CAA News Today

CAA is pleased to announce the 2016 recipients of travel support through the CAA-Getty International Program. In an effort to promote greater interaction and exchange among art historians internationally, CAA will bring scholars from around the world to participate in the program, to be held during CAA’s 104th Annual Conference in Washington, DC, from February 3 to 6, 2016. This is the fifth year of the program, which has been generously funded by the Getty Foundation since its inception. The participants—professors of art history, curators, and artists who teach art history—were selected by a jury of CAA members from a highly competitive group of applicants. In addition to covering travel expenses, hotel accommodations, and per diems, the CAA-Getty International Program includes support for a preconference on international issues in art history, conference registration, and a one-year CAA membership.

Activities for participants in the CAA-Getty International Program will begin with a one-day preconference colloquium on international issues in art history, during which they will meet with North-American–based CAA members to discuss common interests and challenges. Participants will also be assisted throughout the conference by CAA member hosts, who will recommend relevant panel sessions and introduce them to colleagues who share their interests. Members of CAA’s International Committee have agreed to serve as hosts, along with representatives from several affiliated societies of CAA, including the Arts Council of the African Studies Association, the Association for Latin American Art, and the Society of Historians of East European, Eurasia, and Russian Art and Architecture.

This program has increased international participation in CAA’s activities and expanded international networking and the exchange of ideas during and after the conference. The CAA-Getty International Program supplements CAA’s regular program of Annual Conference Travel Grants for graduate students and international artists and scholars. CAA looks forward to welcoming the 2016 recipients at the upcoming Annual Conference in Washington, DC, this February.

2016 CAA-Getty International Program Participants

Sarena Abdullah is a senior lecturer in the School of the Arts at the Universiti Sains Malaysia in Penang, where she teaches art history to undergraduate and graduate students. She received an MA in art history from the University at Buffalo, State University of New York, and a PhD in art history from the University of Sydney in Australia. Specializing in contemporary Malaysian and Southeast Asian art, Abdullah is widely published locally and abroad and has presented papers at conferences in Malaysia, Singapore, Australia, and the United States. She is a field leader for Ambitious Alignments: New Histories of Southeast Asian Art, a research project led by the Power Institute Foundation for Art and Culture at the University of Sydney and funded by the Getty Foundation. With two research grants from the Universiti Sains Malaysia,  Abdullah is working on a project called “Theorizing Early Modernism and Cosmopolitanism in Early Twentieth Century Penang by Examining Modern Artistic Works and Print Medium Pertaining to Penang (1826–1942).”

Abiodun Akande studied fine arts at Obafemi Awolowo University in Ile Ife, Nigeria, and received an MA and PhD from the Institute of African Studies at the University of Ibadan, also in Nigeria. His dissertation on “Yoruba Traditional Religious Wood-Carvings in Oyo, Sabe, and Ife” reflects his broader interest in the diffusion history of Yoruba peoples and their material culture across national boundaries. Akande is also interested in recording the effects of diffusion on sociocultural and artistic productivity and the resultant identities and iconologies of this culture group. Akande teaches art history, museology, art education, and painting at the Emmanuel Alayande College of Education in Oyo. In 2013, he participated in the first Basel Summer School in African Studies at the University of Basel in Switzerland; he also attended a graduate symposium hosted by the School of Arts at Peking University in Beijing, China.

María Isabel Baldasarre holds a PhD in art history from the Universidad de Buenos Aires in Argentina, having earned an undergraduate degree in art history from the same university and a National Professor of Sculpture degree from the Escuela Nacional de Bellas Artes Prilidiano Pueyrredón. Baldasarre is currently a researcher at the Consejo Nacional de Investigaciones Científicas y Técnicas (CONICET), an associate professor and coordinator of the master’s degree program in Argentinean and Latin American art history at the Universidad Nacional de San Martín, and a member of the board of the Centro Argentino de Investigadores de Arte. Baldasarre has received scholarships and grants from CONICET, the Antorchas Foundation, the Latin American Studies Association, the Getty Foundation, the Institut National d’Histoire de l’Art, and the Kunsthistorisches Institut in Florenz. A specialist in late-nineteenth- and early-twentieth-century European and Argentinean art, art collecting, and the art market, Baldasarre is the author of Los dueños del arte. Coleccionismo y consumo cultural en Buenos Aires (Buenos Aires: Edhasa, 2006).

Danielle Becker is an adjunct lecturer in the Department of Visual Arts at Stellenbosch University in Stellenbosch, South Africa, and the Michaelis School of Fine Art at the University of Cape Town. She was previously the head of visual studies at the Stellenbosch Academy of Design and Photography. Her PhD research, in progress at the University of Cape Town, examines how South African art history is framed in art-historical curricula at tertiary institutions, in art-historical writing, and in museum displays. Becker’s interests include art historiography, postcolonial theory, and the framing of African art. Before beginning her doctoral research, she completed a fine-arts degree at Cape Town, worked as the arts coordinator for a nonprofit called South African Education and Environment Project, and completed a master’s degree in art history at the University of Manchester in England. Her forthcoming publications include a book chapter on Instagram in Africa’s Media Image in the Twenty-First Century: From the Heart of Darkness to Africa Rising (forthcoming from Routledge) and an essay, “Locating the Label on the Luggage: Towards a Continued Decolonization of South African Visual Culture.” (forthcoming from Third Text: Critical Perspectives on Contemporary Art and Culture.)

Bùi Thị Thanh Mai is a lecturer in art history, theory, and criticism at the Vietnam University of Fine Arts in Hanoi. She is also head of the university’s Department of Academic Research Management and International Relations and a member of the editorial board for the university’s journal, Art Research Magazine. Bùi specializes in the history of Vietnamese art, with a focus on modern and contemporary art; she is also interested in art theory, art education, and curatorial theory and practice. Bùi is working on three concurrent projects: “Optimistic Characterization in Painting in Hanoi in 1945–1990” within the framework of the Ambitious Alignments: New Histories of Southeast Asian Art program; “Art Theory and Criticism in Vietnam: Actual Situations and Solutions of the Effect on the Artistic Life”; and a textbook on Vietnamese art history for the Vietnam University of Fine Arts.

Heloisa Espada received a PhD in art history and art criticism from the School of Communications and Arts at the University of São Paulo in Brazil in 2011. She studies Brazilian art after World War II, with a special focus on geometric abstraction and photography. In 2014 Espada began postdoctoral studies at her university’s Museum of Contemporary Art, where she is researching the origins of Concrete art in the city, supported by a grant from the Coordenação de Aperfeiçoamento de Pessoal de Nível Superior, a Brazilian government agency. Espada wrote Hércules Barsotti (São Paulo: Folha de São Paulo, 2013), Geraldo de Barros e a fotografia (São Paulo: Instituto Moreira Salles and Edições SESC, 2014), and Monumentalidade e sombra: o centro cívico de Brasília por Marcel Gautherot (forthcoming from Annablume). Since 2008, she has been the head of visual arts at the Instituto Moreira Salles, where she is also researcher and curator.

