CAA News Today
News from the Art and Academic Worlds
posted by Christopher Howard — Jun 12, 2013
Each week CAA News publishes summaries of eight articles, published around the web, that CAA members may find interesting and useful in their professional and creative lives.
When Artworks Crash: Restorers Face Digital Test
Paintings fade; sculptures chip. Art restorers have long known how to repair those material flaws, so the experience of looking at a Vermeer or a Rodin remains basically unchanged over time. But when creativity is computerized, the art isn’t so easy to fix. For instance, when a web-based work becomes technologically obsolete, does updated software simply restore it? Or is the piece fundamentally changed? (Read more in the New York Times.)
Crowdfunding Academic Research
When a professor from a small liberal-arts college in central Pennsylvania decided to take on a massive research project two summers ago, he went through the usual, often futile, process of applying for federal and private grants. But when funds were short a year later, he went down a nontraditional route—turning to the public and the internet for help. In fifty days, Juniata College’s Chris Grant and his research partner, Gina Lamendella, raised $10,800 through a crowdfunding website called iAMscientist. (Read more in Insider Higher Ed.)
Self-Sabotage in the Academic Career
Pogo recognized long ago that we often are our own worst enemies. Sure, he was a cartoon character, but he had a point—especially in higher education, where self-sabotage seems to be a standard characteristic of academic careers. In my thirty years as a professor, five years as a dean, and three years as a provost, I have observed many academics harm their own careers, often without realizing it. Here are fifteen ways in which you can be most self-destructive. (Read more in the Chronicle of Higher Education.)
Help Desk: Curating Like a Fool
I’m an artist and art writer and would like to complete the trifecta by seriously trying to curate. However, since I’ve only been on the curated side of the table, I know embarrassingly little about the nitty-gritty of it. For example, when I have a proposal ready, do I inform the proposed artists of my intentions before or after I submit the proposal? Who arranges and pays for shipping work? I only know how I’ve personally been treated and not what is typical. I’m too afraid of looking like a fool to give it a shot. (Read more in Daily Serving.)
“Stuff Matters”: The Crucial Work of the AIC’s Collections Emergency Response Team
The Collections Emergency Response Team, says Eric Pourchot, institutional advancement director at the Foundation of the American Institute for Conservation, “came out of the experience we had after Hurricane Katrina, as many of our members from AIC had served on teams that went down to the New Orleans and Gulf Coast area to help cultural institutions recover as best they could from that disaster.” (Read more in Can You Dig It?.)
Are Video Games the Next Great Art Form?
In 2005, the late film critic Roger Ebert created a storm of controversy when he wrote that video games could never be art. While Ebert wasn’t the first person to address the subject, he was one of the first mainstream critics to do so, and his statement set off a rash of essays, blog posts, and talks arguing for (few) and against (many) his position. The subject has drifted in and out of popular culture ever since, with different scholars weighing in here and there. Recently, a number of museums, including the Smithsonian and MoMA, staged exhibitions featuring video games as art, throwing the topic into focus again. (Read more in Pacific Standard.)
Experimenting with Facebook in the College Classroom
While discussing the nuances of regression analysis, I saw some of my students smiling. It wasn’t a smile of understanding; it was a response to seeing a Facebook comment on their smart phone. I later learned that 99 percent of the students in the research method class were Facebook users, routinely checking for updates ten to twenty times a day. The next semester, I decided to embrace social media and created a Facebook page for the class, which was comprised of twenty-five students. It was actually fun and easy. In less than two hours, I had created a page with relevant material for the course. (Read more in Faculty Focus.)
The Deduction for Charitable Contributions: The Sacred Cow of the Tax Code?
In his most recent budget proposal, President Barack Obama seeks to impose a cap on itemized deductions in the personal income tax return—which includes the deduction for charitable contributions. This provision, part of the administration’s strategy to raise revenue to pay for government spending, has been a part of every White House budget proposal since 2009, and every year arts advocacy organizations join the rest of the nonprofit sector in opposing the changes. So far, the cap has been successfully warded off, but there’s growing concern that if Republicans and Democrats ever agree on sweeping tax reforms, the charitable deduction will be on the chopping block. (Read more in Createquity.)
News from the Art and Academic Worlds
posted by Christopher Howard — Jun 05, 2013
Each week CAA News publishes summaries of eight articles, published around the web, that CAA members may find interesting and useful in their professional and creative lives.
The Exit Interview: Frank Goodyear and Anne Collins Goodyear
They did not arrive at the Smithsonian together, but Frank H. Goodyear III and Anne Collins Goodyear, longtime curators at the National Portrait Gallery, are leaving it as a pair. After twelve years at the museum, this husband-and-wife team will begin their tenure as codirectors of the Bowdoin College Museum of Art in Brunswick, Maine, in June. (Read more in the Washington Post.)
Detroit Museum Not the First to Consider Selling Out
Museums sell works all the time but typically not their best stuff. When they do sell, it’s to get rid of pieces that don’t suit the collection. They use the money to buy new works that are a better fit. They’re not supposed to use the money to buy computers or pay down debt, according to industry standards. But when museums aren’t freestanding institutions, as is the case in Detroit, the larger entities that control them sometimes can’t help but see dollar signs. (Read more from National Public Radio.)
A Step in the Wrong Direction—or False Advertising?
What comes after crowd sourcing and crowd funding? Crowd deaccessioning, of course. Yup, the Georgia Museum of Art at the University of Georgia in Athens has opened an exhibition of five paintings from its collection by the French artist Bernard Smol (1897–1969). The museum wants to keep just one of them because of “limited storage space and evolving collecting philosophy.” (Read more in Real Clear Arts.)
“You Become Better with Age”
At what age do people hit their stride professionally? Categorically speaking, athletes, engineers, politicians, television writers, salesmen, and actresses all have varying norms and shelf lives, sometimes affected by physical attributes or societal expectations. Seemingly immune to ageist perceptions and traditional notions of retirement are artists. A historical look reveals that a striking number have been highly productive and turned out some of their best work late into old age, including Bellini, Michelangelo, Titian, Ingres, Monet, Matisse, Picasso, O’Keeffe, and Bourgeois. (Read more in ARTnews.)
Best Practices for Live Tweeting
I often live tweet the conferences and events I attend. For example, I was involved with the Twitter discussion while at the Linked Ancient World Data Institute, which led to great conversations with people who weren’t able to attend and allowed for continued engagement among the participants. However, there were times when people asked that information not be shared or that links not be posted—and this information was respected. Overall, though, live tweeting was a major boon to the event. (Read more at Inside Higher Ed.)
