CAA News Today
2016 Conference Session Proposals Due by September 12
posted by Emmanuel Lemakis — Sep 09, 2014
The CAA 104th Annual Conference will take place February 3–6, 2016, in Washington, DC. The Annual Conference Committee invites session proposals that cover the breadth of current thought and research in art, art and architectural history, theory and criticism, pedagogical issues, museum and curatorial practice, conservation, and developments in technology. Deadline: Friday, September 12, 2014.
In order to submit a proposal, you must be a current CAA member. For full details on the submission process for the conference, please review the information published below.
Open Formats
This category encourages experimental and alternative formats that transcend the traditional panel, with presentations whose content extends to serve the areas of contemporary issues, studio art, historical studies, and educational and professional practices. Proposals may experiment with session hierarchies, length, technology, and modes of participation. Open Formats are the only sessions that may be preformed, with participants chosen in advance by session chairs. These sessions require advance planning by the chair.
Historical Studies
This category broadly embraces all art-historical proposals up to the third quarter of the twentieth century. Historical Studies session proposals may not be submitted as preformed panels with a list of speakers.
Contemporary Issues/Studio Art
This category is intended for studio-art proposals, as well as those concerned with contemporary art and theory, criticism, and visual culture. Contemporary Issues/Studio Art session proposals may not be submitted as preformed panels with a list of speakers.
Educational and Professional Practices
This category pertains to session proposals that develop along more practical lines and address the educational and professional concerns of CAA members as teachers, practicing artists and critics, or museum curators. Educational and Professional Practices session proposals may not be submitted as preformed panels with a list of speakers.
Affiliated Societies
Each CAA affiliated society may submit one proposal that follows the guidelines outlined b elow. A letter of support from the society or committee must accompany the submission. The Annual Conference Committee considers it, along with the other submissions, on the basis of merit.
Committees
Each CAA committee may submit one proposal that follows the guidelines outlined below. A letter of support from the society or committee must accompany the submission. The Annual Conference Committee considers it, along with the other submissions, on the basis of merit.
Proposal Submission Guidelines
All session proposals are completed and submitted online; paper forms and postal mailings are not required. Prospective chairs must include the following in their proposal:
- The Annual Conference Committee considers proposals from individual CAA members only. Once selected, session chairs must remain current members through 2016. No one may chair a session more than once in a three-year period. (That is, individuals who chaired sessions in 2014 or 2015 may not chair a session in 2016.) The committee seeks topics that have not been addressed in recent conferences or areas that have traditionally been underrepresented as well as formats that explore new modes of dialogue
- A completed session proposal made through an online database
- If you have prior approval from a CAA affiliated society or committee to submit an application for a sponsored session, an official letter of support from the society or committee uploaded as a PDF or Word file. If you are not submitting an application for a sponsored session, please skip this step
- Your CV and, if applicable, the CV of your cochair; no more than two pages in length each, uploaded as a PDF or Word file (both CVs in one document)
The committee makes its selection solely on the basis of merit. Where proposals overlap, CAA reserves the right to select the most considered version or, in some cases, to suggest a fusion of two or more versions from among the proposals submitted. The submission process must be completed online. Deadline: Friday, September 12, 2014.
General Proposal Information
The process of fashioning the conference is a delicate balancing act. The 2016 program is shaped by four broad submission categories: Open Formats, Historical Studies, Contemporary Issues/Studio Art, and Educational and Professional Practices. Also included in the mix are sessions by CAA’s affiliated societies and committees.
The Annual Conference Committee welcomes session proposals from established artists and scholars, along with those from younger scholars, emerging and midcareer artists, and graduate students. Particularly welcome are proposals that highlight interdisciplinary work. Artists are especially encouraged to propose sessions appropriate to dialogue and information exchange relevant to artists.
Sessions selected by the Annual Conference Committee for the 2016 conference are considered regular program sessions; that is, they are 2½-hours long, are scheduled during the eight regular program time slots during the four days of the conference, and require a conference badge for admission. With the exception of the Open Formats category, CAA session proposals may not be submitted as preformed panels with a list of speakers. Proposals for papers for the 2016 conference are solicited through the 2016 Call for Participation, to be published in March 2015.
Contact
For more information about session proposals for the 2016 Annual Conference in Washington, DC, please contact Lauren Stark, CAA manager of programs, at 212-392-4405.
People in the News
posted by CAA — Aug 17, 2014
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.
August 2014
Academe
Wayne “Mick” Charney, associate professor of architecture at Kansas State University in Manhattan, has been designated the 2014–2015 Coffman Chair for University Distinguished Teaching Scholars.
R. Luke DuBois, assistant professor of integrated digital media for New York University’s Polytechnic School of Engineering and director of the Brooklyn Experimental Media Center, has earned tenure at his school.
Allison LeighAllison Leigh has accepted a 2014–15 postdoctoral fellowship in art history in the Faculty of Humanities and Social Sciences at the Cooper Union for the Advancement of Science and Art in New York.
Michele Matteini, assistant professor of East Asian art, architecture, and visual culture, has been appointed to a joint appointment at New York University’s Institute of Fine Arts and Department of Art History.
Robert A. Maxwell, associate professor at the University of Pennsylvania in Philadelphia, has joined the faculty of the Institute of Fine Arts at New York University.
Lisa M. Strong, previously manager of curatorial affairs at the Corcoran Gallery of Art in Washington, DC, has been appointed director of the MA program in art and museum studies and associate professor of the practice at Georgetown University, also in Washington, DC.
Museums and Galleries
Jill DeupiJill Deupi, director and chief curator of University Museums at Fairfield University in Fairfield, Connecticut, has been appointed director of the Lowe Art Museum at the University of Miami in Florida.
