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The official Google Book Settlement website recently posted an update that extends the deadline to file for an upfront payment in the Google Book Search Copyright Class Action Settlement. Authors whose works were scanned by Google on or before May 5, 2009, may be entitled to claim a cash payment once the amended settlement is approved. The former deadline was March 31, 2011. The new deadline is one year after the approval of the settlement—a date yet to be determined.

The lawsuit, titled Authors Guild, Inc., et al. v. Google Inc. (Case No. 05 CV 8136, S.D.N.Y.), was brought by authors and lawyers who claim that by scanning books still under copyright for the Google Books Library Project, Google violated the creators’ rights. The federal court originally approved a settlement to the lawsuit in November 2008, and then preliminarily approved an amended settlement in November 2009.

A second class-action suit for copyright infringement was brought against Google in April 2010 by visual artists excluded as plaintiffs in the first suit, including the American Society of Media Photographers, several other photography associations, the Graphic Artists Guild, and independent photographers and illustrators. The outcome of this case (No. 10 CV 2977, S.D.N.Y.) will be determined after the settlement of the first case.

What does the extended deadline mean for authors and publishers? According to the Google Book Settlement website, if “you did not previously opt out of the Original Settlement and do not opt out of the Amended Settlement, you are ‘in’ the Amended Settlement,” and you can claim your copyrighted material. The website contains all documents related to the settlement and forms and instructions for registering your work. The Authors Guild also publishes updates about the settlement.

CAA will publish an additional notice once the new deadline is established.

Last week, CAA sent an email blast to 2011 Annual Conference attendees, asking for feedback on all aspects of last month’s event. Please complete the survey, which has several fields for open-ended answers, by Friday, March 25, 2011.

The survey asks you to identify yourself (e.g., artist, art historian, or student) and your type of affiliation and then to rate your experiences with various conference events and services—from online registration and the conference hotels to session content and Career Services activities. If you attended the Book and Trade Fair or used your conference badge for free museum admission, let CAA know. The survey also asks your thoughts about the conference website and how CAA can better deliver conference information.

Articles in the March 2011 issue of The Art Bulletin, the leading publication of international art-historical scholarship, examine a range of topics that include the Bocca della Verità in Rome and German painting and Czech Cubism. Two additional essays and a collection of important book reviews round out the issue, which has been mailed to all individual CAA members who elect to receive the journal, and to all institutional members.

In “The Mouth of Truth and Forum Boarium,” Fabio Barry evaluates the Bocca della Verità in Rome from numerous perspectives to recover its origin as an antique drain cover in the form of the god Oceanus, relating the Bocca to the myth of the Romanized Hercules from the reign of Hadrian. Moving to modern times, Eleanor Moseman uses the case study of Ernst Ludwig Kirchner and Bohumil Kubiša to explore the relation of German painting and Czech Cubism, revealing “style” as a central issue in the international dialogue of the visual arts of early-twentieth-century Central Europe.

Two essays focus on historical Chinese art and culture. In “The Buddha’s Finger Bones at Famensi and the Art of Chinese Esoteric Buddhism,” Robert H. Sharf argues that the “finger bone” relics of the Buddha, discovered in 1987 in a crypt beneath the Famensi (Dharma Gate Monastery) in Shaanxi Province, China, could be considered as “art.” For her contribution, Jeehee Hong examines the peddler as a skeletal puppeteer in Li Song’s thirteenth-century painting, The Skeletons’ Illusory Performance, to unveil a midimperial Chinese visual commentary on the relations among performance, the everyday world, and death.

In the Reviews section, Robert S. Nelson surveys several books on art, architecture, and urbanism in the Turkish capital from the fifteenth to the twentieth century, including Shirine Hamadeh’s The City’s Pleasures: Istanbul in the Eighteenth Century and Murat Gül’s The Emergence of Modern Istanbul. Stephen J. Campbell examines the understudied field of Renaissance portrait medals through a recent book and a two-volume catalogue, while Sheila S. Blair and Jonathan M. Bloom consider the implications of Finbarr Barry Flood’s Objects of Translation: Material Culture and Medieval “Hindu-Muslim” Encounter, a book about the material culture of the region from western Afghanistan to northern India from the eighth to the thirteenth century. Last, Kirk Ambrose reviews the English translation of Friedrich Kittler’s Optical Media: Berlin Lectures 1999, a theoretical study of visuality and technology that considers such topics as Renaissance perspective, photography, film, and television, and the computer.