The Modern Writing-School Paradox: More Students, Fewer Jobs, More Glory
Never before have there been so many teachers telling so many students how to write. However meager the money, teaching is a paying gig and a subsidized education. The students, though, are a mystery. The number of traditional MFA programs, undergraduate writing programs, nontraditional low-residency writing programs, online writing courses, weekend writing workshops, summer writing conferences, writers’ colony retreats, private-instruction classes, and how-to-write books, blogs, and software programs has grown so colossally you’d think there is as much demand for new writers in the marketplace as there is for mobile-app designers. You’d be wrong. (Read more in the Atlantic.)
A Pollock Restored, a Mystery Revealed
Jackson Pollock’s process and his canvases have been so extensively studied that it would seem there could be nothing else to learn. Yet a ten-month examination and restoration of his One: Number 31, 1950, by conservators at the Museum of Modern Art, have produced new insights about how the artist worked. (Read more in the New York Times.)
Art Detective Warns of Missing Checks That Let Stolen Works Go Undiscovered
European auction houses, dealers, and collectors are failing to make adequate checks to avoid handling stolen artworks, an art lawyer has warned after recovering from an Italian auction an old-master painting taken from its British owner in a burglary more than thirty years ago. Christopher A. Marinello, who specializes in recovering stolen art and resolving title disputes, said: “We do find a lot of stolen and looted artwork in civil-law countries such as Italy, France, and Germany. Consigners of tainted works of art often try to hide behind the good-faith purchase laws of these countries while performing little or no due diligence.” (Read more in the Guardian.)
News from the Art and Academic Worlds
posted by Christopher Howard — May 15, 2013
Each week CAA News publishes summaries of eight articles, published around the web, that CAA members may find interesting and useful in their professional and creative lives.
Cultivating Partnerships in the Digital Humanities
As academics we can be too snug in our institutional silos. We sometimes think of one another as competitors for students, and as a result we duplicate scarce resources in mutually damaging ways. Without more coordinated programs, will we go on teaching the way we have since the Industrial Revolution? Will our students, knowing it doesn’t have to be that way and worried about their future, lose patience with us? The digital humanities provide a context for facing those questions head-on. (Read more in the Chronicle of Higher Education.)
What We’re Not Arguing About
The solutions to the crisis in higher education are still a subject of fierce debate, and I’m happy to see people from a variety of perspectives and backgrounds adding their voices to the conversation. At the same time, I think it’s important to clarify what academics and former academics are and aren’t arguing about. (Read more at Adventures in (Post) Gradland.)
How Long Is the Average Dissertation?
The best part about writing a dissertation is finding clever ways to procrastinate. The motivation for this blog comes from one of the more creative ways I’ve found to keep myself from writing. I’ve posted about data mining in the past, and this post follows up on those ideas using a topic that is relevant to anyone that has ever considered getting, or has successfully completed, their PhD. (Read more at R Is My Friend.)
To Raze or Not? MoMA Rethinks Plan
After impassioned protests from prominent architects, preservationists, and design critics, the Museum of Modern Art said that it would reconsider its decision to demolish its next-door neighbor, the former home of the American Folk Art Museum, to make room for an expansion. In a recent board meeting, the directors were told that a board committee had selected the design firm Diller Scofidio & Renfro to handle the expansion and to help determine whether to keep any of the existing structure. (Read more in the New York Times.)
Help Desk: Ideal Representation
I’ve been meeting with a commercial gallery in my city for some time, and they’ve extended me an offer to come aboard. I’m excited about the idea of professional representation, having a platform to promote myself to a larger audience and further opportunity for sale of work. Some of the work the gallery represents is totally not my style, which is to say, artwork that favors more commercially viable subject matter or style at the cost of exercising any real dynamic or conceptual verve. How much should this influence my decision to join the gallery? (Read more in Daily Serving.)
Thinking about Accreditation in a Rapidly Changing World
Enormous change is under way in higher education, driven by a perfect storm of crisis (around cost, access, quality, and funding), technological innovation and what that innovation makes possible, the growing presence and influence of for-profit providers, abuses (of various kinds), opportunity, and workforce-development needs in a global and technological context. Any one of those challenges might fill an agenda for a commissioners’ retreat or a small conference, but accreditors now wrestle with all of these various forces across a broad landscape of change and urgency. (Read more in Educause Review.)
Counting, Not Curtailing, Adjuncts’ Work
Nowhere does the Law of Unintended Consequences run more rampant than in the field of taxation. That was clearly demonstrated at the Internal Revenue Service’s rule-making hearing on April 23, in the agency’s attempts to craft regulations to impose a steep tax on employers who fail to provide employee health-care coverage required by the Patient Protection and Affordable Care Act. While most of the twenty-five other witnesses at the hearing represented various employers or organizations, I testified in my personal capacity as an interested citizen who happens to be an adjunct faculty member and former IRS lawyer. (Read more in the Chronicle of Higher Education.)
How Prevalent Is Money Laundering in the Art World?
Recent federal charges against the New York dealer Helly Nahmad included that he worked “to launder tens of millions of dollars on behalf of the illegal gambling business.” While Nahmad has pleaded not guilty to all the charges in the indictment, the accusation raises the questions of whether (and if so why) art would be used in this way. Art lends itself to money laundering because the market’s lack of transparency means art can become what Judge Fausto Martin De Sanctiscalls an “invisible asset.” Values can be manipulated, and complex ownership schemes, with an emphasis on secrecy, are commonplace. (Read more in the Art Newspaper.)
ArtTable Launches Public Programs on the Digitization of the Art World
posted by Betty Leigh Hutcheson — Apr 17, 2013
ArtTable, a national organization dedicated to the visual arts and women’s leadership in the field, launched a year-long series of public programs on April 8 with “The Digitization of the Art World: Are New Media Artists Transforming Art Practice and How We Think About Art Itself?” Heather Corcoran, Executive Director of Rhizome, opened the event at the School of Visual Arts Beatrice Theatre in Manhattan with a historical overview of new media and a description of trends within this practice. Framed by this introduction, panel members described diverse methodologies: Marina Zurkow presented animations and installations that probe the relationship of humans to the rest of the natural world; Wafaa Bilal, an artist displaced from Iraq after two wars and now living in New York, described his confrontational, interactive performance piece Domestic Intention (2008); and Brad Troemel discussed his relationship to art-making as a subversion of the gallery/museum complex through the remediation of images in the open space of the internet.
I attended this presentation with the College Art Association’s executive director, Linda Downs, to gain further understanding of how artists understand and consider rights in the works they produce, particularly as it relates to fair use. Unfortunately, little mention was made of this concept during presentations. Nor was it defined in any depth during the panel’s wide-ranging opinions about ownership. Alexandra Darraby of the Art Law Firm, whose practice focuses on guiding creators towards licensing their works, was the final presenter prior to the panel discussion. Darraby’s presentation only briefly acknowledged that fair use exists, even though it is an important part of the Copyright Act. Rather, she referred repeatedly to creators having a monopoly on their works, and asserted the need for artists to ensure that their work is properly licensed so that it can be monetized and protected. Those in the audience without knowledge of their legal right to reuse a copyrighted work under certain conditions could not have left the presentation with a sense of that possibility. While Darraby’s postulated thesis adheres to some works created by, on, or through the internet, it did not represent the full range of legal advice for artists.