Barbara Buhler Lynes, founding curator of the Georgia O’Keeffe Museum in Santa Fe, New Mexico, has become Sunny Kaufman Senior Curator for Nova Southeastern University’s Museum of Art in Fort Lauderdale, Florida.
Vanja MalloyVanja Malloy, formerly Chester Dale Fellow in the Department of Modern and Contemporary Art at the Metropolitan Museum of Art in New York, has been named curator of American art at Amherst College’s Mead Art Museum in Amherst, Massachusetts.
Alia Nour, associate curator for the Dahesh Museum of Art in New York, has been promoted to full curator at her institution.
Mary Reid, director and curator of the School of Art Gallery at the University of Manitoba in Winnipeg, has accepted a position as director and curator of the Woodstock Art Gallery in Woodstock, Ontario.
Organizations and Publications
Laura Beach, formerly deputy editor of The Magazine Antiques, has rejoined Antiques and The Arts Weekly as managing editor.
Rachel Stephens, assistant professor of art in the Department of Art and Art History at the University of Alabama in Tuscaloosa, has been named editor of SECAC Review, a scholarly journal published by the Southeastern College Art Conference.
Sam Hunter: In Memoriam
posted by CAA — Jul 30, 2014
David E. Nathan is the author of this obituary.
Sam Hunter, the founding director of the Rose Art Museum, whose keen insights into the art of his day allowed him to build the museum’s acclaimed collection of modern and contemporary art, died on July 27, 2014, in Princeton, New Jersey. He was 91.
Financed by a $50,000 gift from Leon Mnuchin and his wife, Harriet Gevirtz-Mnuchin, Hunter made acquisitions in the early 1960s that established the Rose as a major force in the art world. The works he collected, masterpieces by Jasper Johns, Robert Rauschenberg, Roy Lichtenstein, Andy Warhol, and other leading artists, form the core of the Rose’s beloved collection and continue to set the tone for the museum’s collecting and exhibition practices.
“Sam Hunter played an integral role in the early days of the Rose Art Museum, and his prescient purchases propelled the museum into the consciousness of the art world just a few years after its founding,” said Frederick M. Lawrence, president of Brandeis University. “The way in which he built the early collection, a discrete number of outstanding acquisitions, none for more than $5,000, is one of the iconic stories of the early years of Brandeis University. His impact on the Rose in particular and the university in general continues to this day.”
Hunter came to Brandeis in 1960 as director of the Poses Institute of Fine Arts, and shortly thereafter become the first director of the Rose. Organizers of the 1962 World’s Fair in Seattle approached him about curating an exhibition for the Fine Arts Pavilion. The resulting collection of 114 works from 87 artists, including many by artists whose work he would later purchase for the Rose, was subsequently displayed at Brandeis.
In late 1962, Mnuchin called from New York to announce that he and his wife had inherited $50,000, which they wished to donate to the Rose to fund a contemporary art collection. Hunter and Mnuchin immediately began exploring the galleries of New York, often with Robert Scull, a friend of Mnuchin and a prominent collector of Pop art.
“The guiding principle of the selection was individual quality rather than tendency,” Hunter wrote for the brochure accompanying the collection’s exhibition. “As a matter of policy, the collection focused on younger artists with only a token representation of the older generation…. Abstract Expressionism is the collection’s point of departure, taken at a point of subtle but significant transition.”
Although Hunter and Mnuchin set a limit of $5,000 per painting, they managed to gather early and important works by Claes Oldenburg, Jim Dine, Tom Wesselmann, James Rosenquist, Adolph Gottlieb, Robert Indiana, Ellsworth Kelly, Marisol, Morris Louis, Johns, Rauschenberg, Lichtenstein, Warhol, and many others.
“It is very difficult to imagine a more significant founding director than Sam Hunter has proved to be,” said Christopher Bedford, the Henry and Lois Foster Director of the Rose. “Just as Brandeis established its academic reputation with incredible rapidity, so Sam made sure the same happened to the Rose through the acquisitions he made and the exhibitions he organized. The status we enjoy today is in large part due to his vision in the 1960s.”
Bedford also pointed out that Hunter was a towering figure in both curatorial and academic spheres. “He had one foot in the world of museums and one foot in the world of scholarship, a model for how the Rose thinks of itself today,” he said. “He was as much a director/curator as he was a scholar, and that dual commitment continues to represent the Rose in the work we do today.”
Upon learning of Hunter’s death, Bedford decided to name the Rose’s newly established emerging artists fund in his memory. “The fund lacked a name,” Bedford said, “and today it became very apparent what the name of the fund should be. It seems incongruous to apply this term today, but the Gevirtz-Mnuchin fund was an emerging artists fund in the early 1960s: Roy Lichtenstein, Jasper Johns, and Ellsworth Kelly were the emerging artists of their day. It’s only just that we would perpetuate Hunter’s legacy with a fund that boasts his name.”
A native of Springfield, Massachusetts, Hunter graduated from Williams College in 1943. He served in the United States Navy from 1943 to 1946, rising to the rank of lieutenant junior grade and receiving five battle stars.
Hunter began his professional art career in 1947, when he joined the New York Times as an art critic for a two-year stint. He studied at the University of Florence through the Hubbard Hutchinson Fellowship, earning a certificate of studies in 1951. He spent a year as an editor with art publisher Harry N. Abrams before serving as editor of Arts magazine.
In 1955, Hunter was appointed associate professor of art history at the University of California, Los Angeles, but left in 1956 to become curator of painting and sculpture at the Museum of Modern Art in New York. Two years later, he moved to the Minneapolis Institute of Arts as chief curator and acting director.