Please read the full table of contents for more details. The next issue, to be published in June 2011, will feature essays on Pieter Bruegel the Elder, Jean-Honoré Fragonard, Edgar Degas, and Philip Guston.

Filed under: Art Bulletin, Publications

The CAA Board of Directors has selected five extraordinary individuals as the distinguished recipients of CAA’s four Centennial Awards in recognition of the extraordinary time and expertise they have contributed to the visual arts in New York and across the nation. The honorees are:

Special guests presenters gave the Centennial Awards during Convocation at the 99th Annual Conference and Centennial Kickoff at the Hilton New York on Wednesday evening, February 9, 2011.

 

Winter Deaths in the Arts

posted by March 08, 2011

CAA recognizes the lives and achievements of the following artists, scholars, critics, architects, museum directors, collectors, and other men and women whose work has had a significant impact on the visual arts.

  • Maria Altmann, a woman who pursued the restitution of her family’s Gustav Klimt paintings from the Austrian government, died on February 7, 2011, at the age of 94
  • Françoise Cachin, a French curator and art historian who specialized in Impressionism and Postimpressionism, died on February 4, 2011, at age 74. She helped found the Musée d’Orsay in Paris and also served as its director when it opened in 1986
  • Vlassis Caniaris, an artist based in Athens, Greece, whose work was exhibited across Europe, died in March 2011 at the age of 83. He also served as chair of architecture at the National Technical University in Greece for twenty years
  • Robert J. Clark, a longtime professor of art and archaeology at Princeton University and curator of the influential 1972 exhibition The Arts and Crafts Movement in America, 1876–1916, died on January 4, 2011. He was 73
  • Edmund de Unger, a Hungarian-born businessman who developed property London and owned a major collection of Islamic fine and decorative art, died on January 25, 2011. He was 92
  • B. H. Friedman, a novelist and the author of the biography Jackson Pollock: Energy Made Visible (1972) who started his career in real estate, died on January 4, 2011. He was 84
  • Oleg Grabar, a renowned historian of Islamic art and architecture and professor emeritus in the School of Historical Studies at the Institute for Advanced Studies, died on January 8, 2011, at age 81. Grabar won CAA’s Distinguished Lifetime Achievement Award for Writing on Art in 2005, among other others
  • Ida Kay Greathouse, director of the Frye Art Museum in Seattle from 1966 to 1993, died on January 6, 2011. She was 105 years old
  • Roy Gussow, an abstract sculptor based in New York whose large public works in stainless steel can be seen across the United States, died on February 11, 2011. He was 92
  • John Keefe, a curator of decorative arts at the New Orleans Museum of Art in Louisiana since 1983, died on January 31, 2011, at the age of 69. He had organized exhibitions on antique glass, Wedgwood china, Fabergé eggs, and perfume bottles
  • Donald Locke, a Guyanese-born British artist who had settled in Atlanta, Georgia, died on December 6, 2010, at the age of 80. He was known for his work in diverse media, including drawing, painting, ceramics, and sculpture
  • Loretta Lorance, an architectural historian at the School of Visual Arts who wrote Becoming Bucky Fuller (2009), died on February 26, 2011. She had worked briefly for CAA in 2001 as a book cataloguer while completing her doctorate at the Graduate Center
  • Tom Lubbock, a British artist and the chief art critic for the Independent and Independent on Sunday, died on January 9, 2011, at the age of 53
  • Alfred K. Moir, a specialist in Italian Baroque art and professor of art history at the University of California, Santa Barbara, died on November 13, 2010. Born in 1924, Moir was instrumental in the growth of the Santa Barbara Museum of Art
  • Malangatana Ngwenya, a celebrated African artist and political activist from Mozambique who served in his country’s parliament from 1990 to 1994, died on January 5, 2011. He was 74
  • Dennis Oppenheim, an artist whose pioneering work in land, video, body, performance, and installation art in the 1960s and 1970s pushed aesthetic boundaries, died on January 22, 2011, at age 72. In his last fifteen years he had actively pursued outdoor sculpture and public commissions
  • Charles O. Perry, an American sculptor trained as an architect whose public works were inspired by mathematics, died on February 8, 2011, at the age of 81. He won the Prix de Rome in 1964 and stayed in Italy for fourteen years to pursue art and architecture
  • Milton Rogovin, a socially motivated photographer who documented the lower classes in his adopted hometown of Buffalo, New York, and across the United States, died on January 18, 2011. He was 101
  • Paul Soldner, a ceramicist who emerged in California in the 1960s with Peter Voulkos, Ken Price, and John Mason, died on January 3, 2011, at the age of 89. A teacher at Scripps College for many years, he invented a pottery technique called American raku
  • David Sorensen, a painter and sculptor based in Montreal who taught at Bishop’s University for nearly twenty years, died on February 17, 2011. He was 73
  • Brian Stewart, an unorthodox English curator and the director of the Falmouth Art Gallery in Cornwall, died on December 12, 2010, at age 57. He authored The Dictionary of Portrait Painters in Britain up to 1920 (1997) with Mervyn Cutten and wrote twenty more books on his own
  • Ellen Stewart, the founder and artistic director of La MaMA Experimental Theater Club, a landmark venue for progressive theater and performance art in New York, died on January 13, 2011. She was about 91 years old
  • Edgar Tafel, an architect who had trained with Frank Lloyd Wright, died on January 18, 2011, at the age of 98. The last surviving member of the Taliesin Fellowship, which first met in 1932, Tafel worked on his own projects across the state of New York and beyond
  • Alan Uglow, an British-born, New York–based artist and musician whose work in abstract painting, installation, and photography inspired younger New York artists, died on January 20, 2011. He was 69 years old
  • Don Van Vliet, a painter, rock musician, and avant-garde composer best known as Captain Beefheart, died on December 17, 2010, at age 69. He had retired from music in the early 1980s to concentrate on his abstract painting
  • Doyald Young, a graphic designer, a logotype developer, and a professor at Art Center College of Design for thirty years, died on February 28, 2011, at age 84. His books include Logotypes and Letterforms (1993), Fonts and Logos (1999), and Dangerous Curves (2008)

