Donate Now
Join Now      Sign In
 

CAA News Today

Each month, CAA’s Committee on Women in the Arts selects the best in feminist art and scholarship. The following exhibitions and events should not be missed. Check the archive of CWA Picks at the bottom of the page, as several museum and gallery shows listed in previous months may still be on view or touring.

November 2013

Wangechi Mutu, still from The End of eating Everything, 2013, animated video with color and sound, 8 min. Commissioned by the Nasher Museum of Art at Duke University, Durham, North Carolina (artwork © Wangechi Mutu)

Wangechi Mutu: A Fantastic Journey
Brooklyn Museum
200 Eastern Parkway, Brooklyn, NY 11238

Born in Nairobi, Kenya, Wangechi Mutu scrutinizes globalization by combining found materials, magazine cutouts, sculpture, and painted imagery. Sampling such diverse sources as African traditions, international politics, the fashion industry, pornography, and science fiction, her work explores gender, race, war, colonialism, global consumption, and the exoticization of the black female body. Mutu is best known for spectacular and provocative collages depicting female figures—part human, animal, plant, and machine—in fantastical landscapes that are simultaneously unnerving and alluring, defying easy categorization and identification. Bringing her interconnected ecosystems to life for this exhibition through sculptural installations and videos, Mutu encourages audiences to consider these mythical worlds as places for cultural, psychological, and sociopolitical exploration and transformation.

Organized by the Nasher Museum of Art at Duke University by Trevor Schoonmaker, chief curator and Patsy R. and Raymond D. Nasher Curator of Contemporary Art and coordinated by Saisha Grayson, assistant curator at the Elizabeth A. Sackler Center for Feminist Art, for its Brooklyn Museum version, Wangechi Mutu: A Fantastic Journey is the first survey in the United States of this internationally renowned, Brooklyn-based artist. Spanning from the mid-1990s to the present, the exhibition unites more than fifty pieces, including Mutu’s signature large-scale collages as well as video works, never-before-seen sketchbook drawings, a site-specific wall drawing, and sculptural installations.

Sarah Lucas
SITUATION Absolute Beach Man Rubble
Whitechapel Gallery
77-82 Whitechapel High Street, London E1 7QX England
October 2–December 15, 2013

The photographer, installation artist, and sculptor Sarah Lucas is one of the most important figures of the YBA generation that emerged in London in 1988 through Freeze and gained prominence in the early 1990s with her first two solo shows, The Whole Joke and Penis Nailed to a Board. Uniting works that span two decades, Situation Absolute Beach Man Rubble surveys Lucas’s multifaceted and multimedia take on the body—“the bawdy euphemisms, repressed truths, erotic delights, and sculptural possibilities of the sexual body” that lie at the heart of her work’s exploration of the erotic and abject, mediated and repressed body—and ranges from the angry sensationalism that underpins the gendered and classed criticality of her installations from the early 1990s to the masterful pseudomaturity of the hybrid sex contours of her latest, soft, or metal sculptures.

The show takes the viewer from Lucas’s early forays “into the salacious perversities of British tabloid journalism to the London premiere of her sinuous, light-reflecting bronze where intertwined limbs, breasts, and phalli transform the abject into a dazzling celebration of polymorphous sexuality,” while reviewers agree that it pays fair attention to the intellectual rigor, visual strikingness, and complex art-historical references of Lucas’s work, without compromising the uneasy thrill of its revelations. Deemed “not recommended for children” for its sexually explicit material, Lucas’s uncanny and humorous defamiliarization of the body perhaps pose more problems for adults than for children, as wittingly put in a review of the show in the Guardian.

Lucas’s early iconic works, in which cloths, furniture, food, and language are used as stand-ins for the body, and her found objects, such as the ubiquitous toilet, echo the Duchampian readymade in their Rabelaisian sourcing of urban experience are featured in the lower galleries of the Whitechapel Gallery. The upper galleries present two environments: a color-saturated chamber featuring acephalous male nudes against a red backdrop, where masculinity is mocked through a sequence of edible phallic stand-in, despite its totemic scale; and a sculptural landscape of shiny bronze or polymorphous conglomerations of soft limbs or breasts and genitalia. Also running through this exhibition is a new series of “plinths” made from crushed cars; as well as screens and benches made from breeze blocks framed within. The artist’s face reappears throughout the exhibition “as an all-seeing presence, frankly returning the viewer’s stare, or lost in existential reflection.” The space behind Gallery 1 presents monochrome portraits of Lucas by the artist Julian Simmons, taken from the couple’s recent publication TITTIPUSSIDAD, and portraits of Lucas at her base in Suffolk taken by the artist Juergen Teller.

Installation view of Anita of New York at Suzanne Geiss Company (photograph by Adam Reich)

Anita Steckel
Anita of New York
Suzanne Geiss Company
6 Grand Street, New York, NY 10013
November 2–December 7, 2013

Anita of New York celebrates the work of the recently deceased and largely understudied feminist New York artist Anita Steckel (1930–2012). Bringing together a selection of works from two series, The Giant Woman (1970–73) and New York Landscape (1970–80), the exhibition not only illustrates the changing montage principles of her feminist art practice but also captures the centrality of New York in her feminist critique of patriarchy. Allowing Steckel to idiosyncratically juxtapose references to art and politics “with a mix of sexuality, violence, and humor”—to paraphrase the curator of the show Rachel Middleman from a recent article on Steckel in Woman’s Art Journal—montage became Steckel’s key means “to push the boundaries of acceptable imagery and decorum in art” and to speak radically about art, race, gender, and sexuality.

Steckel first became known for her photomontage series Mom art, which mocked Pop art by comprising historic photographs and reproductions of famous works of art on which painted additions turned the found images into social critiques of racism, war, and sexual inequality. In the early 1970s she joined the feminist movement and in 1973, in response to an attempted censorship of her solo exhibition The Feminist Art of Sexual Politics at Rockland Community College’s art gallery, she founded (along with artists such as Louise Bourgeois and Hannah Wilke) the Fight Censorship Group, which protested censorship and advocated the acceptance of women’s erotic art into museums. “We believe sexual subject matter should be removed from the ‘closet’ of the fine arts,” Steckel wrote when the members of the Group came first together. “We believe sexual subject matter includes many things: political statements, humor, erotica, sociological and psychological, statements—as well as purely sensual or esthetic art concerns—and of course—the primitive, mysterious reasons none of us know.” In fact, the exhibition at Suzanne Geiss Company includes many of the “obscene” objects that a Rockland County legislator had attempted to censor, fueling Steckel’s defense of women’s right to represent the sexual body, both for critical and pleasurable ends, further shaping her work and leading to the founding of the Fight Censorship Group.

As described in the press release: Steckel’s large-scale series New York Landscape consist[s] of collage paintings that fuse imagery inspired by the human, art-historical, and urban bodies. Supine female figures, erect phalluses, dollar bills, the Mona Lisa, and other massive cultural symbols are inserted into the skyline. They sit on skyscrapers, make love, even battle in a humorous take on the city’s fraught, psychosexual sense of identity.” Superimposing her own face onto gigantic female nudes that subversively colonize New York, The Giant Woman series makes more palpable how Steckel raised the personal into political and its quasi-Surrealist empowering poetics.