After leaving Brandeis in 1965, he was appointed director of the Jewish Museum and lectured as a visiting professor at Cornell University. In 1969, he became professor of art history at Princeton University and curator of modern art at the university’s art museum. He retired from Princeton as professor emeritus in 1991.
Hunter is survived by his wife, Maïa; their son, Harry; two daughters, Emmy and Alexa, from his previous marriage to Edys Merrill; and one grandchild, Isabella. A funeral service was scheduled for July 30 in the Princeton University Chapel.
Chair a 2016 Annual Conference Session in Washington, DC
posted by Emmanuel Lemakis — Jul 17, 2014
The CAA 104th Annual Conference will take place February 3–6, 2016, in Washington, DC. The Annual Conference Committee invites session proposals that cover the breadth of current thought and research in art, art and architectural history, theory and criticism, pedagogical issues, museum and curatorial practice, conservation, and developments in technology. Deadline: Friday, September 12, 2014.
In order to submit a proposal, you must be a current CAA member. For full details on the submission process for the conference, please review the information published below.
Open Formats
This category encourages experimental and alternative formats that transcend the traditional panel, with presentations whose content extends to serve the areas of contemporary issues, studio art, historical studies, and educational and professional practices. Proposals may experiment with session hierarchies, length, technology, and modes of participation. Open Formats are the only sessions that may be preformed, with participants chosen in advance by session chairs. These sessions require advance planning by the chair.
Historical Studies
This category broadly embraces all art-historical proposals up to the third quarter of the twentieth century. Historical Studies session proposals may not be submitted as preformed panels with a list of speakers.
Contemporary Issues/Studio Art
This category is intended for studio-art proposals, as well as those concerned with contemporary art and theory, criticism, and visual culture. Contemporary Issues/Studio Art session proposals may not be submitted as preformed panels with a list of speakers.
Educational and Professional Practices
This category pertains to session proposals that develop along more practical lines and address the educational and professional concerns of CAA members as teachers, practicing artists and critics, or museum curators. Educational and Professional Practices session proposals may not be submitted as preformed panels with a list of speakers.
Affiliated Societies
Each CAA affiliated society may submit one proposal that follows the guidelines outlined b elow. A letter of support from the society or committee must accompany the submission. The Annual Conference Committee considers it, along with the other submissions, on the basis of merit.
Committees
Each CAA committee may submit one proposal that follows the guidelines outlined below. A letter of support from the society or committee must accompany the submission. The Annual Conference Committee considers it, along with the other submissions, on the basis of merit.
Proposal Submission Guidelines
All session proposals are completed and submitted online; paper forms and postal mailings are not required. Prospective chairs must include the following in their proposal:
- The Annual Conference Committee considers proposals from individual CAA members only. Once selected, session chairs must remain current members through 2016. No one may chair a session more than once in a three-year period. (That is, individuals who chaired sessions in 2014 or 2015 may not chair a session in 2016.) The committee seeks topics that have not been addressed in recent conferences or areas that have traditionally been underrepresented as well as formats that explore new modes of dialogue
- A completed session proposal made through an online database
- If you have prior approval from a CAA affiliated society or committee to submit an application for a sponsored session, an official letter of support from the society or committee uploaded as a PDF or Word file. If you are not submitting an application for a sponsored session, please skip this step
- Your CV and, if applicable, the CV of your cochair; no more than two pages in length each, uploaded as a PDF or Word file (both CVs in one document)
The committee makes its selection solely on the basis of merit. Where proposals overlap, CAA reserves the right to select the most considered version or, in some cases, to suggest a fusion of two or more versions from among the proposals submitted. The submission process must be completed online. Deadline: Friday, September 12, 2014.
General Proposal Information
The process of fashioning the conference is a delicate balancing act. The 2016 program is shaped by four broad submission categories: Open Formats, Historical Studies, Contemporary Issues/Studio Art, and Educational and Professional Practices. Also included in the mix are sessions by CAA’s affiliated societies and committees.
The Annual Conference Committee welcomes session proposals from established artists and scholars, along with those from younger scholars, emerging and midcareer artists, and graduate students. Particularly welcome are proposals that highlight interdisciplinary work. Artists are especially encouraged to propose sessions appropriate to dialogue and information exchange relevant to artists.
Sessions selected by the Annual Conference Committee for the 2016 conference are considered regular program sessions; that is, they are 2½-hours long, are scheduled during the eight regular program time slots during the four days of the conference, and require a conference badge for admission. With the exception of the Open Formats category, CAA session proposals may not be submitted as preformed panels with a list of speakers. Proposals for papers for the 2016 conference are solicited through the 2016 Call for Participation, to be published in March 2015.
Contact
For more information about session proposals for the 2016 Annual Conference in Washington, DC, please contact Lauren Stark, CAA manager of programs, at 212-392-4405.
Institutional News
posted by CAA — Jun 17, 2014
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 2014
The Baltimore Museum of Art in Maryland has received a $2,500 award from the International Fine Print Dealers Association to fund a curatorial internship in museum print collections.
The Delaware Art Museum in Wilmington has launched a collections website, created with the web-based platform eMuseum. Visitors to the online resource can browse the museum’s collections, search for specific objects, view images, and create their own saved collections of work. To date, over 1,000 works of art have been photographed, catalogued, and added to the website. The museum’s entire 12,500-work collection, including the largest collection of British Pre-Raphaelite art outside the United Kingdom, will be available online by 2018.
The Getty Research Institute in Los Angeles, California, has acquired the archive documenting the first three decades of the Kitchen, a leading alternative space devoted to performance art, dance, music, and video. The large, well-preserved archive includes thousands of videotapes, audiotapes, photographs, posters, and other archival materials documenting the exhibitions, performances, and events presented by the Kitchen between 1971 and 1999.