For example, Zurkow’s work makes use of ActionScript coding that she develops with programmers. In Mesocsom (Wink, Texas) (2012), thousands of lines of script create a dynamic scene that changes based on constraints such as season or time of day. This type of complex, collaborative project should define the roles and rights of the participants to clarify future use of the project and any financial benefit that might derive from it. A polar opposite legal assumption is found in the work of Troemel, who upends the idea of ownership, like many of his generation, through constant reframing of material found on the internet. Troemel articulates his vision through his writing: “On one hand exists a utopian vision for art on the Internet, a world where intellectual property is part of a commons, where authorship is synonymous with viewership, and where the boundary between art and everyday life is fluid” (“Art After Social Media,” lecture given at MoMA PS1, March 22, 2012). Zurkow’s and Troemel’s distinct approaches are only two examples in which an understanding of fair use might benefit both creator and user.
The College Art Association is working to define a balanced consideration of fair use principles through its Task Force on Fair Use, supported by the long-standing CAA Committee on Intellectual Property. Recently awarded a preliminary grant from the Samuel H. Kress Foundation and a multi-year grant from the Andrew W. Mellon Foundation, CAA embarked last fall on a comprehensive research project to identify and disseminate best practices in the fair use of copyrighted works under current U.S. law. The resultant code will represent the ways in which creators and their works are protected by law and act as a guide for when and how a copyrighted work may be reused by another artist or by a scholar, teacher, or museum professional. The project will include interviews and focus groups comprising representatives from every corner of the arts community and will be carried out by Pat Aufderheide, University Professor and Director, Center for Social Media, School of Communication, American University; and Peter Jaszi, Professor of Law and Faculty Director of the Glushko-Samuelson Intellectual Property Law Clinic of the Washington College of Law, American University. Consultants to the project include Gretchen Wagner, formerly General Counsel, ARTstor; Jeffrey Cunard, CAA Counsel and Partner, Debevoise & Plimpton LLP; Virginia Rutledge, art historian and copyright lawyer; and Maureen Whalen, Associate General Counsel, J. Paul Getty Trust.
ArtTable should be applauded for posing complex questions in a public forum. Answers to the problems faced by artists in considering authorship, collaborative work, open source, and the purpose and value of art today aren’t easily answered. In a post to Rhizome’s events page, Meredith Niemczyk posed a question about this presentation: Are there new strategic, economic, and legal models for applying protections in digital art without stifling originality? (Rhizome Community Announcements, Monday, March 25, 2013, http://rhizome.org/announce/events/59353/view/) The answer to this question is yes. The qualification of this answer must be defined in such a way to promote creativity while protecting ownership rights and the fair use of works by third parties.
ArtTable’s next panel, “How Are Museums Using Digital Technology to Advance Education and Exhibition Practices?” takes place on Monday, June 24, 6:00 p.m., at the Sony Wonder Lab, 550 Madison Avenue.
Foundation Supports Ongoing Care of Collections after Devastation of Superstorm Sandy
posted by CAA — Mar 21, 2013
The Foundation of the American Institute for Conservation of Historic and Artistic Works (FAIC) sent the following email on March 21, 2013. FAIC supports conservation education, research, and outreach activities that increase understanding of our global cultural heritage.
Foundation Supports Ongoing Care of Collections after Devastation of Superstorm Sandy
The Foundation of the American Institute for Conservation of Historic and Artistic Works (FAIC) has completed work at the Cultural Recovery Center (CRC) in Brooklyn, NY after serving a community of artists and organizations in dire need of assistance. The CRC offered space and help at no cost to owners of artworks damaged as a result of Superstorm Sandy. Volunteer assistance and work space was provided to museums, libraries, archives, historic sites, galleries, collectors, and artists. While full conservation treatment was not covered, guidance and assistance in the cleaning and stabilization of art and cultural materials was.
23 members of the AIC Collections Emergency Response Team (AIC-CERT) contributed 128 days of professional volunteer services in New York and New Jersey. At least 34 additional conservators from the region also volunteered. At the CRC, volunteers worked with nineteen artists on hundreds of items, including paintings, works on paper, photographs, textiles, and multi-media works. Many of the works were at risk because of toxic deposits and potential mold growth.
The Center for Cultural Recovery was operated by The Foundation of the American Institute for Conservation of Historic and Artistic Works (FAIC), in cooperation with a consortium of organizations:
- Alliance for Response New York City
- Heritage Preservation
- New York City Department of Cultural Affairs
- New York Regional Association for Conservation
- Industry City at Bush Terminal
- Smithsonian Institution
Initial funding for the response and recovery efforts, including initial costs for the Center, was provided by a leadership gift to FAIC from Sotheby’s. A grant from the Andrew W. Mellon Foundation allowed the Center to remain open through March 8. Industry City at Bush Terminal provided the space rent-free. Rapid Refile set up containment tents and air scrubbers to prevent the spread of mold from incoming objects to cleaned objects. Collector Systems provided free use of its web-based collection management system. The Smithsonian Institution and a grant to Heritage Preservation from the New York Community Trust, as well as support from TALAS, enabled purchase of supplies. The Center was also outfitted with supplies from Materials for the Arts, a creative reuse program managed by the New York City Department of Cultural Affairs. Additional donations to FAIC came from PINTA, The Modern & Contemporary Latin American Art Show; Tru Vue; Aon Huntington Block Insurance; Aon Foundation; members of AIC; and others. The American Museum of Natural History and MoMA also provided key in-kind support for recovery efforts and establishment of the CRC.
As the need for conservation continues, those with damaged pieces are encouraged to use AIC’s Find A Conservator tool available for free on the AIC website: www.conservation-us.org/findaconservator. The tool provides a systematic, consistent method of obtaining current information to identify and locate professional conservation services from all across the United States and abroad. It allows users to address a wide range of conservation problems, whether the needs are long-range or short-term and whether the collection consists of thousands of valuable historic artifacts, one priceless work of art, or items of great personal value.
Cultural Recovery Center to Open in Brooklyn
posted by Linda Downs — Dec 07, 2012
A temporary facility to provide volunteer assistance and work space to museums, libraries, archives, historic sites, galleries, collectors, and artists will open in Brooklyn, New York, during the week of December 10, 2012.
