access journal devoted to progressive scholarship on medieval art.
Different Visions aims for inclusive publishing and welcomes a variety of approaches and topics reflecting the diversity of medieval visual and material culture. It publishes work that engages with all forms of critical theory, including Premodern Critical Race Studies, Gender Studies, the global Middle Ages, and Medievalism. The journal also seeks integrated, socially-engaged, or pedagogical projects that examine the role of medieval visual culture in our contemporary world. In addition, the journal welcomes projects that work at the intersection of medieval art history and the digital humanities. Unlike a traditional print journal, the e-format of Different Visions accommodates dynamic and interactive new media. We invite submissions that include digital content, including but not limited to film and audio clips, three-dimensional models, and gigapixel and spherical panoramas."--About page.
The Richard Diebenkorn catalogue raisonné documents all of the artist’s unique works known to the editors and the Foundation at the time of publication. Works that have emerged after publication are shown here in Addenda. Information unavailable to us at the time of publication, such as an unresolved collection credit at the time of our provenance research deadlines, is shown here in Revisions. The final dates for provenance research were: volume 2 (1933–1955), December 1, 2012; volume 3 (1955–1966), June 1, 2013; and volume 4 (1967–1992), December 1, 2013.