Pauline Boudry and Renate Lorenz / Her Noise Archive
Patriarchal Poetry / Slow Runner: Her Noise Archive II
Badischer Kunstverein
Waldstraße 3, 76133 Karlsruhe, Germany
September 27–November 24, 2013

Curated by Anja Casser and Nadjia Quante and titled after a Gertrude Stein quote that highlights the association of revolutionizing queer politics and aesthetics, Patriarchal Poetry is the first institutional solo exhibition of Pauline Boudry and Renate Lorenz in Germany. Combining the debut of their film To Valerie Solanas and Marilyn Monroe in Recognition of Their Desperation (2013) with the film installations Toxic (2012) and Salomania (2009), the show explores how the two artists investigate the emergence of photography and film against the backdrop of colonial history and the invention of body norms, the diverse ways in which their work challenge filmic illusion, and how their new film pushes boundaries, asking “whether and how changing structures engenders queer relations, whether musical and filmic forms can become revolutionary?” For Valerie Solanas and Marilyn Monroe is based on the eponymous 1970 score of the avant-garde composer Pauline Oliveros, which itself influenced by Solanas’s radical feminist SCUM Manifesto affords the musicians an equal role, rejecting the hierarchical structures of traditional music.

Patriarchal Poetry is accompanied by a concurrent exhibition, Slow Runner: Her Noise Archive II, that brings together new and existing content from the Her Noise Archive and interlaces references to Boudry and Renate’s Valerie Solanas and Marilyn Monroe and the pioneering composer Pauline Oliveros’s eponymous 1970 score. During the 1970s Oliveros’s feminist philosophies of music not only radically challenged the patriarchal Western musical canon, but also paralleled “women’s music” of the feminist movement by interrogating the notion of “performer,” “audience,” and the very meanings and forms of music itself. These rich tensions are explored through a series of contemporaneous works on display from Barbara Hammer, Lis Rhodes, Robert Ashley, and others, while a new series of posters by the New York–based artist Emma Hedditch creates a spatial manifestation of fragments from these histories and the wider archive.

This display of works is accompanied by a selection from the Her Noise Archive, a multiannual research project and study collection initially founded in 2001 by Lina Dzuverovic and Anne Hilde Neset, which includes records, CDs, tapes, moving image, books, catalogues, magazines, fanzines, and exclusive interview material by artists who work with sound and experimental music such as Kim Gordon, Christina Kubisch, and Kevin Blechdom. The archive—accessible for the public at CRiSAP, London College of Communication—is a physical manifestation of the desire to draw lines of affinity between different moments of the avant-garde, from the radical contemporary composition of Oliveros to No Wave, Riot Grrrl, and other more contemporary experimentations in sound and feminism.

The museum will host an artist’s talk with Boudry and Lorenz on Saturday, November 23, at 7:00 PM, followed by performances by Antonia Baehr and William Wheeler (Scores for Laughter and Without You I’m Nothing) at 8:30 PM.

Rembrandt van Rijn, A Lady and Gentleman in Black, 1633, oil on canvas, 131.6 x 109 cm (artwork in the public domain)

Sophie Calle: Last Seen
Isabella Stewart Gardner Museum
280 The Fenway, Boston, MA 02115
October 24, 2013–March 3, 2014

Sophie Calle: Last Seen brings together fourteen photographic and text-based works from the series Last Seen (1991) and its recent pendant What Do You See? (2012). The exhibition is a potent contemplation on absence, memory, and the effect of art, typical of Calle’s scripto-visual outsourcing of it, inspired by the famous theft of thirteen works from the Isabella Stewart Gardner Museum.

In 1990, during an exhibition of Calle’s work at the Institute of Contemporary Art, Boston, the artist was interviewed for a Parkett magazine article in front of Jan Vermeer’s The Concert (1658–60), one of her favorite paintings. Later that March, the painting became one of the thirteen works stolen from the museum. The half-joking suggestion that Calle might have been responsible for the theft inspired her to create Last Seen. Standing in front of the empty spaces on the museum walls on which works were once hung, Calle asked curators, guards, conservators, and other museum staff members what they remembered of the missing pieces. With the text from the interviews and the photographic images she eventually created a visual meditation on absence and memory, as well as a reflection on the emotional power works of art hold over their viewers.

In 2012, Calle revisited Last Seen on the museum’s invitation. In What Do You See? Calle once again questioned people in the museum’s Dutch room, yet in front of the empty frames that once held the absent works that had been reinstalled in the galleries, literally framing the emptiness. But this time she did not mention the missing paintings but asked each viewer to respond to what they saw before them.

Ana Mendieta: Traces
Hayward Gallery
Southbank Centre, Belvedere Road, London SE1 8XX, England, United Kingdom
September 24–December 15, 2013

Ana Mendieta: Traces is the first retrospective survey in the United Kingdom of the work of a Cuban American artist best known for her intimate, ephemeral, performance-based Siluetas, in which her body merges with the natural world, often engaging elemental materials such as earth, water, fire, and blood, evoking goddess archetypes and exploring a mythic relationship with nature while performing cathartic rituals that evoking both Afro-Cuban and Catholic traditions helped her perform a reliving exorcism of the trauma of her early exile from Cuba. Chronologically arranged films, sculptures, photographs, drawings, personal writings, and notebooks that span Mendieta’s entire career reveal different, often neglected, facets of her practice while highlighting her work’s radical contribution to feminist and Land art. An extensive research room with hundreds of photographic slides that were not developed during Mendieta’s short life provides unique access to her signature “earth-body” actions, her Siluetas, while archival material sheds new light on the way the artist worked and documented her artistic practice.

Amy Sillman: one lump or two
Institute of Contemporary Art, Boston
100 Northern Avenue, Boston, MA 02210
October 3, 2013–January 5, 2014

Featuring more than ninety works, including drawings, paintings, zines, and recent forays into animated film, one lump or two is the first museum retrospective of work by Amy Sillman, a painter whose self-proclaimed “skeptical” devotion to painting and whose fine interlacing of abstraction and figuration has contributed to painting’s renewed vitality in the New York scene since the 1990s. The exhibition unites early works that, characterized by cartoon lines and pastel or acid hues, “move effortlessly from figure to landscape, playfully and often humorously exploring problems of physical and emotional scale with observations that are both wry and revealing,” with her mid-2000s series couples—which were drawn from life in pencil, ink, and gouache and translated into paintings from memory with bold brushstrokes and abstract blocks of color—that have been claimed as reinvigorating forms of twenty-first-century Abstract Expressionism, as put in the press release. Also included are works that seem to question the role of painting in the age of reproduction and mass media quite idiosyncratically, whether employing the diagram or resorting to iPhone drawing, then turned into movies that “bring back the neurotic figures of her early images while delving further into the current roles of abstraction, color, and the diagram.”

Dayanita Singh: Go Away Closer
Hayward Gallery
Southbank Centre, Belvedere Road, London SE1 8XX, England, United Kingdom
October 8–December 15, 2013

Go Away Closer is the first major retrospective in the United Kingdom of work by Dayanita Singh, one of today’s foremost photographers who nonetheless uses photography as a starting point rather than an end. The exhibition presents examples from the past twenty-five years as well as her portable museums, a major new body of work that has developed from her experiments in book making. These large wooden structures, which the artist calls “photo-architectures,” can be placed and opened in various configurations, each holding 70 to 140 photographs. Allowing images to be endlessly displayed, sequenced, edited, and archived within the structures, as well as stories to be fashioned in different ways, these objects expand photography into the realm of not only sculpture and architecture but also of fiction and poetry. The show also includes a recent video titled Mona and Myself, Singh’s first “moving still.”