Ildikó Gericsné Fehér received an MA and PhD in art history from Eötvös Loránd University in Budapest, Hungary. As associate professor in the Department of Art History of the Hungarian University of Fine Arts in Budapest, she lectures and leads seminars on Renaissance and Baroque art. She is also a consultant to the university’s Conservation Department. Fehér’s research interests include detached wall paintings from medieval and Renaissance Italy in the collection of the Museum of Fine Arts Budapest; Florentine art dealers at the end of the nineteenth century; Károly Pulszky’s purchases of paintings in Italy for the museum circa 1890; wall paintings in Umbria from the fourteenth to sixteenth century; self-portraits by Hungarian artists in the Uffizi Gallery; and the works of Jacopo Palma il Giovane.

Peyvand Firouzeh specializes in the art and architecture of the Islamic world, with a focus on Iran, Central Asia, and India in the medieval period. She is particularly interested in interconnections between architecture and power, patronage of art and architecture, cross-cultural exchanges between Iran and India, and museum studies. Firouzeh obtained her BA (2004) and MA (2007) in architecture from the Tehran University of Art in Iran and her MPhil (2011) and PhD (2015) in the history of art and architecture and Asian and Middle Eastern studies from the University of Cambridge in England. She was the acting curator of Islamic collections from Iran, Central Asia, and India at the British Museum in London in 2014–15. Firouzeh is currently a fellow of art histories and aesthetic practices (2015–16) at the Forum Transregionale Studien and Museum für Islamische Kunst in Berlin, where she is working on a new project, “Depicted Legitimacy: Sufi-Sultan Encounters in the Visual and Textual Cultures of South Asia.”

Lev Maciel graduated from the Medieval Studies Department at Lomonosov Moscow State University in Russia in 1998, with an M.A. thesis on fifteenth-century Spanish history. His dissertation on eighteenth-century Siberian architecture earned him a PhD in 2004 from the State Institute for Art History in Moscow. Currently Maciel is an associate professor in the Faculty of Humanities of the National Research University Higher School of Economics in Moscow, where he supervises the recently created program in art history. He is also a part-time research associate professor at the Institute for Theory and History of Architecture and Town Planning in Moscow. Maciel’s research interests include a wide range of subjects within the history of architecture, including the late Renaissance and Baroque (Russia, southern Italy, Brittany, Spain, and Latin America), late antiquity and Byzantium, the Islamic world, Mongolia and Tibet, and nonmodernist movements in the twentieth century.

Emmanuel Moutafov is a Byzantinist, art historian, and epigrapher who holds a PhD in world history of the fifteenth to nineteenth centuries from the Institute for Balkan Studies at the Bulgarian Academy of Sciences in Sofia. He has been a visiting research fellow at the Program in Hellenic Studies at Princeton University; a Mellon Foundation fellow at the Institute for Advanced Studies in Berlin; a Mellon Foundation fellow at the W. F. Albright Institute of Archaeological Research in Jerusalem; and a Getty Foundation research fellow in the summer research group Visions of Byzantium in Istanbul, Turkey. In 2013 he became a supervisor of research at the board of directors of the Institute for Art Studies at the Bulgarian Academy of Sciences and last year was appointed a director of the same institute.

Ceren Özpınar is a lecturer and a scholar of art historiography and the history of art whose research covers feminist temporalities in art historiography and contemporary art in Turkey. She is currently a British Academy Newton International Fellow in the Department of Art History at the University of Sussex (2015-17). Özpınar received a PhD in the history of art from Istanbul Technical University in 2015, with a thesis on the historiography of contemporary art in Turkey. In 2013, she held a one-year position of visiting research fellow at the University of Leeds, for which she was awarded a doctoral research grant by the Scientific and Technological Research Council of Turkey. She is among the authors of National Art Histories in an Unfinished World (forthcoming from McGill-Queen’s University Press). Özpınar teaches undergraduate and graduate courses in art history, art management, and visual culture.

Horacio Ramos is a Peruvian art historian who specializes in Latin American vanguardism and neovanguardism. He teaches at the Pontificia Universidad Católica del Perú in Lima and also works as researcher at Museo de Arte de Lima. Ramos holds a BA in philosophy and an MA in art history from the Universidad Católica. In previous research, he explored the reform of Lima’s main square (or Plaza de Armas) during the first half of the twentieth century, a complex process that involved debates about nationalism, architectural heritage, and modernism. Currently he is focusing on how invasiones (precarious urban settlements at the periphery of Peruvian cities) have been represented in documentary photography and neovanguardist art of the later twentieth century. Since invasiones and abandoned archeological ruins share the deserted landscape of the coast, his investigation seeks to trace the complex interconnections between art, archeology, landscape, and social exclusion.

Olaya Sanfuentes Echeverría earned a bachelor’s degree in history from the Pontificia Universidad Católica de Chile in Santiago, a master of arts from Georgetown University in Washington, DC, and a PhD in art history from the Universitat Autònoma de Barcelona in Spain. She is a professor at the Institute of History, a part of the Department of History, Geography, and Political Science at the Pontificia Universidad Católica de Chile. Sanfuentes’s current research focuses on devotional practices involving art, especially religious statues used in festivals and rites in honor of the saints and virgins in Andean communities, as well as similar practices related to nativity cribs. More generally, Sanfuentes is interested in practices surrounding visual representations, history, and material culture, and how communities deal with cultural heritage.

Paulo Silveira holds bachelor’s degrees in fine arts (with qualifications in drawing and painting) and in communication studies from the Universidade Federal do Rio Grande do Sul in Porto Alegre, Brazil. He earned an MA and PhD in visual arts, with an emphasis in art history, theory, and criticism, from the same university. His graduate studies included doctoral research in France at the Université Paris 1 Panthéon-Sorbonne. Silveira is a professor of art history at the Instituto de Artes at the Universidade Federal do Rio Grande do Sul. His research interests include visual arts, with a focus on the formal and contextual study of the artistic process, the intellectual and artistic foundations of contemporary art, intermedia, perception of works of art, aesthetics, rhetoric of artist’s publications, and methodology. Silveira is a member of the Brazilian Committee of Art History and the National Association of Researchers in Fine Arts (serving on its committee for history, theory, and criticism).