Read all past obituaries in the arts on the CAA website.

Filed under: Obituaries, People in the News

CAA’s nine Professional Interests, Practices, and Standards Committees have welcomed their newly appointed members, who will serve three-year terms, 2011–14. In addition, seven new chairs have taken over committee leadership. New committee members and chairs began their terms last month at the 2011 Annual Conference in New York.

A call for nominations to serve on these committees appears annually from July to September in CAA News and on the CAA website. CAA’s president, vice president for committees, and executive director review nominations in December and make appointments that take effect the following February.

New Committee Members

Committee on Diversity Practices: Julie Levin Caro, Colby College; Yasmin Ramirez, Hunter College, City University of New York; Jordana Moore Saggese, California College of the Arts; and Jacqueline Taylor, University of Virginia. Kevin Concannon of the University of Akron takes over as chair from Renée Ater of the University of Maryland, College Park.

Committee on Intellectual Property: Benjamin Binstock, Cooper Union for the Advancement of Science and Art; and Charlotte Frost, Writtle School of Design. Doralynn Pines, formerly of the Metropolitan Museum of Art (retired), and Christine Sundt of Visual Resources: An International Journal of Documentation will share chair duties, succeeding Kenneth Cavalier, a lawyer based in British Columbia.

Committee on Women in the Arts: Wanda Ewing, University of Nebraska; Donna Moran, Pratt Institute; and Claudia Sbrissa, St. John’s University. Taking over the position of chair from Diane Burko, professor emerita at Philadelphia Community College, is Maria Elena Buszek of the University of Colorado, Denver.

Education Committee: Wayne (Mick) Charney, Kansas State University; Linda Cirocco, Savannah College of Art and Design; Joan Giroux, Columbia College Chicago; James Haywood Rolling, Syracuse University; and Julia Sienkewicz, Auburn University, Montgomery. Rosanne Gibel of the Art Institute of Fort Lauderdale succeeds Richard Tichich of Western Carolina University as chair.

International Committee: Kathryn Brown, Tilburg University; Diane Derr, Virginia Commonwealth University; Gwen Farrelly, Museum of Modern Art; and Geraldine A. Johnson, University of Oxford. Jennifer Milam of the University of Sydney remains the committee chair.