The Harvard Art Museums—composed of the Fogg Museum, the Busch-Reisinger Museum, and the Arthur M. Sackler Museum—will open their new Renzo Piano–designed facility to the public on November 16, 2014. The renovation and expansion of the museums’ landmark building at 32 Quincy Street in Cambridge, Massachusetts, will bring the three museums and their collections together under one roof for the first time, inviting students, faculty, scholars, and the public into one of the world’s great institutions for arts scholarship and research.
Don Tuski, president of the Maine College of Art (left) with Dan Crewe, brother of Bob Crewe and a college trustee since 2011The Maine College of Art in Portland has accepted a $3 million gift from the Bob Crewe Foundation to develop a new program that focuses on the study of contemporary music and its relation to visual art. This transformational gift will support an innovative field of study in honor of the internationally known musician, artist, and entrepreneur, Bob Crewe, while supporting students from a wide range of backgrounds wishing to pursue a career in music, art, or both.
The Metropolitan Museum of Art in New York has launched MetCollects, a new series on the museum’s website that offers first looks at recently acquired works of art. MetCollects will feature one work each month, selected from the hundreds that the Metropolitan Museum acquires through gifts and purchases annually. The series will also pair spectacular photography with curatorial commentary, often including video for further contextualization of the works.
Michigan State University in East Lansing has received a $5 million gift from the art collectors Eli and Edythe Broad to increase the endowment for and to help fund exhibitions at the Eli and Edythe Broad Art Museum for the next five years.
The Moore College of Art and Design in Philadelphia, Pennsylvania, and the City of Philadelphia Mural Arts Program have formed a unique partnership to provide innovative, collaborative-style teaching across two new graduate programs at the college: an MA in art and social engagement and an MFA in community practice. The new graduate programs are expected to launch in 2015 and will help Moore establish itself as the region’s educational center for community arts practice.
The Museum of Fine Arts, Houston, in Texas has received a $2,500 award from the International Fine Print Dealers Association to fund a curatorial internship in museum print collections.
The RISD Museum at the Rhode Island School of Design in Providence has accepted a $2,500 award from the International Fine Print Dealers Association to fund a curatorial internship in museum print collections.
The University of Iowa Museum of Art in Iowa City has been given a $2,500 award from the International Fine Print Dealers Association to fund a curatorial internship in museum print collections.
Virginia Commonwealth University in Richmond has announced that it will break ground on a new Institute of Contemporary Art, an exhibition and performance space, laboratory, and incubator for the presentation of visual art, theater, music, dance, and film by nationally and internationally recognized artists, in June 2014.
Yale University Press, based in New Haven, Connecticut, has accepted the thirty-fifth George Wittenborn Memorial Book Award from the Art Librarians Society of North America for Interaction of Color by Josef Albers (App for iPad), published in 2013.
Affiliated Society News for May 2014
posted by CAA — May 09, 2014
American Council for Southern Asian Art
The American Council for Southern Asian Art (ACSAA) invites you to visit its newly updated website, where you can browse calls for papers, job and fellowship listings, and, for members, recent and past issues of the ACSAA Bulletin. Please send news and postings for the website to ACSAA’s webmaster, Cathleen Cummings.
Please also watch the ACSAA website and listserv for news about upcoming elections. ACSAA will be voting on new board members, changes to membership fees, and several other initiatives. You must be a member in good standing to be eligible to cast your vote. Help shape the future of ACSAA.
Association of Art Historians
The Association of Art Historians (AAH) has announced that Christine Riding is the new AAH chair, serving a three-year post. She takes over from Alison Yarrington. Riding is senior curator and head of art at the Royal Museums Greenwich in London. Previously she was curator of eighteenth- and nineteenth-century British art at Tate Britain and held curatorial positions at the Palace of Westminster, Museum of London, and the Wallace Collection. Riding has lectured and published widely on the history of eighteenth- and nineteenth-century British art and has organized a number of international exhibitions at Tate Britain and Tate Modern. Her current projects include curating Turner and the Sea, a major exhibition that opened at Greenwich in November 2013. She also served as an AAH trustee between 2004 and 2007 and was deputy editor of Art History between 2007 and 2012. Riding has participated on the Clore Leadership Programme and was recently appointed as an impact assessor for REF2014.
Community College Professors of Art and Art History
The Community College Professors of Art and Art History (CCPAAH) had a successful session at this year’s CAA Annual Conference in Chicago. “Starting the Conversation: Engaging Students in the Studio and Art History,”chaired by Susan Altman of Middlesex County College, featured: Tyrus Clutter, College of Central Florida, “Flipping the Classroom with Digital Demonstrations”; Monica Anke Hahn, Community College of Philadelphia, “Virtual Engagement: Conversations in Online and Hybrid Classes”; and Julianne Parse Sandlin, Portland Community College, “Low-Tech Engagement: Art History and the Class Discussion.” The prospectus for next year’s conference session will be posted later this spring on CCPAAH’s Facebook page. To become more involved in the organization, please email ccpaah@gmail.com.
Foundations in Art: Theory and Education
The next biennial conference of Foundations in Art: Theory and Education (FATE), called “Tectonic Shifts” and hosted by the Herron School of Art and Design at Indiana University–Purdue University Indianapolis, will be held March 25–28, 2015. The event will take place in the heart of downtown Indianapolis at the Westin Hotel Indianapolis, which just completed a $14 million renovation. You can access hotel registration information via the FATE website.