Dear Art
Calvert 22 Gallery
22 Calvert Avenue, London E2 7JP, England, United Kingdom
September 29–December 8, 2013

Calvert 22 presents Dear Art, a new project by What, How & for Whom (WHW) that is titled after Mladen Stilinovic’s 1999 letter to art, provocatively questions the standing of art in the contemporary world, its reception and distribution value. WHW is a critically acclaimed yet radical all-women curatorial collective from Zagreb, Croatia, with a decade of international curatorial practice behind them, including the curatorship of the 2009 Istanbul Biennial. Dear Art is the group’s first exhibition in the United Kingdom.

Dorothea Rockburne
Drawing Which Makes Itself
Museum of Modern Art
11 West 53rd Street, New York, NY 10019
September 21, 2013–January 20, 2014

Drawing Which Makes Itself is a great opportunity to familiarize oneself with Dorothea Rockburne’s drawing practice—her mathematical and structural precision as well as the material sensibility of her process—and a sad reminder that this female survivor of the Black Mountain College remains unduly understudied and invisible, while still in life. Focusing on the artist’s groundbreaking project Drawing Which Makes Itself (1972–73), the exhibition foregrounds the question that shapes her practice (How drawing could be of itself and not about something else?) and highlights the ideas that Rockburne has pursued throughout her career.

This includes the “terrific importance” of paper for her as a metaphysical object, as an active material whose inherent qualities determine the form of the artwork, as manifested with Scalar (1971)—with its planed chipboard and paper stained with crude oil—and in various carbon-paper drawings, some of which are exhibited for the first time. Her Golden Section Paintings and the works on paper that followed refer to the mathematical ratio used by artists and architects since antiquity to produce shapes of harmonious proportions, while echoing the teachings of the mathematician Max Dehn, whose decipherment of the underlying geometries in nature and art affected her profoundly. The exhibition includes examples of Rockburne’s later work, including recent watercolors, that continue her exploration of these principles in nature and specifically in the motion of planets.

Margaret Murphy, Tell Your Son to Behave, 2013, acrylic and ink on fabric mounted on wood, 14 x 14 in. (artwork © Margaret Murphy)

Margaret Murphy
Toile News Project

Gallery Aferro
73 Market Street, Newark, NJ 07102
November 16–December 14, 2013

Gallery Aferro presents new work by Margaret Murphy that includes individual paintings, a wallpaper installation, and a dress. Murphy is known for figurative paintings whose protagonists are painted after figurines against decorative backgrounds that often interlace the opacity of enamel with the transparency of watercolor in colorful and sentimental compositions that cast timely commentaries on feminine experience and consumerism. In her new paintings, Murphy departs from her resort to figurines, turning instead on the inevitable and often violent news-image blitz of Facebook and Google, substituting sections of toile fabric designs with found images of violent or silly actualities drawn with acrylic or silkscreen. While her new work makes a comment about the latest forms of digital-image colonization of our private lives and imaginary, reminiscent of historic Pop’s commentaries, a continuity of material and thematic concerns is witnessed in Murphy’s reinvented practice that often juxtaposes historic sentimentalized views of life with current images of local or global issues, such as women’s rights protests from around the world or the Boston Marathon bombing event, as well as decorative abstraction and figuration.

Mary Beth Edelson
Collaborative 1971–1993
Accola Griefen Gallery
547 West 27th Street, No. 634, New York NY 10001
October 19–November 23, 2013

This exhibition is the first to address the more than twenty-five collaborative performance rituals and community-based workshops produced by Mary Beth Edelson starting as early as 1969. These pioneering participatory works were presented at the Corcoran Gallery, A.I.R. Gallery, the Albright-Knox Gallery, the Malmö Konstmuseum, and Franklin Furnace, as well as at universities across the United States and abroad. In planning and presenting these programs Edelson collaborated with organizations such as A.I.R Gallery, with the utopian community of New Harmony, Indiana, and with artists from the Women’s Building in Los Angeles.

The collaborations are represented by drawings and a chronology of photo documentation as well as a study area with scriptbooks, texts by and about the artist, and other documents. Collaborative also includes two Story Gathering Boxes, works that Edelson has created since 1972 and constitute an archive of participants’ personal thoughts. The box Gender Parity asks “What did your mother teach you about women?” and “What did your mother teachyou about men?” Participants may view previous handwritten responses and respond to new questions posed by the artist.

Filed under: CWA Picks, Uncategorized — Tags:

CAA Journals to be Published by Taylor & Francis

posted by Nia Page — Nov 05, 2013

The College Art Association and Routledge, Taylor & Francis Group are pleased to announce a new publishing partnership to commence in 2014. Beginning January 1, 2014, Taylor & Francis will publish and distribute CAA’s two highly regarded journals, The Art Bulletin and Art Journal, under the Routledge imprint, and provide an open-access digital platform for CAA’s reviews journal, caa.reviews.

The partnership is a positive step for both parties and will bring CAA’s journals to the attention of a wider international audience through Routledge’s state-of-the-art online publishing platforms, high-quality production, and innovative marketing strategies.

The Routledge visual arts program encompasses contemporary art, design, photography, regional art, and visual culture and includes leading titles in the field such as Visual Resources, Photographies and Public Art Dialogue. The Art Bulletin, Art Journal, and caa.reviews will be an indispensable addition to Routledge’s prestigious list of more than 130 Arts & Humanities titles. To learn more about the Routledge library, please visit www.tandfonline.com.

CAA’s Board president Anne Goodyear states, “CAA’s historic partnership with Taylor and Francis promises exciting innovations in the production, design, and dissemination of our leading flagship journals—The Art Bulletin, Art Journal, and caa.reviews. We look forward to expanding the reach of these important publications to new audiences and to offering new means to present groundbreaking scholarship.”

Katherine Burton, art and design journals publisher at Routledge, Taylor & Francis Group, notes, “Routledge, Taylor & Francis is delighted to have the opportunity to enter into a partnership with the College Art Association. In partnering with the Association, we will continue to promote the finely tuned mission of The Art Bulletin, Art Journal and caa.reviews as vital spaces for widening critical debate in art history, criticism and review, while supporting the future sustainability of the publications in the Routledge program. Routledge and the Association will continue to work closely to ensure a smooth transition period for the journals.”

Linda Downs, CAA executive director, says, “The CAA Board, Editorial Boards, and the staff welcome this partnership with Routledge, Taylor & Francis. For the very first time The Art Bulletin and Art Journal will be published online on a multi-media Atypon platform offering authors the capabilities to include video and Internet links. Routledge, Taylor & Francis will be developing broader interactive functionality for caa.reviews. We anticipate increased readership world-wide and greater marketing capabilities. The Art Bulletin and Art Journal will continue to be offered in print. We are excited by all the new opportunities this partnership will bring to the CAA journals.”

The Art Bulletin publishes leading scholarship in the English language on all aspects of art history as practiced in the academy, museums, and other institutions. From its founding in 1913, the journal has published, through rigorous peer review, scholarly articles and critical reviews of the highest quality in all areas and periods of the history of art. Articles take a variety of methodological approaches, from the historical to the theoretical. In its mission as a journal of record, The Art Bulletin fosters an intensive engagement with intellectual developments and debates in contemporary scholarly practice. It is published four times a year, in March, June, September, and December.

Art Journal provides a forum for scholarship and exploration in the visual arts, with a particular focus on contemporary art. It operates in the spaces between commercial publishing, academic presses, and artist presses. Published since 1941, the peer-reviewed journal gives voice and publication opportunity to artists, art historians, curators, critics, and other writers in the arts. The content explores diverse forms of art practice and production, as well as the relationships among art making, art history, visual studies, theory, and criticism. Since 2011, a companion website, artjournal.collegeart.org, has both complemented the contents of the quarterly journal and published stand-alone material, with an emphasis on artists’ projects. Art Journal is published four times a year, in spring, summer, autumn, and winter.