The Center for Cultural Recovery will be operated by the Foundation of the American Institute for Conservation of Historic and Artistic Works (FAIC), in cooperation with a consortium of the following organizations: the Alliance for Response New York City; the American Museum of Natural History; Heritage Preservation; Materials for the Arts; the New York City Department of Cultural Affairs; the New York Regional Association for Conservation; Industry City at Bush Terminal; and the Smithsonian Institution.
Funding for the center has been provided by a leadership gift to FAIC from Sotheby’s. The Smithsonian Institution and a grant to Heritage Preservation from the New York Community Trust, as well as support from TALAS, have enabled the purchase of supplies. The center has also been outfitted with supplies donated by Materials for the Arts, a program of the New York City Department of Cultural Affairs. Additional donations to FAIC have come from PINTA, the Modern and Contemporary Latin American Art Show; Tru Vue; members of the American Institute for Conservation; and others.
FAIC and its partners have been offering crucial disaster response assistance to cultural organizations and artists in need in the wake of Superstorm Sandy. In the first ten days after the storm struck, FAIC’s Collection Emergency Response Team’s (AIC-CERT) twenty-four-hour hotline (202-661-8068) fielded over fifty-five calls from collectors, artists, and museums. AIC-CERT and New York area volunteers are working with approximately 120 small collections, galleries, and artists in New York and New Jersey to recover collections. In addition, AIC member conservators in private practices throughout the New York region are helping owners preserve their collections.
Access to some collections, including those of individual artists, is only now becoming possible. Even artwork that has been dried still may need rinsing and cleaning to remove residues and mold spores. The Cultural Recovery Center will offer space and expertise to help owners stabilize their collections.
Read more about AIC-CERT’s volunteer services. The Museum of Modern Art in New York has also published Hurricane Sandy Conservation Resources for owners of cultural materials.
Robert Storr Is Convocation Speaker
posted by Christopher Howard — Nov 27, 2012
Robert Storr, dean of the Yale University School of Art and a former senior curator at the Museum of Modern Art (MoMA), will deliver the keynote address during Convocation at the 2013 Annual Conference in New York. Convocation, which includes the presentation of the 2013 CAA Awards for Distinction, will take place on Wednesday evening, February 13, from 5:30 to 7:00 PM. Free and open to the public, the event will be held in the East Ballroom, on the second floor of the Hilton New York in midtown Manhattan.
Storr joined the Department of Painting and Sculpture at MoMA in 1990, where he has organized solo exhibitions on Elizabeth Murray (2005–6), Max Beckmann (2003), Gerhard Richter (2002), Chuck Close (1998), Tony Smith (1998), and Robert Ryman (1993–94). He also coordinated the Projects series at the museum from 1990 to 2000. More recently, Storr served as commissioner of the 2007 Venice Biennale, which was titled Think with the Senses, Feel with the Mind: Art in the Present Tense. He was the first American invited to the position.
A painter and a critic, Storr has written on art for Art in America, where he has been a contributing editor since 1981, and for Frieze, where he wrote a regular column from 2004 to 2011. In addition to publishing books on Close and Philip Guston, he has recently completed Intimate Geometries: The Work and Life of Louise Bourgeois (forthcoming).
Storr earned a BA from Swarthmore College in 1972 and an MFA from the School of the Art Institute of Chicago in 1978. The recipient of numerous grants, awards, and honors, he has lectured at colleges and universities throughout the northeastern United States. Storr began his official academic career in 2002, leaving MoMA to become the first Rosalie Solow Professor of Modern Art at New York University’s Institute of Fine Arts. Storr joined Yale in 2006 as dean and was recently reappointed to that position for a second five-year term. He is also professor of painting and printmaking at his school.
Storr has intersected with CAA at various points throughout his career. He has chaired several Annual Conference sessions and has spoken on even more. He served on the Art Journal Editorial Board from 1985 to 1995 and, with the attorney Barbara Hoffman, guest edited two issues on censorship and the visual arts, in fall and winter 1991. A ever-passionate advocate, Storr took up the issue again in 2011, writing a piece in Frieze on the Hide/Seek controversy.
On Tuesday, February 12, a day before Convocation, Storr will participate on a panel, titled “Hands On,” at the New York Studio School in Greenwich Village. Joining him will be the art historians Svetlana Alpers, professor emerita at the University of California, Berkeley, and David Rosand, Meyer Schapiro Professor of Art History Emeritus at Columbia University, who will discuss the connections between making art and writing about it. David Cohen, an art critic and the editor of Artcritical.com, will moderate. The event, starting at 6:30 PM, is free and open to the public; seating, however, may be limited.
Image: Robert Storr (photograph by Herbert Lotz)
Institutional News
posted by CAA — Jun 17, 2012
Read about the latest news from institutional members.
Institutional News is published every two months: in February, April, June, August, October, and December. To learn more about submitting a listing, please follow the instructions on the main Member News page.
June 2012
South view of the Michigan Avenue façade of the Art Institute of Chicago (photograph provided by the Art Institute of Chicago)The Art Institute of Chicago in Illinois, on behalf of the School of the Art Institute of Chicago, has been awarded a $40,000 grant from the National Endowment for the Arts to support the Teacher Institute in Contemporary Art at the school, an enrichment program for high school art teachers to engage with the art community of Chicago.
The Baltimore Museum of Art in Maryland has been granted $65,000 from the National Endowment for the Arts to support the reinstallation of its American art collection into newly refurbished galleries, originally designed in 1929 by John Russell Pope.
The Brooklyn Museum in New York has won two bronze 2012 MUSE awards: in the category of Interpretative Interactive Installations for the exhibition Vishnu: Hinduism’s Blue-Skinned Savior; and in the Online Presence category for the website of the exhibition Split Second: Indian Paintings (2011).
California State University, Long Beach, has been awarded Best Show in a University Art Gallery by the United States section of the International Art Critics Association for Perpetual Motion: Michael Goldberg (2010).
Cornell University in Ithaca, New York, is the recipient of a $45,000 grant from the National Endowment for the Arts in support of a program called Objects and Their Makers: New Insights at the Herbert F. Johnson Museum, which aims to introduce students to the arts of Africa, China, Japan, Tibet, and Southeast Asia, and to Precolumbian and Native American art.
The Currier Museum of Art in Manchester, New Hampshire, has been granted a $50,000 award from the National Endowment for the Arts to support the online publication of the museum’s collection of European and contemporary art.
The Dallas Museum of Art in Texas has recently launched a new website application called DMA Dashboard, which offers the public access to real-time museum statistics such as financial data, fundraising, and building operations.
The Getty Conservation Institute in Los Angeles, California, has launched the Conserving Modern Architecture Initiative, an international effort that aims to “increase knowledge for the field and develop new tools to assist practitioners,” according to Tim Whalen, the institute’s director. The initiative’s first project is the long-term conservation of the Eames House in Los Angleles, built by Charles and Ray Eames in 1949.