Sandra Uskoković is an assistant professor in the Department of Arts and Restoration at the University of Dubrovnik in Dubrovnik, Croatia. Her primary areas of research include architectural theory, modern architecture, urban culture, performance art, and cultural studies and heritage. She received an MA in architectural history and heritage preservation from George Washington University in Washington, DC, and a PhD in historic preservation and architectural history from the University of Zagreb. During 2002–3 Uskoković served as an intern at the International Centre for the Study of the Preservation and Restoration of Cultural Property in Rome, Italy, and at the International Committee on Monuments and Sites (US/ICOMOS) in Washington, DC. She is a member of the ICOMOS Scientific Committee on Twentieth-Century Heritage and has participated in conferences on international preservation. Uskoković is the author of three books: Modern Architectural Heritage of Dubrovnik (Zagreb: Antibarbarus, 2010), Contemporary Design in Historic Settings (Zagreb: Antibarbarus, 2013), and Architect Lovro Perković: Sensibility of Space Design (Zagreb: Ex Libris, 2015). She also has published numerous articles in academic and artistic journals. Since 2015 she has coordinated a regional interdisciplinary forum for research in urban culture in the Balkans, called Urban Hum.

For more information about the CAA-Getty International Program, please contact project director Janet Landay at jlanday@collegeart.org or 212-392-4420.

John Richardson Will Be the Next CAA President

posted by Linda Downs — Oct 30, 2015

The College Art Association is pleased to announce that at its October Board meeting, John Richardson was elected as the new President of CAA. He succeeds Dewitt Godfrey and will serve a two-year term beginning May 1, 2016. Richardson is currently CAA’s Vice President of External Affairs.

Richardson chairs the James Pearson Duffy Department of Art and Art History at Wayne State University, Detroit, MI.  Richardson says of his election, “I’m honored to be selected for the position of the President. It is a once-in-a-lifetime experience. During my term I will provide leadership in the implementation of the CAA strategic plan with a particular focus on rejuvenating the Annual Conference and being an advocate for the membership.”

Richardson earned his graduate degree in sculpture from the University of Wisconsin-Madison and his undergraduate degree from the University of Puget Sound in Tacoma, Washington. He is represented by Causey Contemporary Gallery, New York, NY.

Founded in 1911, the College Art Association is the preeminent learned society in higher education visual arts and curatorial practice with a membership of over 10,000 individuals and institutions internationally. The CAA aims to promote the visual arts and their understanding through committed practice and intellectual engagement.

Filed under: Board of Directors, Governance, People in the News —

The Role of Contextual Studies in Art School Education in Scotland

posted by Sarah Smith, Joint Head of the Forum for Critical Inquiry, the Glasgow School of Art, and member of CAA’s International Committee — Oct 26, 2015

Last April, my colleagues and I in the Glasgow School of Art’s Forum for Critical Inquiry organized a seminar on “The Role of Critical and Contextual Studies in Art School Education in Scotland,” which aimed to facilitate and stimulate scholarly debate on art and design higher education and to establish a regional network of Scottish faculty who teach Critical and Contextual Studies. The seminar was funded by the UK’s Council for Higher Education in Art and Design and formed part of their Regional Seminar programme.

Since 1962–63, university level art and design education in the UK has included an “academic” element, which was originally referred to as the History of Art and Design and Complementary Studies and is now better known as Critical and Contextual Studies (CCS). This element was introduced to give “degree equivalence” to what was initially a quite technically focused diploma by providing context to studio practices and developing a broader range of skills in students. Topics taught under this rubric include histories of art and design, film and media histories, critical theory, aesthetics, and, more recently, curatorial and art writing practices. Recent changes to UK art and design higher education, precipitated by diverse drivers such as funding cuts and the emergence of the PhD by practice as the terminal degree, has brought the debate about the role of CCS back into sharp focus. A central question for this debate is: if the role of CCS is no longer “to elevate” and “lend academic credibility” to studio practice, as was originally the case (outlined in the Coldstream Reports of 1960 and 1970), then what do we see as its role both now and in the future?

This is a recurring (if not perpetual) question for art schools in the UK and Ireland where CCS still represents a sort of “minor” subject that underpins the “major” studio practice; the relationship between the two is never quite at ease. The question has been addressed by my institution, the Glasgow School of Art, three times through departmental review since I began teaching there in 2000, and it has not been satisfactorily answered to date. The most recent iteration was prompted by a recommendation in the Glasgow School of Art’s Fine Art 2013 Periodic Review, which advised that CCS be divided and brought under the management of the institution’s three schools (Fine Art, Design, and Architecture) rather than be managed centrally and provide cross-institution curriculum.

Across the UK there exists a variety of curricular and organizational CCS models, which are reflected in the different approaches of the four Scottish art schools: Glasgow School of Art; Edinburgh College of Art, University of Edinburgh; Duncan of Jordanstone College of Art and Design, University of Dundee; and Gray’s School of Art, Robert Gordon University, Aberdeen. By focusing on the regional context, we hoped to identify issues and opportunities that may be unique to the Scottish higher education sector, which differs from the rest of the UK in a range of ways, including a tendency for four-year degree programs; no tuition fees for home or European Union students; the ability of Scottish students to start university at the age of seventeen; and a focus on educational breadth at the undergraduate level.

Thirty-five delegates from across Scotland and the UK attended the seminar, and for the opening keynote, Dr. Annebella Pollen from the University of Brighton presented an overview of a piece of pedagogic research that was recently published in Design and Culture.[1] In the paper, titled “Theory and Practice: Objective and Subjective?,” she critiques the perception of the “academic element” of studio-based programs as lacking in subjectivity and personal investment, instead arguing that design history is an embodied, reflective, and affective discipline.

Two lecturers from each of the four Scottish art schools then gave short presentations on CCS within their institutions, offering either overviews of their respective curricular and operational models or focusing on examples of innovative practice that, for instance, combine studio and CCS methodologies and techniques (such as visual presentation, collage, assemblage, collecting, curating, and writing) to design CCS courses.

Numerous differences emerged in the various models and approaches employed by each of the four institutions. It was clear that operational models have a considerable impact on learning and teaching practices. For example, the Edinburgh College of Art and the Glasgow School of Art can offer team-taught courses and a diverse range of electives because they have separate CCS departments that work across programs. In contrast, the Duncan of Jordanstone College of Art and Design faculty tend to be attached to specific programs and work in a more isolated way or, when possible, in pairs. (Certainly there is no sense in having a strategic approach to CCS provision—and related research—at an institutional level at Duncan of Jordanstone.) Perhaps because CCS at Gray’s School of Art has been through several different operational and pedagogic iterations over the past ten years (from being a separate department, to being fully integrated with studio, and then back to being a separate department), the school seems well placed to propose courses that endorse innovative practices to engage students with CCS.

The closing keynote by Neil Mulholland from the Edinburgh College of Art, provocatively titled “Juche: Art School State of Mind,” was based on his article for the New Art West Midlands 2014 exhibition catalogue and is part of his sustained research project into art school pedagogy.[2] His central thesis posits that, while there is an exciting scope for developing radical pedagogies within art schools, the insular culture fostered therein since the mid-twentieth century stymies opportunities for curricular diversity. Having broad-based contextual studies goes some way toward challenging the monoculturalism that art and design education can, at times, endorse; it does so both by fostering critical thinking and by facilitating the student’s development of a different skill set.