Celebrating its fifteenth anniversary as a born-digital journal, caa.reviews fosters timely, worldwide access to the intellectual and creative materials and issues of art-historical, critical, curatorial, and studio practice, and promotes the highest standards of discourse in the disciplines of art and art history. The journal publishes on a continual basis an average of 150 scholarly reviews of studies and projects in all areas and periods of art history, visual studies, and the fine arts, providing peer review for the disciplines served by the College Art Association. The journal also publishes a list of recently published books in the arts and dissertation titles from the United States, Canada, and Great Britain.

2013 Editions of CAA’s Directories of Graduate Programs in the Arts

posted by Betty Leigh Hutcheson — Oct 24, 2013

New editions of CAA’s comprehensive directories of graduate programs in the arts are now available for purchase, featuring updated information about 630 schools in the United States, Canada, the United Kingdom, Europe, and beyond.

Entries from the following eight program types are available: History of Art and Architecture; Studio Art and Design; Curatorial and Museum Studies; Arts Administration; Art Education; Library Science; Film Production; and Conservation and Historic Preservation.

The directories are currently available for purchase as customized PDFs, created on demand based on the customer’s preferred search criteria. Anyone can search the directories online by program type, faculty specialization, degrees awarded, country, region, state, availability of health insurance, and whether or not part-time students are admitted; you may also browse by institution. Search results include the program type, its location, and the program name and description, while the purchased PDF gives an in-depth profile of each program (see sample entries). Printed volumes and ebooks will be available for purchase in early November.

CAA’s directories provide prospective graduate students with the information they need for the application process and beyond. The publications are also key professional references for career-services representatives, department chairs, graduate and undergraduate advisors, librarians, professional-practices educators, and professors interested in helping emerging generations of artists and scholars find success.

For questions about purchasing, please contact Roberta Lawson at rlawson@collegeart.org or 212-392-4404.

Filed under: Books, Education, Publications, Students

Recent Deaths in the Arts

posted by Christopher Howard — Oct 10, 2013

In its regular roundup of obituaries, CAA recognizes the lives and achievements of the following artists, historians, curators, educators, and others whose work has significantly influenced the visual arts. Notable deaths this summer and fall include the artists Stephen Antonakos and Mark Gottsegen and the Renaissance art historian Mark Zucker.

  • Stephen Antonakos, an artist known for abstract sculpture that incorporates neon lighting, died on August 17, 2013, at age 86
  • Jack Beal, an American painter of nudes, still lifes, and murals whose representational aesthetic ushered in the New Realism of the 1960s and 1970s, died on August 29, 2013, at the age of 82
  • John Bellany, a Scottish figurative painter whose retrospective was held last year at the Scottish National Gallery, passed away on August 28, 2013. He was 71
  • Marion Bloch, an art collector and philanthropist, died on September 24, 2013, at age 83. The wife of the founder of H&R Block, she was a longtime supporter of the Nelson-Atkins Museum of Art in Kansas City
  • Michael K. Brown, a longtime curator of the Bayou Bend Collection, part of the Museum of Fine Arts, Houston, passed away on September 8, 2013. He was 60 years old
  • Red Burns, an arts professor and chair of the Interactive Telecommunications Program in the Tisch School of the Arts at New York University, died on August 23, 2013. Known as the “godmother of Silicon Alley,” she was 88 years old
  • Anne Christopherson, an English painter renowned for her depictions of the Thames River, died on August 15, 2013. She was 91
  • Alvin Eisenman, the founding director of Yale University’s graduate program in graphic design, died on September 3, 2013. He was 92
  • Cecil Fergerson, a former curator for the Los Angeles County Museum of Art and a community activist, died on September 18, 2013, at age 82. Fergeson started working for the museum in 1948 as a janitor and became a preparator before joining the curatorial staff
  • Juan Garcia de Oteyza, an editor, publisher, and diplomat who served as director of Aperture Foundation from 2008 to 2010, died on August 26, 2013. He was 51
  • Mark Gottsegen, a painter and the founder of Art Materials Information and Education Network (AMIEN), passed away on September 24, 2013. He had been a professor at the University of North Carolina in Greenboro and was the author of The Painter’s Handbook
  • Alfred Rozelaar Green, a painter who spent the 1930s in Paris and who later founded the Anglo-French Art Centre in London, has died. He was 95 years old
  • Ellen Lanyon, a painter and printmaker based in New York whose work has been described as a “unique blend of realism and the surreal,” died on October 7, 2013. She was 86
  • Frank Martinez, an artist and muralist based in Los Angeles, died on August 17, 2013. He was 89
  • Michael McManus, former chief curator of the Laguna Art Museum in California, died on August 10, 2013, at age 60. He had taught at California State University, Fullerton, and the Laguna College of Art and Design
  • Mario Montez, a drag performer and film actor who was part of Andy Warhol’s entourage of superstars, died on September 26, 2013. He was 78
  • Steve Ross, a literary scholar and the director of the Office of Challenge Grants at the National Endowment for the Humanities from 1995 to 2013, died on August 21, 2013. He was 70
  • Sadegh Tirafkan, an Iranian artist who blended photography and other artistic media in innovative ways, passed away on May 9, 2013. He was 47
  • Arturo Vega, a Mexican artist who designed graphics for the Ramones, including the band’s famous circular logo, died on June 7, 2013. He was 65 years old
  • Gillian Wakely, associate director of education for the University of Pennsylvania Museum, died on August 14, 2013, age 67. She had worked for her institution for forty years
  • Kathleen Watkins, an English curator and secretary of the Penwith Society of Arts in St. Ives, Cornwall, for forty-six years, died on September 5, 2013. She was 80 years old
  • George Weissbort, a traditional painter of portraits, landscapes, and still lifes who was based in London for decades, died on July 9, 2013. He was age 85
  • John Wright, a British artist of many talents—he was a painter, professor, writer, designer, and filmmaker—died on July 9, 2013. He was 82 years old
  • Mark Zucker, a Renaissance art historian and a professor in the College of Art and Design at Louisiana State University for thirty-two years, died on August 3, 2013. He was 69

Read all past obituaries in the arts in CAA News, which include special texts written for CAA. Please send links to published obituaries, or your completed texts, to Christopher Howard, CAA managing editor, for the next list.

Filed under: Obituaries, People in the News

Recipients Selected for 2014 CAA International Travel Grants

posted by Janet Landay, Program Manager, Fair Use Initiative — Oct 07, 2013

In an effort to promote greater interaction and exchange between American and international art historians and artists, CAA offers twenty International Travel Grants to bring colleagues from around the world to its Annual Conference, to be held next year in Chicago from February 12 to 15, 2014. This is the third year of the program, which has been generously funded by the Getty Foundation since its inception. CAA is pleased to announce this year’s recipients—professors of art history, curators, and artists who teach art history—who were selected by a jury of CAA members from a highly competitive group of applicants. Their names and affiliations are listed below.

In addition to covering travel expenses, hotel accommodations, and per diems, the CAA International Travel Grants include conference registration and a one-year CAA membership. At the conference, the twenty recipients will be paired with hosts, who will introduce them to CAA and to specific colleagues who share their interests. Members of CAA’s International Committee have agreed to serve as hosts, along with representatives from the National Committee for the History of Art (NCHA) and CAA’s Board of Directors. CAA is grateful to NCHA for renewing its generous underwriting of the hosts’ expenses. The program will begin on February 11 with an introductory preconference for grant recipients and their hosts.