The J. Paul Getty Museum in Los Angeles, California, has won a 2012 MUSE award, receiving a silver award in the category of Audio Tours and Podcasts for Demons, Angels, and Monsters: The Supernatural in Art (2011). The museum also earned an honorable mention in the category of Applications and APIs for The Life of Art: Context, Collecting, and Display (2012).
The Solomon R. Guggenheim Museum in New York has been awarded the second-place prize for Best Thematic Museum Show in New York by the United States section of the International Art Critics Association for Chaos and Classicism: Art in France, Italy, and Germany, 1918–1936 (2010–11).
The Indianapolis Museum of Art in Indiana has received a $100,000 grant from the National Endowment for the Arts to support the documentation and conservation of the museum’s Western European design collection, a project that is in tandem with moving the collection to a newly designed 9,000-square-foot gallery. The museum has also won a bronze 2012 MUSE award in the category of Public Outreach for its campaign XLVI Reasons to Visit the Indianapolis Museum of Art.
Kennesaw State University in Kennesaw, Georgia, has received a $15,000 grant from the National Endowment for the Arts to aid a multimedia installation by the artist Matt Haffner for display in the lobby of the visual-arts building. A $3 million addition to the Kennesaw State University Art Museum and Galleries was recently approved by the University System of Georgia’s board of regents. The new 9,200-square-foot space, to open in March 2013, will house the university’s art collection and an interdisciplinary research center.
Kent State University in Kent, Ohio, has been awarded a $35,000 grant from the National Endowment for the Arts for an exhibition at the Kent State University Museum, called Shifting Paradigms of Identity: Creative Technology and Fashion, which will address how changing technology affects fashion.
Massachusetts College of Art and Design in Boston has received a $50,000 award from the National Endowment for the Arts to support scholarships for high school juniors and seniors to attend a four-week intensive summer art program.
The Mead Art Museum at Amherst College in Amherst, Massachusetts, has received a $1 million matching endowment grant from the Andrew W. Mellon Foundation in support of an initiative to integrate the museum’s collection into the college curriculum and to endow the position of coordinator of college programs. A stipulation of the grant calls for Amherst to raise a matching $1 million within three years.
The Menil Collection in Houston, Texas, has been awarded the second place in the category of Best Monographic Museum Show Nationally by the United States section of the International Art Critics Association for Kurt Schwitters: Color and Collage (2010–11).
The Metropolitan Museum of Art in New York has been awarded first place in the category of Best Architecture or Design Show by the United States section of the International Art Critics Association for Alexander McQueen: Savage Beauty (2011). The museum also won first place for Best Historical Museum Show Nationally for The Steins Collect: Matisse, Picasso, and the Parisian Avant-Garde (2012).
Michigan State University in East Lansing has been awarded a $40,000 grant from the National Endowment for the Arts to expand the reach of the Michigan Traditional Arts Program. In addition to documenting traditional artists and folk-art events, the program will enhance its online resources and use of social media to help connect folk artists, audiences, and other cultural workers.
Mount Mercy University in Cedar Rapids, Iowa, is the recipient of a $30,000 grant from the National Endowment for the Arts to support the conservation and documentation of William Lightner’s Our Mother of Sorrows Grotto, an outdoor environment and shrine made up of semiprecious stones, cement, and mosaics, built between 1929 and 1941.
The Museum of Fine Arts, Boston, in Massachusetts has received $80,000 from the National Endowment for the Arts to support two components of the museum’s Korean Collection Access Initiative—the publication of a catalogue and the reinstallation of the Korean art collection into a new 1,200-square-foot gallery.
The Museum of Modern Art in New York has been awarded first place in the category of Best Thematic Museum Show in New York by the United States section of the International Art Critics Association for On Line: Drawing through the Twentieth Century (2010–11). The museum has also won a gold 2012 MUSE award in the Public Outreach category for its interactive ad campaign “I went to MoMA and….”
The National Council on Education for the Ceramic Arts, based in Erie, Colorado, has accepted a $40,000 grant from the National Endowment for the Arts to assist exhibitions related to its 2013 national conference, to be held in Houston, Texas. An additional exhibition will take place in Santa Fe, New Mexico, to coincide with the forty-fifth general assembly of the International Academy of Ceramics.
The National Palace Museum in Taipei City, Taiwan, has won a gold 2012 MUSE award in the category of Multimedia Installations for the exhibition Along the River, During the Ching-ming Festival (2009).
The National Portrait Gallery of the Smithsonian Institution in Washington, DC, has received a first-place award from the United States section of the International Art Critics Association for the Best Thematic Museum Show Nationally for Hide/Seek: Difference and Desire in American Portraiture (2010–11).
The National Portrait Gallery in London, England, has recorded its highest-ever attendance figure for a single year, with 2 million museum-goers in 2011.
The Nelson-Atkins Museum of Art in Kansas City, Missouri, has received $100,000 from the National Endowment for the Arts for the digitization of its collection of more than 8,400 photographs ranging from 1839 to the present day.
The Neuberger Museum of Art, part of Purchase College, State University of New York, in Purchase, New York, has been awarded second place by the United States section of the International Art Critics Association for Best Thematic Museum Show Nationally for The Deconstructive Impulse: Women Artists Reconfigure the Signs of Power, 1973–1999 (2011).
Pacific Northwest College of Art in Portland, Oregon, has received a $30,000 grant from the Collins Foundation in support of an initiative called Persist and Thrive, which seeks to diversify the student body and provide mentoring services and academic support for students from underrepresented backgrounds.
The Philadelphia Museum of Art in Pennsylvania has received a 2012 Philadelphia Exhibitions Initiative Grant from the Pew Center for Arts and Heritage. The museum will use the $250,000 grant to fund an exhibition for fall 2013, called Dancing around the Bride, devoted to Marcel Duchamp and his influence on John Cage, Merce Cunningham, Jasper Johns, and Robert Rauschenberg.
Pratt Institute in Brooklyn, New York, has earned a $30,000 grant from the National Endowment for the Arts to aid the school’s community outreach program, Design Initiative for Community Empowerment. The program provides a platform for underserved Brooklyn high school students to learn about design through guided studio work, public exhibitions, and studio visits.
The San Diego Museum of Art in California has received a $15,000 grant from the National Endowment for the Arts to support an artist’s residency for teenagers from the culturally diverse neighborhood of southeast San Diego. The residency will consist of visits to local art museums and also provide studio space and instruction from professional artists.
The San Francisco Museum of Modern Art in California has received a $375,000 grant from the Getty Foundation to support the Robert Rauschenberg Research Project, an online catalogue scheduled for completion in 2013 that will feature all the artist’s works held in the museum’s permanent collection. The project is part of a larger initiative to digitize museum catalogues, spearheaded by the Getty Foundation, called the Online Scholarly Catalogue Initiative.