We hoped that the keynotes from Pollen and Mulholland would provide a sort of framing, and they did by asking provocative questions about what art school education is and should be in the twenty-first century, and by considering how to challenge ossification and reconceptualize the role of contextual studies as part of a diverse curriculum. The short presentations from the four Scottish art schools gave us a chance to see what and how we teach, and allowed us to share good practices. Perhaps the most valuable aspect of the seminar was the opportunity to meet and talk about the issues we share as contextual studies faculty working within art schools, thereby kick-starting a range of collaborations between CCS staff within Scotland, from informal teaching exchanges and joint writing projects to developing cross-institutional research funding bids.

Scottish higher education institutions have a strong tradition of collaboration due to their relatively small number, geographical proximity, and shared well-defined regional/national identity, yet Scottish CCS staff have rarely collaborated. This lack of collaboration may be partly attributable to a lack of organizational support and recognition of this “minor” subject, but it is also a result of there being no natural home for an interdisciplinary subject area that spans art and design history, cultural studies, philosophy, film and media studies, gender studies, ethnography, and various other subjects. Individual CCS faculty tend to participate in professional networks tied to one or two of these disciplines, but there is something distinctive about teaching and researching in an art school context that requires another kind of network and other kinds of support. Currently Scotland is bereft of this kind of support, and we therefore need to build this support at regional and national levels while simultaneously connecting with major national and international organizations such as the UK’s Council for Higher Education in Art and Design and the College Art Association, which have long recognized the need to support art and design higher education across studio and contextual studies.

[1] Annebella Pollen, “My Position in the Design World: Locating Subjectivity in the Design Curriculum,” Design and Culture 7, no. 1 (2015): 85–106.

[2] Neil Mulholland, “Juche: Art School State of Mind,” in New Art West Midlands 2014, exh. cat. (Birmingham, UK: Birmingham Museums Trust, 2014), 25–28, at www.newartwestmidlands.org/wp-content/uploads/New-Art-West-Midlands-catalogue-2014.pdf, as of October 19, 2015.

Filed under: International —

People in the News

posted by CAA — Oct 17, 2015

People in the News lists new hires, positions, and promotions in three sections: Academe, Museums and Galleries, and Organizations and Publications.

The section 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.

October 2015

Academe

Jeffrey Abt

Jeffrey Abt has been appointed fellow and visiting professor in the Frankel Institute for Advanced Judaic Studies at the University of Michigan in Ann Arbor for the 2015–16 academic year.

Nicole Awai has joined the Department of Art and Art History at the University of Texas at Austin as assistant professor in painting and drawing.

Douglas Brine, assistant professor in the Department of Art and Art History at Trinity University in San Antonio, Texas, has received tenure.

Anne Helmreich

Anne Helmreich, formerly senior program officer for the Getty Foundation in Los Angeles, California, has been named dean of the College of Fine Arts at Texas Christian University in Fort Worth.

Adrian Randolph

Adrian Randolph, Leon E. Williams Professor of Art History and associate dean of the faculty for the arts and humanities at Dartmouth College in Hanover, New Hampshire, has been appointed dean of the Weinberg College of Arts and Sciences at Northwestern University in Evanston, Illinois.

Marissa Vigneault has left the University of Nebraska in Lincoln to become assistant professor of art history at Utah State University in Logan.

Greg Watts, formerly professor and chair of the Art Department and executive director of the Center for Visual Art at Metropolitan State University in Denver, Colorado, has become dean of the College of Visual Arts and Design at the University of North Texas in Denton.

Catherine Zuromskis has become assistant professor of photographic arts and sciences in the College of Imaging Arts and Sciences at Rochester Institute of Technology in Henrietta, New York.

Museums and Galleries

Leslie Anderson-Perkins

Leslie Anderson-Perkins has joined the Utah Museum of Fine Arts at the University of Utah in Salt Lake City as curator of European, American, and regional art. Previously she was curatorial assistant for European and American painting, sculpture, and works on paper at the Indianapolis Museum of Art in Indiana.

Seb Chan (photograph by Matt Flynn)

Seb Chan, director of digital and emerging media at the Cooper Hewitt Smithsonian Design Museum in New York, has become the inaugural chief experience officer at the Australian Centre for the Moving Image in Melbourne.

Shawnya L. Harris

Shawnya L. Harris has become the first Larry D. and Brenda A. Thompson Curator of African American and African Diasporic Art for the Georgia Museum of Art at the University of Georgia in Athens. Previously Harris taught at the Elizabeth City State University in Elizabeth City, North Carolina.

Claire Henry, senior curatorial assistant of the Andy Warhol Film Project at the Whitney Museum of American Art in New York, has been promoted to assistant curator at the museum.

Maureen Warren (photograph by Yvonne Carns)

Maureen Warren has been appointed curator of European and American art at the University of Illinois’s Krannert Art Museum in Champaign. She was previously Andrew W. Mellon Curatorial Research Fellow in the Department of Prints and Drawings at the Art Institute of Chicago.

Filed under: Uncategorized — Tags: Member News, Member Spotlight, People in the News —

Grants, Awards, and Honors

posted by CAA — Oct 15, 2015

CAA recognizes its members for their professional achievements, be it a grant, fellowship, residency, book prize, honorary degree, or related award.

Grants, Awards, and Honors 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.

October 2015

Lauren Applebaum, a doctoral candidate in art history at the University of Illinois in Urbana-Champaign, has won a Henry Luce Foundation/ACLS Dissertation Fellowship from the American Council of Learned Societies. Her project examines “Elusive Matter, Material Bodies: American Art in the Age of Electronic Mediation, 1865–1918.”

S. Elise Archias, assistant professor in the School of Art and Art History at the University of Illinois in Chicago, has been named George Gurney Senior Fellow at the Smithsonian American Art Museum in Washington, DC. Her project is called “Armatures—Joan Mitchell, Lygia Clark, and Melvin Edwards circa 1960.”

Nadya Bair, a PhD student in art history at the University of Southern California in Los Angeles, has won a Mellon/ACLS Dissertation Completion Fellowship from the American Council of Learned Societies. Her project is titled “The Decisive Network: Magnum Photos and the Art of Collaboration in Postwar Photojournalism.”

Nicole Bass, a PhD student in the history of art at Yale University in New Haven, Connecticut, has received a Henry Luce Foundation/ACLS Dissertation Fellowship from the American Council of Learned Societies. She will research “The Shade of Private Life: Privacy and the Press in Turn-of-the-Century American Art.”

David Brownlee, Frances Shapiro-Weitzenhoffer Professor of 19th Century European Art and chair of the Graduate Group in the History of Art at the University of Pennsylvania in Philadelphia, has been inducted as a Fellow of the Society of Architectural Historians.