FATE’s Programming Committee is now reviewing the call for session proposals. While the call for sessions is now closed, a call for papers was sent in April 2014. Approximately one hundred sessions will run during the three-day conference. Papers will be accepted from all who contribute to the foundation experience. The “Tectonic Shifts” FATE members exhibition will take place in one of Indianapolis’s most respected exhibition venues, the Herron School Art and Design Galleries. A call for exhibition entries will go out in mid-May. The conference keynote speaker is Wayne White, an American artist, art director, illustrator, puppeteer, and much, much more.White has traveled the country delivering an incredibly entertaining hour-long talk in which he discusses his life and work, while making time for banjo and harmonica playing.
Historians of German and Central European Art and Architecture
The Historians of German and Central European Art and Architecture (HGCEA) has elected a new board of directors for a three-year term, 2014–17. They are: Marsha Morton, president; Jay Clarke, secretary; Jim Van Dyke, treasurer; Elizabeth Cronin, web manager; and Keith Holz, Karla Huebner, Juliet Koss, and Elizabeth Otto, at-large members.
Historians of Netherlandish Art
The Historians of Netherlandish Art (HNA) will hold its next conference June 5–7, 2014, in Boston, Massachusetts. The event will be held in cooperation with the American Association for Netherlandic Studies and involve sessions and workshops with focus on Netherlandish art from 1350 to 1750. Please see the HNA website for more information.
The next formal deadline for submitting manuscripts to the Journal of Historians of Netherlandish Art, HNA’s peer-reviewed, open-access ejournal, is August 1, 2014. In addition to longer articles, the journal welcomes shorter notes on archival discoveries, iconographical issues, technical studies, and rediscovered works. For submission guidelines, see the journal’s website or contact Alison Kettering, senior editor, at aketteri@carleton.edu or aketteri@jhna.org for more information.
International Association of Art Critics
The United States chapter of the International Association of Art Critics (AICA-USA) will hold its awards ceremony and dinner to honor the best exhibitions that opened between January and December 2013 at the studio of Izhar Patkin in New York on Monday, May 12, 2014, 6:00–9:00 PM.
Italian Art Society
The Italian Art Society (IAS) invites scholars in Italy this spring to attend the fifth annual IAS/Kress Lecture in Italy by Jean K. Cadogan, professor of fine arts at Trinity College in Hartford, Connecticut, whose paper is titled “‘Maravigliose istorie’: The Mural Decoration of the Camposanto in Pisa.” Cadogan will share her intriguing work on the multiphase, comprehensive program of painting on the walls of the Camposanto in a presentation on May 27, 2014, at the Gipsoteca of the Università di Pisa. See the IAS website for details.
In addition, the IAS website publishes information about the organization’s activities at the upcoming forty-ninth International Congress of Medieval Studies in Kalamazoo, Michigan, taking place May 8–11, 2014. IAS will hold a business meeting at 5:30 PM on Thursday, May 8 (in Valley II, Garneau Lounge), plus three IAS-sponsored sessions (all in Bernhard 209) and an IAS reception (in the second floor lobby of Bernhard) at 5:30 PM on Friday, May 9. All members and prospective members are welcome!
National Art Education Association
The National Art Education Association (NAEA) is accepting proposals for presentations for the 2015 NAEA national convention, to be held March 26–28 in New Orleans, Louisiana. You must be an NAEA member to submit a proposal. The deadline is May 15, 2014.
NAEA also announces two new publications: Practice Theory: Seeing the Power of Art Teacher Researchers and Purposes, Principles, and Standards for School Art Programs.
Studies in Art Education, the NAEA’s professional refereed journal, is a quarterly publication that reports quantitative, qualitative, historical, and philosophical research in art education. View a sample digital issue. The cost for a one-year subscription is $20 for NAEA members, $30 for nonmembers, and $45 for Canadian/foreign subscriptions.
NAEA announces SummerVision DC: Hands-On Learning in Art Museums. Choose from two sessions: July 8–11, 2014, or July 22–25, 2014. Now in its fifth year, NAEA SummerVision DC is an annual event offered by NAEA in partnership with Washington, DC–area art museums. Upon completion of the program, participants will receive a certificate of participation with thirty clock hours of professional development. The cost is $495 (NAEA members) and $549 (nonmembers). Each session is limited to twenty-five participants.
New Media Caucus
The New Media Caucus (NMC) has announced the results of its recent board and officer elections. The NMC board of directors voted to add two new officer positions to its Executive Committee: chair of the Communications Committee and chair of the Events and Exhibitions Committee. A. Bill Miller, assistant professor at the University of Wisconsin in Whitewater, joins the board and begins a one-year term as the chair of the Communications Committee. Joyce Rudinsky, associate professor at the University of North Carolina in Chapel Hill, was voted as the chair of Exhibitions and Events Committee. NMC also welcomes new and reelected board members: Barbara Rauch, Kevin Hamilton, Joshua Selman, A. Bill Miller, Rachel Clarke, and Mat Rappaport. Rappaport was reelected as secretary, and Vagner Whitehead, associate professor at Oakland University in Rochester, Michigan, begins his term as the fourth NMC president.
The NMC board would like to thank its former president, Paul Catanese, for his leadership over the past six years. Under his tenure NMC has grown into an organization of over nine hundred members and developed annual programming that highlights the practice and scholarship of new-media art and theory. He now sits on the Executive Committee as immediate past president. NMC also wants to thank board members whose terms have ended for all the work they have done in the past years: Mike Salmond, Dima Strakovsky, Leslie Raymond, and Gwyan Rhabyt (president emeritus). Finally, NMC thanks the members of the Nominations Committee who oversaw the election: Mina Cheon, Meredith Hoy, and Mat Rappaport.