Museum Committee: Helen Burnham, Museum of Fine Arts, Boston; Christa Clarke, Newark Museum; Briley Rasmussen, Los Angeles County Museum of Art; and N. Elizabeth Schlatter, University of Richmond Museum. Karol Ann Lawson of Sweet Briar College assumes chair duties from Jay Clarke of the Sterling and Francine Clark Art Institute.

Professional Practices Committee: Dana B. Clancy, Boston University; Anne McClanan, Portland State University; and Robert Tynes, University of North Carolina, Asheville. Charles Wright of Western Illinois University will continue to serve as chair.

Services to Artists Committee: Sharon L. Butler, Eastern Connecticut State University; Conrad Gleber, La Salle University; Micol Hebron, Chapman University; Julia Morrisroe, University of Florida; and Timothy Nolan, independent artist, Los Angeles. Jackie Apple of Art Center College of Design follows Brian Bishop of Framingham State University as chair.

Student and Emerging Professionals Committee: Hazel Antaramian-Hofman, California State University, Fresno; Steven Bleicher, Coastal Carolina University; Deborah Karpman, University of Montevallo; David Lindsay, Texas Tech University; and Laurel O. Peterson, Yale University. Jennifer Stoneking-Stewart of Lander University succeeds Hilary Batzel of Women’s Studio Workshop as chair.

Each month, CAA’s Committee on Women in the Arts produces a curated list, called CWA Picks, of recommended exhibitions and events related to feminist art and scholarship in North America and around the world.

One CWA Pick for March 2011 is a conversation between the artists Yoko Ono and Kara Walker at the Museum of Modern Art in New York, taking place on Tuesday evening, March 8. Another selection is an exhibition at the University of California, Riverside, called Margarita Cabrera: Pulso y Martillo (Pulse and Hammer). On Saturday, March 5, the artist will present Florezca Board of Directors: Performance with Riverside students and faculty. The March picks also include two exhibitions in New York: Maira Kalman: Various Illuminations (of a Crazy World) at the Jewish Museum and Color Moves: Art and Fashion by Sonia Delaunay at the Cooper-Hewitt National Design Museum.

Check the archive of CWA Picks at the bottom of the page, as several museum and gallery shows listed in previous months may still be on view or touring.

Image: Margarita Cabrera, Black Toaster, 2003, vinyl, thread, and appliance parts, 10 x 7 x 10 in. (artwork © Margarita Cabrera; photograph provided by the artist, Walter Maciel Gallery, and the Sweeney Art Gallery)

Filed under: Committees, Exhibitions

The newly created Modern Art Iraq Archive (MAIA) is part of a long-term effort to document and preserve the modern artistic works from the Iraqi Museum of Modern Art in Baghdad, most of which were lost and damaged in the fires and looting during the aftermath of the invasion of Iraq by the United States in 2003. As the site shows, little is known about many works, including their current whereabouts and their original location in the museum. The lack of documents about modern Iraqi art prompted the growth of the project to include supporting text. The site makes the works of art available as an open-access database in order to raise public awareness of the many lost works and to encourage interested individuals help document the museum’s original and/or lost holdings.

The MAIA site is the culmination of seven years of work by its project director, Nada Shabout, professor of art history and director of the Contemporary Arab and Muslim Cultural Studies Institute at the University of North Texas in Denton. Since 2003, Shabout has been collecting information on the lost works through intensive research, interviews with artists, museum personnel, and art-gallery owners. Shabout received two fellowships from the American Academic Research Institute in Iraq, in 2006 and 2007, to conduct the first phase of data collection. In 2009, she teamed with colleagues at the Alexandria Archive Institute, a California-based nonprofit organization dedicated to opening global cultural heritage for research, education, and creative works. The team won a Digital Humanities Start-Up Grant from the National Endowment for the Humanities to create a comprehensive archive of works once housed in museum’s galleries. These significant national treasures are displayed in an format that invites worldwide use, including the Iraqi national and expatriate communities. Users are encouraged to help identify and further document individual pieces.

MAIA aims to map the development of modern art in Iraq during the twentieth century and be a research tool to scholars, students, authorities, and the general public. It also strives to raise awareness of the rich modern heritage of Iraq. Furthermore, the creation of an authoritative, public inventory of the collection will not only act as a reminder of its cultural value and thus hopefully hasten its return, but it will also help combat smuggling and black-market dealings of the works.