Emily Casey, a PhD candidate in the Department of Art History at the University of Delaware in Newark, has been appointed Terra Foundation Predoctoral Fellow in American Art at the Smithsonian American Art Museum in Washington, DC. Her project is called “Waterscapes: Representing the Sea in the American Imagination, 1760–1815.”

Petra ten-Doesschate Chu, professor of communications and arts at Seton Hall University in Seton Hall, New Jersey, has accepted an ACLS Comparative Perspectives on Chinese Culture and Society Grant from the American Council of Learned Societies for her project, “Artistic Exchanges between China and the West during the Late Qing Dynasty (ca. 1795–1911).”

Michael Cloud, an artist based in Brooklyn, New York, has received a 2015 fellowship for painting by the New York Foundation for the Arts.

Blane De St. Croix, Broken Landscapes III, 2013 (artwork © Blane De St. Croix)

Blane De St. Croix, an artist based in Brooklyn, New York, who is also associate professor and head of sculpture at Indiana University in Bloomington, has received an artist’s residency at the Joan Mitchell Center in New Orleans, Louisiana.

R. Ruth Dibble, a doctoral student in the Department of the History of Art at Yale University in New Haven, Connecticut, has been named James Renwick Predoctoral Fellow in American Craft at the Smithsonian American Art Museum in Washington, DC. She will work on “‘Strike Home to the Minds of Men’: Crafting Domesticity in the Civil War Era.”

Erica DiBenedetto, a graduate student in art history at Princeton University in Princeton, New Jersey, has become Patricia and Phillip Frost Predoctoral Fellow at the Smithsonian American Art Museum in Washington, DC. Her project is called “Drawing from Architecture: The Conceptual Methods of Sol LeWitt’s Art, 1965–1980.”

Randall Edwards, a PhD student in art history at the Graduate Center, City University of New York, has accepted a Henry Luce Foundation/ACLS Dissertation Fellowship from the American Council of Learned Societies. He is researching “Dennis Oppenheim: Sites, 1967–75.”

George F. Flaherty, assistant professor in the Department of Art and Art History at the University of Texas at Austin, has won the Founders’ JSAH Article Award from the Society of Architectural Historians for his essay, “Responsive Eyes: Urban Logistics and Kinetic Environments for the 1968 Mexico City Olympics,” published in the September 2014 issue of the Journal of Architectural Historians.

Kate Flint, professor of English and art history at the University of Southern California in Los Angeles, has earned an ACLS Fellowship from the American Council of Learned Societies for “Flash! Photography, Writing, and Surprising Illumination.”

Finbarr Barry Flood, William R. Kenan Jr. Professor of the Humanities in the Institute of Fine Art at New York University, has received an ACLS Collaborative Research Fellowship from the American Council of Learned Societies to work on “Object Histories—Flotsam as Early Globalism.”

Emily Ann Francisco, an MA student in art history and museum studies at Syracuse University in Syracuse, New York, has completed the summer internship program at the National Gallery of Art in Washington, DC. This program provides opportunities for graduate and postgraduate students to work on projects directed by a museum department head or curator.

Julie Green, The Last Supper, 2000–2015, ongoing, 600 plates completed to date, dimensions variable (artwork © Julie Green)

Julie Green, professor of fine arts at Oregon State University in Corvallis, has received an artist’s residency at the Joan Mitchell Center in New Orleans, Louisiana.

Rachel Haidu, associate professor of art and art history and of visual and cultural studies at the University of Rochester in Rochester, New York, has earned an ACLS Fellowship from the American Council of Learned Societies. Her project is called “The Knot of Influence.”

Taro Hattori, an installation artist based in Oakland, California, has accepted a fall 2015 residency at the Luminary in Saint Louis, Missouri.

Mary Beth Heffernan’s Personal Protective Equipment Portrait Project (photograph by Marc Campos)

Mary Beth Heffernan, associate professor of sculpture and photography at Occidental College in Los Angeles, California, was awarded the Presidential Grant from the Arnold P. Gold Foundation for her Personal Protective Equipment Portrait Project, a social-practice art intervention in the Ebola epidemic.

Ellie Irons, an artist based in Brooklyn, New York, has been awarded a 2015 fellowship for interdisciplinary work by the New York Foundation for the Arts.

Saisha Grayson, assistant curator for the Brooklyn Museum’s Elizabeth A. Sackler Center for Feminist Art and a doctoral candidate in art history at the Graduate Center, City University of New York, has been awarded a Predoctoral Fellowship at the Smithsonian American Art Museum in Washington, DC. Her research project is “Cellist, Catalyst, Collaborator: The Work of Charlotte Moorman, 1963–1980.”

Christopher Ketcham, a doctoral student in the history, theory, and criticism of architecture and art at the Massachusetts Institute of Technology in Cambridge, has been awarded a Henry Luce Foundation/ACLS Dissertation Fellowship by the American Council of Learned Societies. His project is called “Minimal Art and Body Politics in New York City, 1961–75.”

Yuko Kikuchi, a professor at University of the Arts London in the United Kingdom, has been appointed Terra Foundation Senior Fellow in American Art at the Smithsonian American Art Museum in Washington, DC. Her project is titled “Russel Wright and Asia: Studies on the American Design Aid and Transnational Design History during the Cold War.”

Marci Kwon, a PhD student at the Institute of Fine Arts, New York University, has accepted a Predoctoral Fellowship at the Smithsonian American Art Museum in Washington, DC. She will work on “Vernacular Modernism: Joseph Cornell and the Art of Populism.”

Lex Morgan Lancaster, a doctoral student in art history at the University of Wisconsin in Madison, has completed the summer internship program at the National Gallery of Art in Washington, DC. This program provides opportunities for graduate and postgraduate students to work on projects directed by a museum department head or curator.

Solveig Nelson, a doctoral candidate in art history at the University of Chicago in Illinois, has received a Henry Luce Foundation/ACLS Dissertation Fellowship from the American Council of Learned Societies. Her project is titled “Direct Action, Mediated Bodies: How Early Video Changed Art.”

Alexander Potts, Max Loehr Collegiate Professor of History of Art at the University of Michigan in Ann Arbor, has been elected to the British Academy as a corresponding fellow.

John Paul Ricco has accepted a faculty research fellowship at the University of Toronto’s Jackman Humanities Institute in Ontario for 2015–16.

Kristine K. Ronan, a PhD candidate in the history of art at the University of Michigan in Ann Arbor, has earned a Henry Luce Foundation/ACLS Dissertation Fellowship from the American Council of Learned Societies. Her research examines “Buffalo Dancer: The Biography of an Image.”

Julia B. Rosenbaum, associate professor of art history at Bard College in Annandale-on-Hudson, New York, has become a senior fellow at the Smithsonian American Art Museum in Washington, DC. Her project explores “Curated Bodies: The Display of Science and Citizenry in Post–Civil War America.”