Pacific Arts Association
The conference of the European chapter of Pacific Arts Association (PAA) was held April 24–26, 2014, at the Rautenstrauch-Joest-Museum-Cultures of the World in Cologne, Germany. The conference coincided with the exhibition Made in Oceania: Tapa – Art and Social Landscapes. Learn more about conference registration, programs, accommodations, and special events on the PAA website.
Public Art Dialogue
At CAA’s 2014 Annual Conference in Chicago, Jack Becker received the 2014 Public Art Dialogue Award for Achievement in the Field of Public Art. In honoring his thirty-five years of service to the profession, Harriet F. Senie, cochair of Public Art Dialogue (PAD), observed, “I don’t think there is anyone in the field who has done more to legitimize the field of public art than Jack Becker. I can’t begin to imagine where we would all be without the Public Art Review and its ongoing response to and expansion of our enterprise.”
A CAA session on “Public Art and Its Role in Placemaking from an International Perspective” featured the speakers Marisa D. Lerer, Norie Sato, and Jack Becker. Chaired by Erika Doss, another session, “Vandalism, Removal, Relocation, Destruction: The Dilemma of Public Art’s Permanence,” featured the following presentations: “Yankees, Automobiles, and Other Hazards: Shattered Monuments and the Problem of Confederate Memory,” by Sarah Beetham; “Marking Memory: Ambiguity and Amnesia in the Monument to Soviet Tank Crews in Prague,” by Jenelle Davis; “Maintaining Problematic Public Art,” by Christine Young-Kyung Hahn; “Distant Stars, Black Holes, and Burned Out Sculptures: Media Obsolescence and the Trouble with Public Art,” by Julia E. Marsh; and “The Sordid Pasts of Public Art and How We Go About Protecting Them,” by Michele Bogart.
Society for Photographic Education
The Society for Photographic Education (SPE) is accepting proposals for its 2015 conference, “Atmospheres: Climate, Equity, and Community in Photography.” Topics may include but are not limited to: image-making, history, contemporary theory and criticism, new technologies, effects of media and culture, educational issues, and funding. SPE membership is required to submit; proposals are peer reviewed. Proposals are due by June 1, 2014. Visit the SPE website for full proposal guidelines.
SPE is pleased to announce these award opportunities:
- Future Focus Project Support Grant: Established to recognize exceptional photographic work, this $5,000 grant is partially funded by the SPE Future Focus Campaign. The recipient also receives a complimentary one-year SPE membership and two years of conference registration
- Honored Educator Award: Bestowed upon a career educator recognizing significant contribution to the field of photographic education. The recipient receives a lifetime SPE membership and a $1,000 honorarium
- Insight Award: Given to up to five members annually who demonstrate excellence in innovative teaching, sustained mentoring of colleagues or students, broad contribution to technical, critical, pedagogical, or visual aspects of the field, breadth or depth of exhibition or publication, and/or sustained presence in the field
Applications and nominations are due by July 1, 2014. Visit the SPE website for more information about these awards.
Society of Architectural Historians
The Society of Architectural Historians (SAH) is accepting applications for its 2014 SAH/Mellon Author Awards, designed to support emerging authors publishing monographs on the history of the built environment who are responsible for paying for rights and permissions for images in their publications. The deadline is June 1, 2014.
SAH is also accepting abstracts for papers for its sixty-eighth annual conference, taking place April 15–19, 2015, in Chicago, Illinois. Abstracts may be submitted for one of the thirty-two thematic sessions or for an open session. The deadline to submit is June 6, 2014. Visit the SAH website for details.
Carolyn Garrett has been named SAH development director. She has over twelve years of experience in resource development and previously held positions at Changing Worlds and Chicago Foundation for Women.
Society of Historians of Eastern European, Eurasian, and Russian Art and Architecture
The Society of Historians of Eastern European, Eurasian and Russian Art and Architecture (SHERA) seeks proposals of papers for its sponsored session, “Reconsidering Art and Politics: Toward New Narratives of Russian and Eastern European Art” at CAA’s 2015 Annual Conference in New York. The session aims to move beyond conventional binary narratives of art and power by inviting papers that challenge these interpretations and highlight the complexity of artistic responses produced at the nexus of aesthetics and politics. The chairs seek historically grounded case studies of Russian, Eastern European, and Eurasian art from the Byzantine era to modern times that productively explore these issues. Interested contributors should see CAA’s 2015 Call for Participation and send proposals with other required materials to the session’s cochairs, Galina Mardilovich and Maria Taroutina. The deadline for proposals is May 9, 2014.
SHERA is delighted to welcome two new institutional members: the Russian American Cultural Center, an organization that sponsors exhibitions, arts events, and scholarly symposia in the greater New York area; and Centro Studi sulle Arti della Russia in Venice, Italy, a center for the research and study of Russia’s rich cultural heritage.
Southeastern College Art Conference
The Southeastern College Art Conference (SECAC) has announced the newly elected members of its board of directors: Sandra Reed, Savannah College of Art and Design; Reni Gower, Virginia Commonwealth University; and Ria O’Foghludha, Whittier College were reelected to a three-year term. In addition, Heather Stark of Marshall University and Ute Wachsmann-Linnan of Columbia College were elected to a three-year term.
The new issue of the Southeastern College Art Conference Review has been published. It is volume 17, number 3, 2013.
Visual Resources Association
The 2014 Summer Educational Institute for Visual Resources and Image Management (SEI) will be held June 10–13 at the University of Illinois in Urbana-Champaign. This intensive workshop features a curriculum addressing the latest requirements of today’s visual-resources and image-management professionals. Expert instructors will cover: intellectual-property rights; digital imaging and digital preservation; metadata and cataloging; project management; and professional development. SEI is open to all individuals interested in visual resources and image management. Past participants have included: current graduate students and recent graduates; visual-resources professionals; information, library, and museum professionals; art historians; and digital-collection managers.