CAA hopes that this travel-grant program will not only increase international participation in the organization’s activities, but also expand international networking and the exchange of ideas both during and after the conference. The Getty-funded International Travel Grant Program supplements CAA’s regular program of Annual Conference Travel Grants for graduate students and international artists and scholars. We look forward to welcoming the grant recipients in Chicago at the next Annual Conference.

2014 Recipients of CAA International Travel Grants

  • Rael Artel, Director, Tartu Art Museum, Estonia
  • Eric Appau Asante, Lecturer, Kwame Nkrumah University of Science and Technology, Ghana
  • Cezar Tadeu Bartholomeu, Professor of Art History, Federal University of Rio de Janeiro, Brazil
  • Laris Borić, Assistant Professor, Department of Art History, University of Zadar, Croatia
  • Eddie M. P. Butindo-Mbaalya, Lecturer, Kyambogo University, Uganda
  • Josephina de la Maza Chevesich, Assistant Professor, Universidad Alberto Hurtado, Chile
  • Katerina Zdravkova Gadjeva, Assistant Professor, Institute of Art Studieso, Bulgarian Academy of Science, Bulgaria
  • Heba Nayal Barakat Hassanein, Head, Curatorial Affairs Department, Islamic Arts Museum, Malaysia
  • Lilianne Lugo Herrera, Professor and Vice Dean, Research and Postgraduate Studies, University of Arts, Cuba
  • Heuman Tchana Hugues, Junior Lecturer, University of Maroua/Higher Institute of the Sahel, Camaroon
  • Kanwal Khalid, Assistant Professor, Lahore College for Women University, Pakistan
  • Mahmuda Khnam, Assistant Professor, Department of Islamic History & Culture, Jagannath University, Bangladesh
  • Daria Kostina, Lecturer in Art History, Ural Federal University, and curator of B. U. Kashkin Museum, Yekaterinburg, Russia
  • Portia Malatjie, Lecturer, Art History and Visual Culture  Rhodes University, South Africa
  • Susana S. Martins, Lecturer and Research Fellow, Universidade Nova de Lisboa, Portugal
  • Fernando Luis Martinez Nespral, Head Professor and Researcher, University of Buenos Aires, School of Architecture, Design and Urbanism, Argentina
  • Magdalena Anna Nowak, Assistant Curator, National Museum in Warsaw, Poland
  • Freeborn O. Odiboh, Associate Professor of Art History and Criticism, University of Benin, Benin City, Nigeria
  • Adriana Oprea, Archivist and Researcher, National Museum of Contemporary Art, Romania
  • Ahmed E. Wahby, Lecturer and Vice Dean for Student Affairs, German University in Cairo, Egypt

 

 

 

 

Affiliated Society News for September 2013

posted by CAA — Sep 09, 2013

American Council for Southern Asian Art

The American Council for Southern Asian Art (ACSAA) will hold its sixteenth biennial meeting at the University of California, Los Angeles, from November 7 to 10, 2013. The conference program and registration information can be found on the ACSAA website or as a PDF.

American Institute for Conservation

The forty-second meeting of the American Institute for Conservation (AIC) will take place May 28–31, 2014, in San Francisco, California. The event, whose theme is “Conscientious Conservation: Sustainable Choices in Collection Care,” will showcase current practice, projects, tools, and ideas in sustainable preventive conservation and collection care. Conservation and collection-care professionals routinely incorporate preventive measures into the guardianship of cultural heritage. Coupled with the awareness that this work takes place within the larger context of an increasingly interconnected and vulnerable global society, economy, and environment, conservators have become more dedicated to sustainability. The new AIC Collection Care Network and the AIC Sustainability Committee are combining forces to develop a program for 2014 that explores how these two concepts—preventative measures and sustainability—are changing the way conservation is practiced.

Association of Art Editors

The newly revised Association of Art Editors Style Guide is now available. The 2013 revision of the online-only style guide, first published by the Association of Art Editors (AAE) in 2006, was created with a dual aim: to bring the document into alignment with sixteenth edition of The Chicago Manual of Style; and to make it reflect changes in manuscript preparation, editing, and publishing that have occurred since 2006—mainly due to evolving technologies. There’s a new Electronic Media and Devices section, and the sections for Photographs and Artwork and for Manuscript Preparation contain much fresh material. The former Reference Books section has been renamed Reference Sources, because of its mix of print and online resources. Technology-related terms have been added to the Words and Terms list and woven into various other sections. The Bibliography section has been reorganized to display more clearly the two systems of citation (notes and bibliography, author-date), while the Notes section has been substantially updated. Other sections underwent less extensive but equally necessary updates. In tandem with the revision, an extensive chart, Handy Guide to Metric Conversions with Fractions, has been added to the AAE website (see Helpful Links).

Association of Art Historians

The Association of Art Historians (AAH) has announced that Christine Riding is the organization’s new chair-elect. She will start her three-year term in April 2014, when AAH will be celebrating its fortieth anniversary. Riding is senior curator and head of art at the Royal Museums Greenwich. She was previously curator of eighteenth- and nineteenth-century British art at Tate Britain and has held curatorial positions at the Palace of Westminster, the Museum of London, and the Wallace Collection, as well as being the former deputy editor of the association’s journal, Art History. AAH looks forward to working with Riding on its development as the United Kingdom–based organization responsible for promoting the professional practice and public understanding of art history.

Historians of British Art

The Historians of British Art (HBA) offers a travel grant to a graduate student who will be presenting a paper on British art or visual culture at an academic conference in 2014. The award of $750 is intended to offset travel costs. Applicants must be current members of HBA. To apply, send a letter of request, a copy of the letter of acceptance from the organizer of the conference session, an abstract of the paper to be presented, a budget of estimated expenses (noting what items may be covered by other resources), and a CV to Renate Dohmen, HBA Prize Committee Chair. Deadline: September 15, 2013.

Historians of Islamic Art Association

The Historians of Islamic Art Association (HIAA) will hold a majlis (meeting) with four presentations on October 10 in conjunction with the 2013 conference of the Middle East Studies Association in New Orleans, Louisiana. HIAA is also pleased to announce that its fourth biennial symposium will take place October 16–18, 2014, at the new Aga Khan Museum in Toronto, Ontario. The call for papers and further symposium information are available on the HIAA website. The deadline for proposals is October 18, 2013.

International Association of Word and Image Studies

The Max Nänny Prize for the Best Article in Word and Image Studies (€500) is awarded every three years on the occasion of the triennial conference of the International Association of Word and Image Studies (IAWIS/AIERTI). IAWIS membership is not required. Articles submitted must have been already published. The date of publication should not be earlier than three years before the submission deadline. Articles should be sent in triplicate to IAWIS/AIERTI’s secretary: Catriona MacLeod, Germanic Languages and Literatures, University of Pennsylvania, 745 Williams Hall, Philadelphia, PA 19104-6305. The deadline for submissions is October 31, 2013.

International Sculpture Center

The International Sculpture Center (ISC) is accepting nominations for the 2014 Outstanding Educator Award, which recognizes individual artist-educators who have excelled at teaching sculpture in institutions of higher learning. Candidates for this award are masters of sculptural processes and techniques who have devoted their careers to the education of the next generation and to the advancement of the field of sculpture as a whole. Nominations for the Outstanding Educator Award will be accepted through October 25, 2013. Anyone can nominate a qualified educator: submissions are not limited to participants in the United States; international submissions are welcomed and encouraged. Award recipients receive benefits such as a featured article in Sculpture magazine, a lifetime ISC professional-level membership, and an award ceremony to be held at their academic institution. Educational institutions of awardees also receive benefits, including recognition in Sculpture and a one-year ISC university-level membership.