The 2011 Annual Conference in New York boasted an incredibly diverse array of sessions. Audio recordings for sixty-three of the panels—including “Performative Tendencies,” “Color and Nineteenth-Century American Painting,” and “The Erasure of Contemporary Memory”—are now available for sale.

A set of MP3 audio recordings from the New York conference is available for only $149.95, either as a download or on CD-ROMs. Individual sessions, available only as downloads, are $24.95 each. Please visit Conference Media to view the list of sessions and to order.

The full range of art history is represented in sessions such as “The Afterlife of Cubism,” “The Global Eighteenth Century,” and “(Re)Contextualizing Precolumbian Art in the Twenty-First Century.” CAA also recorded many other popular 2011 sessions, such as “Parallel Practices: When the Mind Isn’t Focused on Art,” which featured the artists Robert Gober, Vija Celmins, Petah Coyne, Janine Antoni, and Philip Taafe, as well as the two-part “Dark Matter of the Art World.” Other topics about contemporary art include “Contemporary Drawing: Purpose, Practice, Performance,” “Textiles and Social Sculpture,” and “The Art of Pranks.” Curators will be especially interested in “Recurating: New Practices in Exhibition Making” and “Artist as Curator.”

Whether you took part in, attended, or missed a particular conference session, these recordings are a must-have for your library, research, or teaching. Listen to them while walking across campus, while driving in your car or using public transportation, or while relaxing in your home.

In addition to the New York sessions, you can also purchase recordings from the past five conferences: Boston (2006), New York (2007), Dallas–Fort Worth (2008), Los Angeles (2009), and Chicago (2010). See CAA’s Conference Audio section for details.

Filed under: Annual Conference

Winter 2010 Art Journal Published

posted by February 23, 2011

The Winter 2010 issue of Art Journal, CAA’s quarterly of modern and contemporary art, has just been published. A benefit of CAA membership, the publication is mailed to those individual members who elect to receive it and to all institutional members.

Included is a collection of essays, called “Land Use in Contemporary Art,” that investigates a new genre of aesthetic practices that redefine and expand on earthworks. Organized by Kirsten Swenson and with texts by Janet Kraynak, Paul Monty Paret, and Emily Eliza Scott, “Land Use” won the 2011 Art Journal Award. In her editor’s introduction, Katy Siegel writes that the above contributors: “eschew the extremely long view taken by Land artists in the 1960s and 1970s…. The more recent generation considered here focuses on a shorter-term history, directly or obliquely addressing modern life’s interaction with nature: airports and the evacuation of rural America, economic injustice in communities along the highway, global tourism and utopia in rural Thailand.”

The Winter 2010 issue also features Kelly Baum’s short essay on Santiago Sierra that includes photographs of the artist’s project, Submission (formerly Word of Fire) from 2006–7, and Jordan Troeller’s exploration of Zoe Leonard’s photographic series, called Analogue. In addition, Chika Okeke-Agulu writes about Who Knows Tomorrow, an exhibition of projects by five African artists, sponsored by the Nationalgalerie in Berlin, that were shown in museums across the city. Okeke-Agulu also interviews Zarina Bhimji, a participating artist whose Waiting (2007) appeared in the Hamburger Banhof. Finally, Michel Oren writes about the activities of the USCO Group, a multimedia art collective from the 1960s.

The Winter 2010 issue publishes two artist’s projects: a centerfold by Fabian Marcaccio titled Black Hole $ Paintant and the final installment of Dailies, Kerry James Marshall’s comic for the inside front and back covers. Among the book reviews are Rachel Haidu’s assessment of Christine Mehring’s recent book on Blinky Palermo and Monica McTighe’s analysis of Kate Mondloch’s Screens: Viewing Media Installation Art.

Art Journal offers a pair of texts from the print publication—David Reed’s “Soul-Beating,” on his relationship to Philip Guston, and Lauren O’Neill-Butler’s review of Lee Lozano: Notebooks 1967–70—on its new website. In celebration of CAA’s Centennial year, the website also highlights Howard Singerman’s “Art Journal at Fifty,” an essay exploring the history of the publication, and “A Baker’s Dozen from the Archives,” thirteen selections from Art Journal and its predecessors, which you can download as PDFs and read.

Filed under: Art Journal, Publications