Founded over ten years ago, SEI is a joint project of the Art Libraries Society of North America (ARLIS/NA) and the Visual Resources Association Foundation (VRAF). SEI provides information professionals with the information and experience needed to stay current in a rapidly changing field, and significant networking opportunities. Registration for members of VRA or ARLIS/NA and University of Illinois staff and students is $595; registration for nonmembers is $675. For more information or to register, visit the SEI website.
News from the Art and Academic Worlds
posted by Christopher Howard — Apr 23, 2014
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.
Summer Survival Strategies for Adjuncts
I’ve lived through enough adjunct summers to know that things get pretty difficult financially around late July. What little money you managed to scrape together during the school year is long gone, and you’re at least two rent cycles away from the next paycheck. For adjuncts who aren’t lucky enough to score classes, the end of the summer can become a deeply stressful period of doing whatever it takes—borrowing, penny-pinching, and scouring Craigslist for odd jobs. (Read more from Vitae.)
Personal Finance in Grad School
Living on a grad student stipend is tough, but we often make it harder on ourselves if we don’t know where the money is going. By tracking our spending habits, we can get a better sense of what we value, our motivations for spending, and areas where we can save a few dollars or even a few hundred dollars. (Read more from GradHacker.)
Can an Economist’s Theory Apply to Art?
Thomas Piketty is a name on a lot of people’s lips at the moment. The French economist’s new book, Capital in the Twenty-First Century, is a historic survey of wealth concentration that has quickly become a go-to text for the gathering debate on income inequality. In his book, published in English last month, Piketty argues that the rich are only going to get richer as a result of free-market capitalism. The reason, he says, is simple: returns on invested capital are greater than rates of economic growth, and this has become a “fundamental force for divergence” in society. (Read more from the New York Times.)
Detroit Pension Deals Make Sale of DIA Art Less Likely—but Still Possible
Some bankruptcy experts said that it now appears increasingly unlikely that creditors will be able to get their hands on the city-owned art collection at the Detroit Institute of Arts. But experts also said that even in the wake of tentative agreements between the city and Detroit retirees and pensioners, the bondholders, and others pushing hard for a sale of art still have viable legal arguments. (Read more from the Detroit Free Press.)
The Importance of Being a Director-Curator
For those occupying the highest positions in art institutions, spending time with the works that fill their galleries is inevitably more limited than in their earlier curatorial roles. The chance to do the job that made their name—organizing groundbreaking exhibitions or displaying exemplary scholarship—become fewer as bureaucratic demands become greater. Two directors have arguably the most demanding administrative roles in European museums—Udo Kittelmann and Nicholas Serota—both of who continue to take on lead curator roles in major shows. (Read more from the Art Newspaper.)
The Lost, Surprisingly Soulful Art of Corporate Identity
Before corporations, entertainment companies, sports franchises, and political parties acquired “brand narratives,” the notion of branding was a subset of a practice called “corporate identity.” CI, as it was known, required companies and design firms to develop, refine, and maintain an integrated identity system defined by laws set down in a bible known as the graphic standards manual. (Read more from the Atlantic.)
How to Earn Tenure II
So now your clock is running out. In some cases, you’ll be asked to write up a personal statement to be included in your dossier. This can be a tricky thing to write. On the one hand, it will be read by experts in your field. On the other hand, it will also be read by some people who don’t know the first thing about your field. How can you possibly write one document to serve such disparate audiences? (Read more from Inside Higher Ed.)
Confronting the Myth of the “Digital Native”
When Kaitlin Jennrich first walked into her communications seminar last fall, she had no idea that the professor already knew of her affinity for pink cars and Olive Garden breadsticks—and that she planned to share that knowledge with the class. It hadn’t taken much sleuthing on the professor’s part to uncover those inane nuggets. The eighteen-year-old freshman at Northwestern University had herself lobbed them into the public sphere, via Twitter. Her reaction, she recalls, was, “Oh, no.” (Read more from the Chronicle of Higher Education.)
People in the News
posted by CAA — Apr 17, 2014
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.
April 2014
Academe
Christine Hahn has earned tenure in the Department of Art and Art History at Kalamazoo College in Kalamazoo, Michigan.
David Joselit has left Yale University in New Haven, Connecticut, for a new post as Distinguished Professor of Art History at the Graduate Center, City University of New York.
Museums and Galleries
Darby English, director of research and academic programming at the Sterling and Francine Clark Art Institute in Williamstown, Massachusetts, has been appointed consulting curator in the Department of Painting and Sculpture at the Museum of Modern Art in New York. He will retain his position at the Clark.
Sandra Q. Firmin, curator of the UB Art Galleries at the University at Buffalo, State University of New York, has accepted the directorship of the CU Art Museum at the University of Colorado in Boulder.
David Rubin has left his curatorial position at the San Antonio Museum of Art in San Antonio, Texas.
Organizations and Publications
Jill Deupi has joined the board of directors of the Association of Art Museums and Galleries as its New England representative.
Jessi DiTillio has been appointed interim administrative director of the Association of Art Museums and Galleries.
Reni Gower of Virginia Commonwealth University in Richmond has been reelected to the Southeastern College Art Conference’s board of directors for a three-year term.
Sandra Reed of the Savannah College of Art and Design in Savannah, Georgia, has been reelected to the Southeastern College Art Conference’s board of directors for a three-year term.