Italian Art Society

The Italian Art Society (IAS) seeks proposals for papers for the annual IAS-Kress Lecture Series in Italy, which will take place in Pisa on May 29 or June 16, 2014 (deadline: January 4, 2014). The distinguished scholar selected to present will speak on a topic related to the art of any period from Pisa or Tuscany and will receive an honorarium and supplementary lecture allowance. IAS is also pleased to provide travel grants to graduate students and recent PhD recipients presenting conference papers about the art and architecture of Italy (deadline: November 1, 2013). The second annual IAS research and publication grant will be offered to a scholar of Italian art seeking support for costs related to research and publication (deadline: November 1, 2013). It is more worthwhile than ever to join IAS. For details on the application requirements for the lecture series and for the travel and publication grants, please visit the IAS website. Members can contribute news items and articles for the IAS newsletter: please contact newsletter@italianartsociety.org. IAS has a new Italian art blog on Tumblr created by the IAS webmaster, Anne Leader. To stay current, visit the website, like IAS on Facebook, and follow IAS on Twitter.

New Media Caucus

Media-N, the journal of the New Media Caucus (NMC), has published its summer issue, “CAA Conference Edition 2013,” an annual publication showcasing NMC-sponsored conference proceedings. At CAA in New York, NMS held two panels and two events. The new edition includes essays by panel members Jenny Vogel, David Stout, David Schwartz, Nadar Assor, Clark Shaffer Stoecklet, Micha Maya Cárdenas, Zach Blas, Pinar Yoldas, Jacob Gaboury, and Alison Reed. It also includes artist statements from event participants Margaret Dolinsky, Belinda Haikes, Arthur Liou, James Morgan, Ed Osborn, Linda Post, Elia Vargas, Valentina Vella, Doo-Sung Yoo, Meredith Drum, Meredith Hoy, Paul Johson, Carolyn Kane, Leslie Raymond, Nicolas Ruley, and Ellen Wetmore.

Media-N publishes thematic editions in the fall and spring of each year in addition to the conference edition. As part of an ongoing commitment to examining new-media works and their present theoretical frameworks; the spring 2013 issue dealt with “Tracing/New/Media/Feminisms.” This provocative edition mapped the topic by way of twelve international contributors: Faith Wilding; Morehshin Allahyari and Jennifer Way; Annina Rüst; Kim Sawchuk (Studio XX) and Stéphanie Lagueux (Matricules) in conversation with Media-N; Meighan Ellis; Colleen Keough; Eleanor Dare; and Laura Gemini and Federica Timeto in conversation with Lynn Hershman Leeson.

National Art Education Association

The National Art Education Association (NAEA) is now publishing its academic journal, Studies in Art Education, in both print and digital format. The first digital issue (vol. 54, no. 4), posted on the organization’s website for free access, is a special issue on underserved populations. The forthcoming September issue of Studies in Art Education will focus on street art and include three visual essays by graffiti artists.

NAEA has just published a new research book, Teaching and Learning Emergent Research Methodologies in Art Education, edited by Candace Jesse Stout. The authors explore innovative ways to conceptualize what research in art, education, and human experience might be, what it might mean, and what it might do.

Public Art Dialogue

The spring 2013 issue of Public Art Dialogue, published by Taylor and Francis, has been edited by Cher Krause Knight and Harriet F. Senie. This special issue, called “Memorials 2: The Culture of Remembrance,” features seven articles: “L’Oiseau lunaire: Joan Miró’s to 45 rue Blomet” by Scott D. Juall; “Careless Talk Costs Lives: Beth Derbyshire’s Public Art in the London Underground” by Katherine Ingrey; “Competing for Memory: Argentina’s Parque de la memoria” by Marisa M. Lerer; “Commemorating the Oklahoma City Bombing: Reframing Tragedy as Triumph” by Harriet F. Senie; “Ground Floor Memorial” by Judith Shea; “Response: Louise Bourgeois’ The Touch of Jane Addams” by Mary Jane Jacob; and “Border Memorial: Frontera de los muertos” by John Craig Freeman. The journal also includes two book reviews: one by Cameron Cartiere of This One and the Many: Contemporary Collaborative Art in a Global Context by Grant Kester; and a second by Janet Zweig of Locating the Producers: Durational Approaches to Public Art, edited by Paul O’Neill and Claire Doherty. Public Art Dialogue is a membership benefit of the organization.

Society for Photographic Education

The Society for Photographic Education (SPE) offers student scholarships to offset the cost of attending the next national conference, to be held March 6–9, 2014, in Baltimore, Maryland. Each award includes a $500 travel stipend, a conference fee waiver, and a one-year SPE membership. Deadline: November 1, 2013.

Society of Historians of East European, Eurasian, and Russian Art and Architecture

The Society of Historians of East European, Eurasian, and Russian Art and Architecture (SHERA) has launched a new website featuring information about the organization, a news blog, member research, and a resources page with over one hundred listings and links to museums, online resources, and more. Prospective members may now join SHERA online through a secure PayPal system. Please contact SHERA’s officers to provide comments and suggestions about the website and to send contributions to the news blog and the resources page. The website was designed and built by Adam Snetman, founder of Starting Now, with input from SHERA’s officers. Special thanks are due to Kathleen Duff and Anna Sokolina for their outstanding contributions to the resources page. SHERA will continue to use its listserv for questions and discussion. You may subscribe to the listserv at http://lists.oakland.edu/mailman/listinfo/shera. Sending an email to shera@lists.oakland.edu will post your message to all list subscribers.

SHERA welcomes two new institutional members: the Mead Art Museum at Amherst College in Amherst, Massachusetts, which houses over 750 works of Russian art, many of them from the collection of Thomas P. Whitney; and the Harriman Institute at Columbia University in New York, one of the world’s leading academic institutions devoted to Russian, Eurasian, and East European studies.

Southeastern College Art Conference

The Southeastern College Art Conference (SECAC) will hold its sixty-ninth annual meeting in Greensboro, North Carolina, October 30–November 2, 2013, at the Sheraton Greensboro at Four Seasons and Koury Convention Center. The University of North Carolina, Greensboro, will host; Lawrence Jenkens is the conference director. The internationally renowned artist and North Carolina resident Mel Chin has agreed to deliver the conference’s keynote address. Art in Odd Places (AiOP), which presents visual and performance art in unexpected places, will host AiOP Greensboro 2013 during the conference. Approximately 140 sessions and panels and the SECAC 2013 Juried Exhibition will be conference highlights.

SECAC has announced the results of its board election. Elected to a first term: Laura Amrhein, University of Arkansas, Little Rock. Reelected to a second term: Amy Broderick, Florida International University; Vida Hull, East Tennessee State University; Benjamin Harvey, Mississippi State University; Kurt Pitluga, Slippery Rock University (at-large); and Beth Mulvaney, Meredith College (secretary/treasurer). Richard Doubleday of Louisiana State University has been appointed to fill the Louisiana seat.

The latest issue of Southeastern College Art Conference Review (vol. 45, no. 2) is now available.

Women’s Caucus for Art

The International Caucus of the Women’s Caucus for Art (WCA) has created a global opportunity for women in a project called Half the Sky: Intersections in Social Practice Art. WCA is fortunate to offer an unprecedented art-based cultural exchange for American women artists and essayists to exhibit and share their work with women artists in China at the LuXun Academy of Fine Arts in Shenyang, China. The academy is interested in providing an opportunity for Chinese women artists to interact with artists from the United States, to learn more about feminist art history in the West, and to share their art with American artists. The exhibition will run from April 15 to 30, 2014, at the academy’s gallery; essays will be included in the exhibition catalogue. The submission deadline for art is October 6, 2013, and October 13, 2013 for essays. Calls for submission are open to all self-identified women in the US. A limited number of delegates may be selected from those whose works are accepted into Half the Sky. For more details and to apply, go to http://wcainternationalcaucus.weebly.com/half-the-sky-2014shenyang-china.html.