The School of the Art Institute of Chicago in Illinois has received an award from the United States section of the International Art Critics Association for Best Show Involving Digital Media, Video, Film, or Performance for Yael Bartana: A Declaration, held at the Gene Siskel Film Center on March 10, 2011.
Scripps College in Claremont, California, has won a grant of $10,000 from the National Endowment for the Arts to support the offsite conservation of seven Chinese textiles from the sixteenth and seventeenth century in its Ruth Chandler Williamson Gallery.
Syracuse University Library in Syracuse, New York, has received more than 1,350 digitized documents, letters, and images from the Archives of American Art for its recently launched Marcel Breuer Digital Archive.
UB Anderson Gallery at the University of Buffalo in New York has been declared a 2012 MUSE award winner, receiving a silver Honeysett and Din Student Award for the touch-based website component of a permanent installation, Cravens World: The Human Aesthetic.
The Edwin A. Ulrich Museum of Art at Wichita State University in Wichita, Kansas, has been awarded $100,000 from the National Endowment for the Arts to restore a 1978 mural by Joan Miró that decorates the museum’s façade.
The University of the Arts in Philadelphia, Pennsylvania, has won a $15,000 grant from the National Endowment for the Arts to support a juried design/building competition called Something from Nothing: Eco-ventions for Urban Landscapes. The competition seeks proposals that reimagine derelict and underused urban spaces.
The University of Massachusetts in Amherst has earned $100,000 from the National Endowment for the Arts to support an exhibition and related programming devoted to the legacy of W. E. B. DuBois at the University Museum of Contemporary Art. The exhibition commemorates the 150th anniversary of the Emancipation Proclamation and will examine DuBois’s influence on social and political movements throughout the twentieth century.
The University of Michigan at Ann Arbor has received a $55,000 grant from the National Endowment for the Arts to update the University of Michigan Museum of Art with multimedia tools that will enhance visitors’ experience of the collection.
The University of Oregon in Eugene has been awarded a $40,000 grant from the National Endowment for the Arts to support an apprenticeship program called Preserving and Sustaining Oregon’s Cultural Traditions, which connects master folk artists to apprentices.
The University of Rochester in Rochester, New York has been granted $15,000 from the National Endowment for the Arts. The school will use the funds to conserve paintings and drawings by Carl W. Peter in the collection of the Memorial Art Gallery.
The University of South Florida in Tampa has been awarded a $75,000 grant from the National Endowment for the Arts to support the development of a traveling exhibition, UnCommon Practice: Graphicstudio, organized in partnership with the Tampa Museum of Art and the University of South Florida Contemporary Art Museum. The exhibition documents the forty-five-year history of the Graphicstudio at the university.
The Walker Art Center in Minneapolis, Minnesota, has received a gold 2012 MUSE award in the category of Online Presence for its new website, launched in late 2011.
The Walters Art Museum in Baltimore, Maryland, has won a grant from the National Endowment for the Humanities for $265,000 to support the digitization of 113 medieval Flemish manuscripts, including eighty Books of Hours prayer books. Since 2008, the museum has received two other grants for the purpose of digitizing their manuscript collection.
The Whitney Museum of American Art in New York has received $1.5 million from the Henry Luce Foundation. The grant will assist the museum’s relocation in 2015 to a new Renzo Piano–designed building in Manhattan’s Meatpacking District. The funds will also go toward the Whitney’s Collections Documentation Initiative, an effort to further document its permanent collection before the move. The United States section of the International Art Critics Association has awarded a first-place prize for the Best Monographic Museum Show in New York to the Whitney for Paul Thek: Diver (2010–11), and second-place prize for Glenn Ligon: AMERICA (2011). Last, the Whitney has won a silver 2012 MUSE award in the category of Education and Outreach for its interactive website, For Kids, and a bronze 2012 MUSE award for Video, Film, and Computer Animation for the Vlog Project, comprising short videos that feature deaf museum educators discussing contemporary art in American Sign Language.
Winterthur Museum, Garden, and Library in Winterthur, Delaware, has received a $50,000 award from the National Endowment for the Arts to support a digitization project that will document 4,000 works on paper, including eighteenth-century maps, watercolors, drawings, and silhouettes.
The Worcester Art Museum in Worcester, Massachusetts, has been awarded $20,000 from the National Endowment for the Arts to aid a project called Teen Artists @ WAM, in which students take classes with artist mentors and compete to make large-scale installations with the assistance of professional artists.
Committee on Women in the Arts Picks for March 2012
posted by CAA — Mar 10, 2012
Each month, CAA’s Committee on Women in the Arts selects the best in feminist art and scholarship. The following exhibitions and events should not be missed. 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.
March 2012
Cindy Sherman, Untitled #183, 1988, chromogenic color print, 38 x 22¾ in. (artwork © Cindy Sherman; photograph provided by the artist, Metro Pictures, and the Museum of Modern Art)
Cindy Sherman
Museum of Modern Art
11 West 53rd Street, New York, NY 10019
February 26–June 11, 2012
Featuring over 170 photographs, Cindy Sherman—only the fifth career survey by a woman in the Museum of Modern Art’s history—begins with the artist’s groundbreaking series of Untitled Film Stills (1977–80) and continues to her recent Society Portraits that address the unreality of aging in contemporary culture. Soaking up influences far beyond the art world, Sherman has created a body of work that has in turn inspired fashion, film, performance, and music. A film series, Carte Blanche: Cindy Sherman, runs from April 2 to 10 and features films personally selected by the artist from the museum’s collection.
Rosemarie Trockel: Flagrant Delight
WIELS
Avenue Van Volxemlaan 354, 1190 Brussels, Belgium
February 18–May 27, 2012
Rosemarie Trockel: Flagrant Delight is the first large-scale survey in Belgium of work by this German artist. Trockel often deals with the aesthetic legacies of Surrealism and Dada, and the WIELS show highlights her connection to the Belgian artists René Magritte and Marcel Broodthaers. Flagrant Delight features work produced since the early 1980s and debuts pieces created specifically for the exhibition. The cornerstone of the show is a new series of forty mixed-media collages that trace Trockel’s distinct sensibility through the juxtaposition of recognizable images and abstract motifs.
Kimsooja
Musée d’Art Moderne de Saint-Étienne Métropole
Rue Fernand Léger, 42270 Saint-Priest-en-Jarez, France
February 25–March 28, 2012
Known for large-scale, filmed performances and multichannel videos, the Korean artist Kimsooja makes work that questions global culture and the role of the artist in the world. As the main actor in her videos, often filmed from behind, she engages in repetitive tasks that evoke ritual practice and Zen Buddhist philosophy. In A Needle Woman (1999–2001), comprising eight simultaneously projected videos, Kimsooja stands motionless in the middle of busy city streets—in Madrid, Tokyo, Beijing, Mumbai, Jerusalem, and more—as people walk around, ignore, or interact with her.