Institutional News
posted by CAA — Apr 17, 2014
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.
April 2014
The Arkansas Arts Center in Little Rock has received a spectacular gift of 290 watercolors and drawings by the American artist John Marin (1870–1953) from Norma B. Marin, the widow of the artist’s son.
The Corcoran Gallery of Art and Corcoran College of Art and Design (photograph by William Atkins/George Washington University and © George Washington University Photography)The Corcoran Gallery of Art and Corcoran College of Art and Design, both in Washington, DC, have announced a merger with the National Gallery of Art and George Washington University, also located in the nation’s capital.
The Courtauld Institute of Art in London, England, and the Iran Heritage Foundation have announced funding for a postgraduate and research-assistant post with a focus on Persian arts.
The Frick Art Reference Library and the William Randolph Hearst Archive at Long Island University (LIU) Post have completed a collaborative digitization project, Gilding the Gilded Age: Interior Decoration Tastes and Trends in New York City. With funding from the New York State Regional Bibliographic Databases Program, this project brings together a group of late-nineteenth and early-twentieth-century auction catalogues held by the library and the archive.
The Los Angeles County Museum of Art in California is one of five major American museums to have received funding for the Andrew W. Mellon Undergraduate Curatorial Fellowship Program, which provides specialized training in the curatorial field for students across the United States with diverse backgrounds.
The Metropolitan Museum of Art in New York has received a gift from Daniel Brodsky, the museum’s chairman, and his wife Estrellita B. Brodsky, an art historian, to endow two new curatorial positions in the museum’s Department of Modern and Contemporary Art. The two positions will be called the Estrellita B. Brodsky Curator of Latin American Art and the Daniel Brodsky Associate Curator of Architecture and Design.
The Museum of Fine Arts, Houston, is one of five major American museums to have received funding for the Andrew W. Mellon Undergraduate Curatorial Fellowship Program, which provides specialized training in the curatorial field for students across the United States with diverse backgrounds.
Ann HamiltonOhio State University in Columbus has initiated the Ann Hamilton Project Archive, which contains more than one thousand downloadable, high-resolution images from thirty-five installation by Hamilton, an internationally acclaimed artist and Distinguished University Professor in the university’s Department of Art.
The Yale Center for British Art in New Haven, Connecticut, has reopened its Study Room after completing the first phase of a major building-conservation project.
The Yale School of Art in New Haven, Connecticut, has accepted a $5 million contribution from the Stavros Niarchos Foundation to create a permanent, unrestricted endowment to support the core priorities of the school, while naming in perpetuity the Stavros Niarchos Foundation Dean. A second gift of $900,000 will supplement three existing endowments, created by the foundation in 2010, to establish an artist’s residency, scholarships for international students, and a dean’s resource fund.
Yale University Press in New Haven, Connecticut, has accepted the 2013 Design Book of the Year Award by the editors of Designers & Books for Phyllis Lambert’s volume Building Seagram (2013). The press also received an honorable mention for another book, The Houses of Louis Kahn (2013) by George H. Marcus and William Whitaker.
Grants, Awards, and Honors
posted by CAA — Apr 15, 2014
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.
April 2014
Molly Emma Aitken, associate professor of art at City College, City University of New York, has accepted a Collaborative Research Grant from the American Council of Learned Societies for her project with Allison Renée Busch, called “Aesthetic Worlds of the Indian Heroine.”
Elizabeth Athens, an independent scholar based in Providence, Rhode Island, was named a Clark Graduate Summer Fellow for July–August 2013 by the Sterling and Francine Clark Art Institute in Williamstown, Massachusetts.
Suzanne Preston BlierSuzanne Preston Blier, Allen Whitehill Clowes Professor of Fine Arts and of African and African American Studies in Cambridge, Massachusetts, received a Beinecke Fellowship from the Sterling and Francine Clark Art Institute in Williamstown, Massachusetts, for September–December 2013.
William L. Coleman, a PhD candidate in history of art at the University of California, Berkeley, has been awarded the 2014 Dora Wiebenson Prize by the Historians of Eighteenth-Century Art and Architecture. The paper honored as the best of the year by a graduate student was “‘Both instructive and pleasant’: The Country House Garden in Vitruvius Britannicus,” given at CAA Chicago.
Romy Golan, professor of art history at and Lehman College and the Graduate Center, City University of New York, won a fellowship from the Sterling and Francine Clark Art Institute in Williamstown, Massachusetts, for September–December 2013.
Michael Ann Holly, Starr director emeritus of research and academic programs at the Sterling and Francine Clark Art Institute in Williamstown, Massachusetts, has been awarded a fellowship from her institution for February–June 2014.
Simon Leung, an artist and professor of art for the University of California, Irvine, has earned a fellowship from the Sterling and Francine Clark Art Institute in Williamstown, Massachusetts, for February–June 2014.
Judith Rodenbeck, professor of modern and contemporary art at Sarah Lawrence College in Bronxville, New York, was named a fellow by the Sterling and Francine Clark Art Institute in Williamstown, Massachusetts, for September–December 2013.
Terry Smith (photograph by John Williams)Terence Smith, Andrew W. Mellon Professor of Contemporary Art History and Theory in the Department of the History of Art and Architecture at the University of Pittsburgh in Pennsylvania, has received a fellowship for February–June 2014 from the Sterling and Francine Clark Art Institute in Williamstown, Massachusetts.
Roberto Tejada, professor of art history in the Meadows School of the Arts at Southern Methodist University in Dallas, Texas, was named Clark/Oakley Humanities Fellow and Clark Mellon Curatorial Fellow by the Sterling and Francine Clark Art Institute in Williamstown, Massachusetts, for September–December 2013.