Filed under: Affiliated Societies

Extended Deadline for 2015 Annual Conference Session Proposals

posted by Emmanuel Lemakis — Aug 27, 2013

CAA invites individual members to propose a session for the 103rd Annual Conference, taking place February 11–14, 2015, in New York. Proposals should cover the breadth of current thought and research in visual art, art and architectural history, theory and criticism, pedagogical issues, museum and curatorial practice, conservation, and developments in technology. For full details on the submission process for the conference, please review the information published on the Chair a 2015 Annual Conference Session webpage.

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.

The submission process for the 2015 conference is now open. In order to submit a proposal, you must be a current CAA member. Deadline extended to Tuesday, September 10, 2013.

Image Caption

A. Major, Bird’s-Eye View of the Great New York and Brooklyn Bridge, and Grand Display of Fireworks on Opening Night … May 24, 1883, 1883, color lithograph, 18⅞ x 26¼ in. Metropolitan Museum of Art, New York (artwork in the public domain).

Filed under: Annual Conference

Institutional News

posted by CAA — Aug 17, 2013

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.

August 2013

California Institute of the Arts in Valencia, along with the Roy and Edna Disney/CalArts Theater (REDCAT) in Los Angeles, has received a $244,000 grant from ArtPlace America for the September 2013 edition of “Radar L.A., an International Festival of Contemporary Theater” and a related series of performing artist residencies.

California State University, Stanislaus, has received a $20,000 Art Works Research Grant from the National Endowment for the Arts to support a study of the differential impacts of arts participation on California’s Central San Joaquin Valley, in particular Stanislaus County.

Christopher Newport University in Newport News, Virginia, has won a $20,000 Art Works Research Grant from the National Endowment for the Arts to support a study using the federal agency’s Survey of Public Participation in the Arts data to develop a multivariate framework for measuring arts participation.

The Fleet Library at the Rhode Island School of Design in Providence has received a $50,000 National Forum Grant from the Institute of Museum and Library Services to hold a symposium titled “Materials Education and Research in Art and Design: A New Role for Libraries,” which took place June 6–8, 2013, at the school’s museum.

The Galleries at Moore College of Art and Design in Philadelphia, Pennsylvania, has accepted a $20,000 grant from the Pew Center for Arts and Heritage for an upcoming exhibition called Strange Currencies.

The Institute of Contemporary Art at the University of Pennsylvania in Philadelphia has received a $25,000 grant from the Pew Center for Arts and Heritage for its upcoming exhibition, Barbara Kasten.

The Maine College of Art in Portland has unveiled a new institutional logo, created through a collaboration between Eddie Opara of the design company Pentagram and a group of design faculty and students.

The Museum of Modern Art in New York has combined its Department of Prints with the Department of Drawings, creating a new Department of Prints and Drawings. The change took effect on July 1, 2013.

The National Gallery in London, England, has partnered with the Getty Research Institute in Los Angeles, California, to add nearly 100,000 records of art sales from more than 1,200 British auction catalogues that were published between 1780 and 1800. The records will join the Getty Provenance Index, a free online art-historical database.

Northeastern University in Boston, Massachusetts, has received a $25,000 Art Works Research Grant from the National Endowment for the Arts to support an analysis of American Community Survey data to determine relationships among selections of arts majors, occupational choices, and labor-market outcomes of American college graduates, including artist job holders.

The Philadelphia Museum of Art in Pennsylvania has earned a $30,000 planning grant from the Pew Center for Arts and Heritage for a project called “The Contemporary Caucus,” which will engage staff from education, technology, marketing, communications, and exhibitions to identify and implement optimal strategies for connecting with twenty-first-century audiences.

The Philadelphia Museum of Art in Pennsylvania has received a Curatorial Travel/Internationally Collaborative Pre-exhibition Convening Grant from the Terra Foundation for American Art for an upcoming exhibition, Paul Strand: Photography and Film for the Twentieth Century.

The Rhode Island School of Design in Providence, in partnership with the design firm Project Projects, has completed a new visual identity and website for the school’s museum. Part of the initiative involved the renaming of the exhibiting institution as RISD Museum.

Saint Louis University in Missouri has accepted a $20,000 Art Works Research Grant from the National Endowment for the Arts to support a study that will examine how the growth and stability of local arts businesses have contributed to the redevelopment of downtown Saint Louis at the street and block level.

The School of the Art Institute of Chicago in Illinois has won a $20,000 grant from the National Endowment of the Arts to support a study of the characteristics, needs, and support systems of ethnically and culturally specific organizations in the United States and Canada.

The Toledo Museum of Art in Toledo, Ohio, has achieved a milestone in a twenty-year effort to reduce energy consumption. On May 21, 2013, the museum’s main building, a 101-year-old Beaux Arts structure, stopped drawing power from the electrical grid and even began returning power to the system.

The University of Iowa Museum of Art in Iowa City has received permission from its board of regents to construct a new building that will house a collection of 12,000 works. The school’s old exhibition space was destroyed by flooding in 2008.

The University of Maryland, College Park, has won a $25,000 Art Works Research Grant from the National Endowment for the Arts to support an analysis of two longitudinal data sets for information about the impact of high school arts education on college attainment, after controlling for certain preexisting differences between arts and nonarts students.

The University of Oregon in Eugene has received a $15,000 Art Works Research Grant from the National Endowment for the Arts to support the development of an online, annotated resource that identifies American prison arts programs and their histories, related research, and outcomes analyzed on a rubric to be created for this project.

The University of Southern California in Los Angeles has earned a $15,000 Art Works Research Grant from the National Endowment for the Arts to support an analysis of survey data from the National Alliance of Media Arts and Culture to map the spatial relationships of media arts organizations to local community characteristics and target audiences.

West Chester University in West Chester, Pennsylvania, has received a $25,000 Art Works Research Grant from the National Endowment for the Arts to support a study examining the physiological impacts of participation in music, dance, and the visual arts on economically disadvantaged children.

The Whitney Museum of American Art in New York has approved a new graphic identity and logo—which it calls the “responsive W”—in consultation with the design studio Experimental Jetset.

Warren Wilson College in Swannanoa, North Carolina, has received a $2.1 million grant from the Windgate Charitable Foundation to enhance its Art Department with the addition of studio craft and material arts and to foster a close partnership between it and the Center for Craft, Creativity, and Design.

The Wolfsonian–FIU at Florida International University in Miami Beach, Florida, has accepted a $5 million donation from the Knight Foundation to fund a project to make the museum’s collection digitally accessible within five years.

People in the News

posted by CAA — Aug 17, 2013

People in the News

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 2013

Academe

Keliy Anderson-Staley has joined the School of Art at the University of Houston in Texas as a tenure-track professor of photography.

Rebecca Parker Brienen has been named Vennerberg Professor of Art and head of the Department of Art, Graphic Design, and Art History at Oklahoma State University in Stillwater. Brienen previously served as the head of art history at the University of Miami in Coral Gables, Florida, from 2008 to 2013.

Jean M. K. Miller has joined the University of Missouri in St. Louis as dean of the College of Fine Arts and Communication and professor in the Department of Art and Art History. Miller was formerly associate dean of administrative affairs in the College of Visual Arts and Design at the University of North Texas in Denton.