James H. Rubin

James H. Rubin, professor of art history at Stony Brook University in Stony Brook, New York, has been awarded a National Endowment for the Humanities Public Scholar Grant for calendar year 2016.

Wenhua Shi, assistant professor of art and art history at Colgate University in Hamilton, New York, has been awarded a 2015 fellowship by the New York Foundation for the Arts in the category of interdisciplinary work.

Mark Van Proyen, associate professor of painting at the San Francisco Art Institute in California, has received the Kenneth J. Botto Research Fellowship from the Center for Creative Photography at the University of Arizona in Tucson. His project examines “Kenneth J. Botto and the Tradition of Surrealist Photography.”

Alicia W. Walker, assistant professor of history of art at Bryn Mawr College in Bryn Mawr, Pennsylvania, has received a Charles A. Ryskamp Research Fellowship from the American Council of Learned Societies for “Christian Bodies, Pagan Images: Women, Beauty, and Morality in Medieval Byzantium.”

Julie Warchol, formerly Brown Post-Baccalaureate Curatorial Fellow at the Smith College Museum of Art in Northampton, Massachusetts, has completed the summer internship program at the National Gallery of Art in Washington, DC. This program provides opportunities for graduate and postgraduate students to work on projects directed by a museum department head or curator.

Allison Wiese, associate professor of sculpture in the Department of Art and Architecture at the University of San Diego in California, has completed a July 2015 residency at the Montello Foundation near Montello, Nevada.

Tobias Wofford, assistant professor in the Department of Art and Art History at Santa Clara University in Santa Clara, California, has been named Terra Foundation Postdoctoral Fellow in American Art at the Smithsonian American Art Museum in Washington, DC. He will work on “Visualizing Diaspora: Africa in African American Art.”

Elaine Y. Yau, a graduate student in art history at the University of California, Berkeley, has become the William H. Truettner Postdoctoral Fellow at the Smithsonian American Art Museum in Washington, DC. She will research “Acts of Conversion: Sister Gertrude Morgan and the Sensation of Black Folk Art, 1960–1983.”

Alice Pixley Young, an artist based in Cincinnati, Ohio, has finished an artist’s residency at the Hambidge Center for the Creative Arts and Sciences in Rabun Gap, Georgia.

Catherine Zuromskis, associate professor in the Department of Art and Art at the University of New Mexico in Albuquerque, has accepted an Ansel Adams Research Fellowship from the Center for Creative Photography at the University of Arizona in Tucson. Her project will investigate “The Crime Scene and the Archive: Reframing Evidence.”

Filed under: Uncategorized — Tags: Grants Awards Honors, Member News, Member Spotlight —

2016 Annual Conference Website Is Live

posted by Christopher Howard — Oct 08, 2015

The website for the 104th Annual Conference in Washington, DC, to be held from Wednesday, February 3 to Saturday, February 6, 2016, at the Washington Marriott Wardman Park Hotel, is live today. Get a taste of conference highlights and discover the benefits of registration, including access to all program sessions and admission to the Book and Trade Fair.

The dynamic energy of Washington, DC—known for its world-class museums and as an international destination for American history and culture—provides the backdrop for our annual gathering of more than four thousand artists, art historians, museum directors and curators, arts administrators, scholars, and educators. Look forward to the best in new scholarship, innovative art, and in-depth discussion of issues in the visual arts today.

Highlights of this year’s conference include the presentation of CAA’s 2016 Awards for Distinction, an opening reception at the Katzen Arts Center at American University, and the sixteenth annual Distinguished Scholar Session honoring Richard J. Powell of Duke University. The two Distinguished Artists’ Interviews will feature the sculptor Joyce Scott, speaking to the curator George Ciscle.

Among the highly anticipated sessions are: “South to North: Latin American Artists in the United States, 1820s–1890s,” chaired by Katherine E. Manthorne; “Transforming Japonisme: International Japonisme in an Age of Industrialization and Visual Commerce,” led by Gabriel P. Weisberg; and the two-part “Formalism before Clement Greenberg,” chaired by Katherine M. Kuenzli and Marnin Young. Other exciting session topics range from art as adventure to the Hudson River School, from digital cultural heritage to algorithms and data in contemporary art, and from diversity in curatorial work to staging design in museums.

Online registration for individuals and institutions is now open. In addition, you can book your hotel reservations and make your travel arrangements—don’t forget to use the exclusive CAA discount codes to save money! Register before the early deadline, December 21, 2015, to get the lowest rate and to ensure your place in the Directory of Attendees. You may also purchase tickets for special events and for a place in one of eleven professional-development workshops on a variety of topics for artists and scholars.

CAA will regularly update the conference website in the months leading up to the four-day event, so please be sure to check back often. Averaging more than 40,000 unique visitors per month, the conference website is the essential source for up-to-the-minute updates regarding registration, session listings, and hotel and travel discounts. Visit the Advertising section to learn more about reaching CAA membership and conference attendees.

We look forward to seeing you in Washington, DC!

Filed under: Advertising, Annual Conference, Art History, Artists, ARTspace, Awards, Book and Trade Fair, Humanities, Online Resources —

Affiliated Society News for September 2015

posted by CAA — Sep 09, 2015

Community College Professors of Arts and Art History

After successful sessions at last year’s CAA and FATE Conferences, the Community College Professors of Arts and Art History (CCPAAH) will hold two events at this year’s CAA Annual Conference in Washington, DC. Our business meeting will be held on Friday, February 5, from 7:30 AM to 9:00 AM. Please bring a project idea to share with your colleagues. Our session “In and out of the Studio: New ideas for Art Appreciation” will be held at 12:30 PM on Thursday, February 4. We are looking for additional presenters who are doing interesting things in Art Appreciation. If you are interested in presenting or have any questions, please contact Susan Altman. We look forward to seeing you at the conference!

Japan Art History Forum

Yurika Wakamatsu, PhD candidate at Harvard University, was selected as the winner of the 2015 Chino Kaori Memorial Essay Prize for an essay titled “Feminizing Art in Modern Japan: Noguchi Shōhin (1847-1917) and the Changing Conceptions of Art and Womanhood.” The prize was established by the Japan Art History Forum in 2003 in memory of distinguished colleague Chino Kaori, and is awarded annually to the best research paper written in English on a Japanese art history topic.

American Academy in Rome

The American Academy in Rome (AAR) invites applications for the 2016 Rome Prize competition. Up to thirty fellowships (from six months to two years) are awarded to emerging and established artists and scholars working in a variety of disciplines, including a stipend, room & board, and individual workspace at our eleven-acre center in Rome. Please visit aarome.org/apply for submission guidelines. Applications are due November 1.