R(ad)ical Love: Sister Mary Corita
National Museum of Women in the Arts
1250 New York Avenue NW, Washington, DC 20005
March 9–July 15, 2012
R(ad)ical Love: Sister Mary Corita surveys the work of the nun, artist, social activist, and influential teacher, Sister Mary Corita (later known as Corita Kent). The exhibition features sixty-five prints created between 1963 and 1967, when Corita taught art at Immaculate Heart College in Los Angeles; the works combine the eye-catching graphics of pop with the sincere messages of protest signs and buttons that were synonymous with youth culture in the sixties. Highlighting her role as a political activist, R(ad)ical Love foregrounds the agitprop quality of the work and distances it from the commercial art that it may superficially resemble.
Rachel Kneebone: Regarding Rodin
Elizabeth A. Sackler Center for Feminist Art
Brooklyn Museum, 200 Eastern Parkway, Brooklyn, NY 11238
January 27–August 12, 2012
Rachel Kneebone: Regarding Rodin pairs the porcelain sculptures of the British artist Rachel Kneebone with fifteen sculptures by the nineteenth-century master Auguste Rodin, chosen by Kneebone from the Brooklyn Museum’s collection. A highlight of the exhibition, Kneebone’s first major museum show in the United States, features The Descent (2008), her work inspired by Dante’s Inferno, presiding over nine large-scale pieces by Rodin. Juxtaposing the emphatic figures of Kneebone and Rodin highlights a shared interest in the “representation of mourning, ecstasy, death, and vitality in figurative sculpture,” while contrasting the differences of their processes and materials.
Postcard for Not Ready to Make Nice: Guerrilla Girls in the Artworld and Beyond.
Not Ready to Make Nice: Guerrilla Girls in the Artworld and Beyond
Glass Curtain Gallery
Columbia College Chicago, 1104 South Wabash Avenue, First Floor, Chicago, IL 60605
March 1–April 21, 2012
Not Ready to Make Nice: Guerrilla Girls in the Artworld and Beyond
Averill and Bernard Leviton A+D Gallery
Columbia College Chicago, 619 South Wabash Avenue, Chicago, IL 60605
March 1–April 21, 2012
This two-part exhibition, devoted to the art world’s resident feminist activists, contextualizes the unruly group’s activism and art. The Glass Curtain Gallery features material related to the Guerrilla Girls’ work in museums and galleries, while the A+D Gallery stressess their political activities outside the art world and features a selection of films. Both presentations combine never-before-seen documentation and samples of fan and hate mail, as well as the opportunity for visitors to contribute their own voice through several interactive installations.
Eija-Liisa Ahtila: Parallel Worlds
Moderna Museet
Skeppsholmen, Stockholm, Sweden
February 11–May 6, 2012
This exhibition brings together recent work by the Helsinki-based artist Eija-Liisa Ahtila such as Horizontal (2011), The Annunciation (2010), and Where is Where (2008), with an iconic video from the early 1990s, Me/We, Okay, Gray. Bridging film, video, and installation, the artist’s work is lushly cinematic and strangely subversive, touching on themes of biopolitics and posthumanism. The selection highlights Ahtila’s exploration of human perception, tragedy, and the play between inner and outer worlds.
SHORT BIG DRAMA: Angela Bulloch
Witte de With
Witte de Withstraat 50, 3012 BR Rotterdam, Netherlands
January 21–April 9, 2012
This solo exhibition of the Canadian-born, Berlin-based artist Angela Bulloch collects three separate bodies of work: large-scale wall paintings, pixel installations, and interactive drawing machines. Bulloch’s interdisciplinary and theatrical approach invites viewer participation, and some works can even be “programmed” anew each time they are shown. Bold graphics, vibrant color, and references to the strategies of twentieth-century avant-garde movements—Constructivism, Minimalism, and the Situationists’ use of détournement—call into question the “informational status” of a given artwork.
In conjunction with the exhibition, Witte de With will host a book launch on April 3 for Source Book 10: Angela Bulloch, a monographic collection of critical essays and collaborations with other artists.
Institutional News
posted by CAA — Feb 17, 2012
Read about the latest news from institutional members.
Institutional News is published every two months: in February, April, June, August, October, and December. To learn more about submitting a listing, please follow the instructions on the main Member News page.
February 2012
Website of the School of Art and Design at Alfred UniversityAlfred University in Alfred, New York, has been awarded a $15,000 grant from the National Endowment for the Arts in support of the Institute for Electronic Arts’ Experimental Projects Residency. The School of Art and Design in the New York State College of Ceramics will use the grant to fully fund eight artists chosen for one- to two-week residencies.
Website of the American Academy in RomeThe American Academy in Rome in Italy has received a $50,000 grant from the National Endowment for the Arts to help fund its yearlong residency program for American artists.
Website of Anderson Ranch Art CenterThe Anderson Ranch Art Center in Snowmass Village, Colorado, has accepted a $10,000 grant from the National Endowment for the Arts for its residency program for emerging and established artists.
The Bard Graduate Center: Decorative Arts, Design History, Material Culture in New York has been awarded a 2011 Hurricane Recovery Grant in support of American Christmas Cards 1900–1960, an exhibition that was held September 21–December 31, 2011. The $3,000 grant came from the New York Council for the Humanities and is intended to aid cultural institutions affected in the wake of Hurricane Irene and Tropical Storm Lee.
California Institute of the Arts in Valencia has been awarded a $70,000 grant from the National Endowment for the Arts in aid of the CalArts Community Partnership Summer Arts Program, a three-week initiative for high school students to learn from professional artists and to participate in a choice of five workshops: visual art, dance, music, film/video, and writing.
Frederic S. Remington, A Dash for the Timber, 1889, oil on canvas, 48¼ x 84⅛ in. Amon Carter Museum, Fort Worth, Texas (artwork in the public domain)The Amon Carter Museum of American Art in Fort Worth, Texas, has been awarded a grant of $68,000 from the National Endowment for the Arts. The museum will apply the funds to Color!, an exhibition of fine-art color photography and its accompanying catalogue.
The Cooper Union for the Advancement of Science and Art in New York has received a National Endowment for the Arts grant of $15,000. The school will use the funds for Ruptures, an exhibition of commissioned artworks that address public space, the role of the artist, and social justice. Featured artists will include Sharon Hayes, Rirkrit Tiravanija, and Nancy Davenport.
DePaul University in Chicago, Illinois, has earned a $39,000 grant from the National Endowment for the Arts to help support the DePaul Art Museum’s exhibition War Baby/Love Child: Mixed Race Asian American Art, scheduled for spring 2013.