AAR presents Bodies of Knowledge, the 2015 – 2016 series of lectures, exhibitions and events. Programming features artists and scholars offering multiple readings across disciplinary and geographical boundaries — questioning assumptions about the ways in which we structure knowledge and how these categories define our understanding of history, identity and culture. Fall events in Rome include a conversation with artist Isaac Julien and curator Mark Nash on filmmaking inspired by architect Lina Bo Bardi, and an exhibition of Cy Twombly photographs, accompanied by a talk with photographer Sally Mann. In New York, the Academy presents an evening on poetry and language with Edward Hirsch and Robert Polito, and a panel discussion on cultural patrimony and collective responsibility with scholar C. Brian Rose, antiquities expert Deborah Lehr and art historian James Cuno. Visit aarome.org for details.

Women’s Caucus for Art

The Women’s Caucus for Art (WCA) is pleased to announce Susan M. King (previously Susan King Obarski), Ph.D., as the incoming president of the organization. An art historian and artist, she teaches at the Laguna College of Art and Design and at Loyola Marymount University in Los Angeles, CA. Her doctorate in Visual Studies at UC, Irvine, “Surrealism: A Marxist Enterprise in 1930s London,” included a chapter on artist Eileen Agar. She recently reviewed the J.M.W. Turner exhibitions and catalogue for caa.reviews (in press). Susan is a long time board member of WCA and past chair of the Lifetime Achievement Awards. Her two-year term as president begins in February 2016 after the CAA and WCA conferences. One of her key goals is to cross the generational divide of feminist artists, writers, and scholars to engage an open and fruitful dialogue on a range of feminist and activist issues. To that end, she is curating WATER: AN ESSENTIAL CONVERSATION, featuring historical posters from the Center for the Study of Political Graphics and contemporary graphic and video art. Founded in 1972, the WCA is an affiliate society of CAA and a founding member of The Feminist Art Project. More at nationalwca.org.

Renaissance Society of America

The Renaissance Society of America will hold its 62nd annual meeting in Boston, 31 March–2 April 2016. The program will include nearly 700 sessions, with more than 200 in Renaissance and early modern art history. The full, searchable program and schedule can be viewed on our website.

The Renaissance Society of America annually awards short-term grants supporting research projects and publications that aim to advance scholarly knowledge about the Renaissance. Many grants in art history are funded by the generous support of the Samuel H. Kress Foundation, through the Kress Mid-Career Research and Publication Fellowships in Renaissance Art History and the Kress Short-Term Research Library Fellowships for Art Historians programs. Please see our website for more information. Applicants must be members of RSA. Application deadline is 1 December 2015.

Public Art Dialogue

The newest issue of Public Art Dialogue (Volume 5, Issue Number 1) has been published. Edited by John Craig Freeman and Mimi Sheller, it is devoted to the theme of Hybrid Space and Digital Public Art. Articles include “Down the Rabbit Hole” by Esther Polak and Ivar van Bekkum; “Networked Monumental: Site, Production, and Distributed Publics—Online, and in Everyday Life,” by Dylan Gauthier; “Future Museums Now—Augmented Reality Musings” by Geoffrey Alan Rhodes; “#sQavengeRhunt: LoVid” by Tali Hinkis and Kyle Lapidus; and “The Digital: A False Division?” by Patrick Lichty. Two interviews by Dorothy Santos are included: Kate Durban and Jim Dessicino. Finally, there are two book reviews: one on Vladimir Geroimenko’s Augmented Reality Art: From an Emerging Technology to a Novel Creative Medium by Lenore Metrick-Chen; and a second on Ricciarda Belgiosojoso’s Constructing Urban Space with Sounds and Music by Shawn Greenlee. More information is available on the journal’s website.

Association of Academic Museums & Galleries

AAMG/Kellogg 2016 Leadership Seminar: Join colleagues from throughout the U.S. and beyond for AAMG’s flagship professional development program at the prestigious Kellogg School Center for Nonprofit Management, Northwestern University. Now accepting applications online. APPLICATION DEADLINE JANUARY 15, 2016.

WHO: Faculty drawn from the Kellogg School of Management Center for Nonprofit Management and seasoned professionals in the academic museum field. Up to 40 Seminar Fellows selected from a national and international application pool by the Application Review Team.

WHAT: A Certificate Program. Intensive, week-long, highly interactive learning and sharing experience with top faculty in the field of leadership and management and academic museum and gallery colleagues from across the U.S. and abroad.

WHEN: June 19 – June 24, 2016

WHERE: Northwestern University, Evanston, Illinois (metro-Chicago)

TUITION: $4,500. Limited scholarship funds may be available.

Association for Latin American Art

ALAA has launched a redesigned website aimed at providing current news and events on Latin American art to the public. The website features updated information on the ALAA bylaws, officers, book and dissertation awards, a newsletter archive, and a list of academic programs that offer graduate degrees in art history with a focus on Latin America. A Members Portal allows registered ALAA members to access a membership directory, discover fellow members’ research interests, and contribute to the public Events Calendar.

Triennial Conference: ALAA is pleased to invite proposals for papers to be presented at its Fourth Triennial Conference “Art at Large: Public and Monumental Arts in the Americas.” Hosted by the Fine Arts Museums of San Francisco in collaboration with the Department of History of Art at the University of California, Berkeley, the conference will be held the weekend of March 18–20, 2016 at the de Young Museum in San Francisco’s Golden Gate Park. Deadline September 15, 2015.

Book Award: ALAA announces its Fourteenth Annual Book Award for the best scholarly book published on the art of Latin America from the Pre-Columbian era to the present. Deadline November 15, 2015.

Association for Modern and Contemporary Art of the Arab World, Iran, and Turkey

AMCA is currently accepting submissions for the 2016 Rhonda A. Saad Prize for Best Paper in Modern and Contemporary Arab Art. Established in 2010, the award aims to recognize and promote excellence in the field of modern and contemporary Arab art. The prize honors our respected colleague and dear friend, Rhonda (1979-2010), who was, at the time of her tragic passing, in the process of researching a doctoral dissertation on modern Palestinian art in the Department of Art History at Northwestern University. Over the last five years, the prize has recognized excellence in graduate work completed on a variety of subjects in a number of disciplines at universities in the U.S. and abroad. This year, we are opening the competition to graduate students as well as to recent post-doctoral students who earned a PhD no earlier than 2013.

The prize is offered to a graduate student or recent PhDs working in any discipline whose paper is judged to provide the most significant contribution to the disciplines of Art History and Middle East Studies. Submissions must have been produced between June 2014 and December 2015, must not exceed 35 pages (excluding notes and bibliography), and must not have been previously published or be currently under consideration for publication.

Submissions are due to info@amcainternational.org by December 1, 2015. The winner will be announced during the AMCA Members Meeting, held this year at the College Art Association Annual Meeting in Washington, DC, in February 2016. The author of the winning paper will be awarded $500USD and the winning paper will be considered for publication in the Arab Studies Journal, pending the standard review process.

International Forum on Contemporary Islamic Art, Design and Architecture: Where/How does the North meet the East?

Joint Conference of School of Art, Design and Media, Nanyang Technological University, Association for Modern and Contemporary Art of the Arab World, Iran and Turkey (AMCA) and Virginia Commonwealth University in Qatar (VCU, Qatar) Date: 7 – 9 October 2015

In October 2015, the School of Art, Design, and Media at Nanyang Technological University in Singapore brought together designers, artists, architects, and academics for a multi-disciplinary conference on contemporary Islamic art, design, and architecture. Although each discipline has its own practice and methodology, when collectively grouped under an Islamic identity, we are forced to redefine the term “Islamic.” While new forms, spaces, images, typographies, symbols, colors, and materials of contemporary Islamic art, design, and architecture share distinct cultural narratives from individual geographies, it remains essential to address how comparative and connective perspectives reorient our understanding of contemporary Islamic visual communication. This three-day conference took place October 7-9 and was an unprecedented forum dedicated to convening professionals and scholars from throughout Asia, Europe, and America who share an investment in contemporary Islamic art, design, and architecture. For more information, visit http://www.ciada2015.com/. Organization Committee: Gül İnanç, Peer Sathikh, Nada Shabout, Sarah Rogers and Dina B.

Association of Art Museum Curators and American Academy in Rome

The Association of Art Museum Curators (AAMC) and the American Academy in Rome (AAR) are pleased to announce the third year of The Samuel H. Kress Foundation AAMC Affiliated Fellowship at the American Academy in Rome. The program is intended to honor exceptional curatorial vision and help curators advance deserving projects. The purpose of the award is to provide essential funding for curators to develop projects that require research in Italy.

The Affiliated Fellowship is a 4-week appointment at the AAR, which includes housing, six lunches and five dinners a week, and access to residence hall kitchens; $1,500 in airfare; and $2,000 stipend. Affiliated Fellows have access to all the AAR facilities (including 24-hour a day access to the library and overall grounds) and all activities that occur at the Academy, such as concerts, exhibitions, conferences, lectures, and tours, etc. If desired, the Fellow can also schedule to give a talk about their project at the AAR during the Fellowship. For more information, visit http://www.artcurators.org/?KressAARFellowship or email aamc@artcurators.org.

Save the date: The 2016 AAMC Annual Conference & Meeting will be May 7 – 10 in Houston, Texas.

Society for Photographic Education

Society for Photographic Education (SPE) offers student member scholarships to offset the cost of attending SPE’s 2016 National Conference in Las Vegas, NV, March 10-13. Each award includes a $550 travel stipend, conference fee waiver, and complimentary one-year membership in SPE. For more information, visit www.spenational.org or contact info@spenational.org. Application deadline is October 15, 2015, at 11:59 PM EST.

Southeastern College Art Conference

Kevin Cates, Associate Professor of Graphic Design at the University of Arkansas at Little Rock, has been appointed to the SECAC Board of Directors.

Filed under: Affiliated Societies —

News from the Art and Academic Worlds

posted by Christopher Howard — Aug 12, 2015

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.

Art Museum Staff Demographic Survey

The results of the Art Museum Staff Demographic Survey lead to a range of conclusions, many of which are perhaps best addressed by museums on the local level, as local and regional demographics tend to differ considerably across the continent. The headline is unsurprising: utilizing the categories employed by the 2000 US Census, 72 percent of AAMD staff is Non-Hispanic White, and 28 percent belongs to historically underrepresented minorities. (Read more from the Andrew W. Mellon Foundation.)

Women Take the Lead in US Museum Jobs, but Minorities Are Still Underrepresented

American museums have made significant progress toward gender equality but little headway in building ethnically diverse staff, according to a report from the Andrew W. Mellon Foundation. The average museum’s curatorial, education, conservation, and top administrative staff members are 84 percent white. The report, based on a survey administered to 181 museums, was the first comprehensive study of the ethnic and gender makeup of US museum employees. (Read more from the Art Newspaper.)

The Guerrilla Girls, after Three Decades, Still Rattling Art World Cages

After three decades as masked crusaders for gender and racial equality in the art world—and increasingly, everywhere else—the Guerrilla Girls have lately been enjoying a victory lap. Last year, the Whitney Museum of American Art acquired the group’s portfolio of eighty-eight posters and ephemera from 1985 to 2012, documenting the number of women and minorities represented in galleries and institutions, including the Whitney itself. (Read more from the New York Times.)

A Sobering Look at How AIDS Changed Art in America

In the most literal way, AIDS left its mark on the art world. Keith Haring, Robert Mapplethorpe, and Felix Gonzalez-Torres are just a few of the well-known artists who died from illnesses related to the virus. And as a result, some of the art from the late 1980s and 1990s reflected the fear, mourning, and misunderstandings surrounding the epidemic. Art AIDS America, an exhibition that’s temporarily up in West Hollywood and opening in full at the Tacoma Art Museum in October, looks at how AIDS inserted itself into the art world’s conversation. (Read more from Wired.)

What’s at Stake in the Artist’s Resale Right Debate?

During the Scull auction of 1973, in which the collector Robert C. Scull sold some fifty iconic works of Pop and Minimalist art for $2.2 million, Robert Rauschenberg, whose work was represented prominently among the lots but who earned nothing from their sale, showed up to heckle the collector. Footage from the Scull auction was played to a packed house at Artists Space in New York, which hosted a panel of arts professionals that addressed resale rights for artists. (Read more from Artsy.)

Is the Copyright Office Inflating the Need for Orphan Works Legislation?

The issues and concerns surrounding orphan works emerged from the Copyright Act of 1976 when copyright protection became automatic and registration became optional. The Copyright Office has noted in its most recent report, Orphan Works and Mass Digitization, that the inability to locate the owners of these copyrighted but not registered works is “perhaps the single greatest impediment to creating new works.” But is it? (Read more from Clancco.)

Facing Facts: Artists Need an Entrepreneurial Mindset, Part 2

The attention generated by my first essay on artist entrepreneurship made me elated and depressed simultaneously. It was obviously hitting a nerve of many in the live arts whose training gave them no foundation for how to actually make a living. Although many college and university faculty members came forward in the comment section to demonstrate that there are, in fact, programs that prepare students for the marketplace, there is still a disconnect for most artists between their creative practice and the pragmatic skill set necessary to make a go of it in the real world. (Read more from HowlRound.)

Instagram Takes on Growing Role in the Art Market

Anyone in the art market who was not already paying attention to the social-media platform Instagram had to sit up and take notice in late April after the actor Pierce Brosnan visited the showroom of Phillips auction house in London. Brosnan snapped a selfie in front of a work he admired: the Lockheed Lounge, a space-age aluminum chaise longue by the industrial designer Marc Newson. Then he added the words “let the bidding commence” and posted it to the 164,000 followers of his Instagram feed. (Read more from the New York Times.)

Filed under: CAA News —

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