Electronic Arts Intermix in New York has been awarded a $45,000 grant from the National Endowment for the Arts for its Artists’ Media Distribution Service, a program founded in 1973 that offers an archive and lending library of more than 3,500 titles of video and media art.
The Getty Research Institute in Los Angeles, California, has acquired an important Man Ray archive. Among the highlights of the collection, which includes photographs, ephemera, and correspondences with other artists, are agendas the artist kept that document twenty-seven years of his career.
Édouard Manet, Before the Mirror (Devant la glace), 1876, oil on canvas, 92.1 x 71.4 cm. Solomon R. Guggenheim Museum, New York. Thannhauser Collection (artwork in the public domain)The Solomon R. Guggenheim Museum in New York has been awarded $30,000 from the National Endowment for the Arts for stillspotting nyc, a two-year multidisciplinary collaboration with the New York City Department of Transportation and the Graduate School of Architecture, Planning, and Preservation at Columbia University.
The Mildred Lane Kemper Art Museum, part of Washington University in Saint Louis, Missouri, has earned a $34,000 grant from the National Endowment for the Arts for an upcoming exhibition, Georges Braque and the Cubist Still Life 1928–1944, which will feature more than forty paintings and be accompanied by a catalogue.
Maryland Institute College of Art in Baltimore has received a $25,000 grant from the National Endowment for the Arts. The grant will support the school’s Ceramic and New Technology Research Initiative, a three-week residency program that explores connections between ceramics and digital technology. The college has also launched a new online publication, Community Arts Journal, which describes the school’s relationship to the arts and activism communities in Baltimore and beyond.
Alfred Boisseau, Louisiana Indians Walking along a Bayou, 1847, oil on canvas, 28⅜ x 44½ x 2 in. New Orleans Museum of Art, Louisiana (artwork in the public domain)The New Orleans Museum of Art in Louisiana has been awarded a National Endowment for the Arts grant of $20,000 in support of Inspired by New Orleans, a project comprising artist lectures, an original sound piece by Dario Robleto, and a Mississippi-based project designed by the architects David Adjaye and Michael Maltzan.
Cover of a catalogue for the American Water Color SocietyThe New York Art Resource Consortium has completed a new digital collection, made in partnership with the Frick Art Reference Library, the Brooklyn Museum Libraries and Archives, and the Museum of Modern Art Library. The collection, called Documenting the Gilded Age: New York City Exhibitions at the Turn of the 20th Century, features materials from the city’s art galleries, associations, and clubs and is available to researchers as full-text digital facsimiles.
The Pennsylvania Academy of the Fine Arts in Philadelphia has been awarded a $34,000 grant from the National Endowment for the Arts to help produce a museum exhibition, Peter Blume: Nature and Metamorphosis, which will present paintings, drawings, sketchbooks, and archival material.
Vincent van Gogh, Sunflowers, 1887, oil on canvas, 17 x 24 in. Metropolitan Museum of Art, New York (artwork in the public domain)The Philadelphia Museum of Art in Pennsylvania has earned a $61,000 grant from the National Endowment for the Arts in support of the exhibition Van Gogh Up Close, on view February 1–May 6, 2012.
The Picker Art Gallery and the Clifford Art Gallery at Colgate University in Hamilton, New York, have received a $20,000 grant from the National Endowment for the Arts to support the exhibition Recto/Verso: Video by Ann Hamilton, a survey of the video art by Ann Hamilton, on view February 3–April 6, 2012.
Pratt Institute in Brooklyn, New York, has accepted a $20,000 grant from the National Endowment for the Arts to help fund the Pratt Center for Community Development, an outreach program connecting the school to its neighborhood through community events and collaborative projects.
Rineke Dijkstra, Self-Portrait, Marnixbad, Amsterdam, the Netherlands, June 19, 1991, 1991, chromogenic print, 24 7/16 x 20½ in. (artwork © Rineke Dijkstra; photograph provided by the artist, Marian Goodman Gallery, New York and Paris, and the San Francisco Museum of Modern Art)The San Francisco Museum of Modern Art in California has received a $34,000 grant from the National Endowment for the Arts in support of a retrospective of the Dutch artist Rineke Dijkstra. The exhibition will feature seventy large-scale color photographs and five video installations and be on view February 18–May 28, 2012.
The Skowhegan School of Painting and Sculpture in Skowhegan, Maine, has earned a $27,000 grant from the National Endowment for the Arts to support its nine-week residency program for emerging artists.
The Smithsonian Institution in Washington, DC, has received a $5 million endowment from the New York philanthropist Dame Jillian Sackler for the Freer Gallery of Art and the Arthur M. Sackler Gallery. The gift is in honor of the twenty-fifth anniversary of the naming of the Sackler Gallery.
Tulane University in New Orleans, Louisiana, has been awarded a $34,000 grant to support the Newcomb Art Gallery’s exhibition Women, Art, and Social Change: The Newcomb Pottery Enterprise, which will open in October 2013.
The University of California, Berkeley, has received a $15 million gift from David Woo to support the relocation of the Berkeley Art Museum and Pacific Film Archive. Woo is a 1967 graduate of Berkeley’s College of Environmental Design and was active in the planning of the original museum and archive.
The University of Oregon in Eugene has received a $1.2 million endowment gift from the estate of Ann Swindell to sustain faculty development and help expand the art curriculum in the School of Architecture and Allied Arts.
Utagawa Kunisada, Kabuki, no date, color woodcut, 13⅝ x 9⅞ in. University of Wyoming Art Museum, Laramie (artwork in the public domain)The University of Wyoming Art Museum in Laramie has been awarded a $25,000 grant from the National Endowment for the Arts. The museum will use the funds to support an exhibition devoted to the work of the American artist Ralston Crawford (1906–1978).
Thomas Cole, Scene from “The Last of the Mohicans,” Cora Kneeling at the Feet of Tamenund, 1827, oil on canvas, 25⅜ x 35 1/16 in. Wadsworth Atheneum Museum of Art, Hartford, Connecticut (artwork in the public domain)The Wadsworth Atheneum Museum of Art, in Hartford, Connecticut, has accepted a $21,000 grant from the National Endowment for the Arts in support of MATRIX, a dynamic exhibition series founded in 1974 that features emerging artists.
The Whitney Museum of American Art in New York has received a $61,000 grant from the National Endowment for the Arts to help fund the museum’s upcoming retrospective for Jay DeFeo, scheduled for February 28–June 2, 2013.
Website of the Yale University Art GalleryThe Yale University Art Gallery in New Haven, Connecticut, has accepted a $68,000 grant from the National Endowment for the Arts for an upcoming exhibition, Coney Island: Visions of an American Dreamland 1861–2008. With more than one hundred artifacts—paintings, drawings, films, and posters—the show will trace the appeal of Coney Island from its prehistory to the present.