Kent Minturn, a lecturer in the Department of Art History and Archaeology at Columbia University in New York, has been appointed director of the MA Program in Modern Art: Critical and Curatorial Studies.

Jennifer Raab, the first IFA/Andrew W. Mellon Foundation Postdoctoral Fellow at New York University’s Institute of Fine Arts, has joined the faculty of Yale University in New Haven, Connecticut.

Erika Schneider has been promoted to associate professor in the Art Department at Framingham State University in Framingham, Massachusetts, where she has taught since 2007.

Mark Tribe, an artist, educator, and the founder of Rhizome, has become chair of the MFA Fine Arts Department at the School of Visual Arts in New York.

Sarah Victoria Turner, a lecturer in the Department of the History of Art at the University of York in York, England, has been appointed to the new post of assistant director for research at the Paul Mellon Centre for Studies in British Art in London. Her appointment begins in November 2013.

Deborah Zlotsky, an artist who taught at the College of Saint Rose in Albany, New York, from 1996 to 2013, has accepted a teaching position at the Rhode Island School of Design in Providence.

Museums and Galleries

Gloria Groom, David and Mary Winton Green Curator in the Department of Medieval through Modern European Painting and Sculpture at the Art Institute of Chicago in Illinois, has been appointed the museum’s first senior curator.

Jennifer Gross has joined the DeCordova Sculpture Park and Museum in Lincoln, Massachusetts, as deputy director for curatorial affairs and chief curator. Gross had served as Seymour H. Knox Jr. Curator of Modern and Contemporary Art at the Yale University Art Gallery in New Haven, Connecticut, since 2000.

Sarah Schroth, Nancy Hanks Senior Curator at Duke University’s Nasher Museum of Art in Durham, North Carolina, has been named the museum’s new Mary D. B. T. and James H. Semans Director. Schroth had been serving as interim director since November 2012.

Susan Shifrin, associate director for education at the Philip and Muriel Berman Museum of Art at Ursinus College in Collegeville, Pennsylvania, has left the museum to serve as director of ARTZ Philadelphia, a newly formed chapter of ARTZ: Artists for Alzheimer’s.

Janne Gallen-Kallela-Sirén, formerly director of the Helsinki Art Museum in Finland, has become the new director of the Albright-Knox Art Gallery in Buffalo, New York.

Organizations and Publications

Maura Reilly has been appointed executive director of the Linda Pace Foundation, based in San Antonio, Texas. Most recently Reilly was professor and chair of art theory at Queensland College of Art, part of Griffith University in Nathan, Australia.

Tali Weinberg, program officer for Global Goods Partners, a nonprofit that provides economic opportunity, small grants, and training to artisans in marginalized communities around the world, has been selected to lead the Textile Society of America, based in Berkeley, California, as executive director.

Grants, Awards, and Honors

posted by CAA — Aug 15, 2013

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.

August 2013

Joseph Ackley, a PhD candidate in art history at New York University’s Institute of Fine Arts, has been awarded a research grant for his participation in the Mellon Research Initiative conference, “Art History and the Art of Deception,” taking place in October 2013.

Sarah Archino, a teaching fellow in the Department of Art at Millsaps College in Jackson Mississippi, who earned her doctorate in art history from the Graduate Center, City University of New York, has accepted a 2013–15 postdoctoral teaching fellowship at the Institut National d’Histoire de l’Art in Paris, France, from the Terra Foundation for American Art.

Chris Barnard, an artist based in Los Angeles, California, has spent the month of June 2013 in residency at the Vermont Studio Center in Johnson, Vermont.

Julia Whitney Barnes, an artist based in Brooklyn, New York, has received a commission to create a permanent glass-mosaic installation, titled Coloridas Historias de México, for the Brooklyn School of Inquiry.

Sinclair Bell, associate professor of art history at Northern Illinois University in DeKalb, has been awarded a Howard Fellowship from the Howard Foundation at Brown University for 2013–14 to complete a monograph on chariot racing in ancient Rome.

Sarah Berkeley has been named a resident artist by the Artists’ Cooperative Residency and Exhibitions (ACRE) in Steuben, Wisconsin. Berkeley’s collaborator, Regin Igloria, will join her during the summer 2013 program.

Wendy Bellion, associate professor in the Department of Art History at the University of Delaware in Newark, has received an eight-week visiting professorship at the Institut National d’Histoire de l’Art in Paris, France, for spring 2015.

Steven Bleicher has been awarded a commission to produce a public art project, called Nature and Man in Rhapsody of Light at the Water Cube, in Beijing, China. His collaborators for the work were the artist Jennifer Wen Ma and the lighting designer Zheng Jianwei. Bleicher was the color specialist.

Suzanne Preston Blier, Allen Whitehill Clowes Professor of Fine Arts and Professor of African and African American Studies in the Department of Art and Architecture at Harvard University in Cambridge, Massachusetts, has been named a 2013–14 Getty scholar by the Getty Research Institute in Los Angeles, California. She will work on a project entitled “By Sea, Sand, and River: Africa and the West, a History in Art (1300–1800).”

Michele Brody, an artist based in New York, has completed the Emmanuel College Artist in Residence Program, where she worked with three other artists on a class called “Contemporary Art and Artistic Practice.”

Larry Busbea has won a 2013 Grant to Individuals in the category of research from the Graham Foundation for Advanced Studies in the Fine Arts, based in Chicago, Illinois. His project is called “The Responsive Environment: Aesthetics, Design, and Ecology in the 1970s.”

Katherine Bussard, Peter C. Bunnell Curator of Photography at the Princeton University Art Museum in Princeton, New Jersey, has earned a 2013 Grant to Individuals in the publication category from the Graham Foundation for Advanced Studies in the Fine Arts. Her publication is called Unfamiliar Streets: Photographs by Richard Avedon, Charles Moore, Martha Rosler, and Philip-Lorca diCorcia.

Kimberly Callas, an artist based in Brooks, Maine, has received a Puffin Foundation Grant for her sculptural project Portraits of the Ecological Self. The project includes ten hand-sculpted, life-size portraits that combine a detailed likeness of an individual with natural materials chosen to reveal the unique bond an individual has with nature.

Luis M. Castañeda has won a 2013 Grant to Individuals in the publication category from the Graham Foundation for Advanced Studies in the Fine Arts, based in Chicago, Illinois. His book is called The Exhibitionist State: Image Economies of the Mexican “Miracle.”

Sheila Crane has won a 2013 Grant to Individuals in the category of research from the Graham Foundation for Advanced Studies in the Fine Arts, based in Chicago, Illinois. Her project is called “Inventing Informality.”

Florina Hernandez Capistrano-Baker, a consultant for the Ayala Museum in Makati City, Philippines, has been named a 2013–14 Getty scholar by the Getty Research Institute in Los Angeles, California. Her project is called “Routes of Exchange: Tenth–Thirteenth Century Gold from Butuan and Links to the Indian Ocean and Mediterranean Trade Network.”

Grace Chuang, a doctoral student in art history at New York University’s Institute of Fine Arts, has received the 2013–14 IFA/Centre Allemand Fellowship in Paris, France.

William Coleman, a doctoral student in the History of Art Department at the University of California, Berkeley, has been appointed a 2013–14 predoctoral fellow at the Smithsonian American Art Museum in Washington, DC. He will continue work on “Thomas Cole’s Buildings: Architecture in Painting and Practice in the Early Republic.”

Erin Corrales-Diaz, a PhD student in the Art Department at the University of North Carolina, Chapel Hill, has been named Joe and Wanda Corn Predoctoral Fellow at the Smithsonian American Art Museum in Washington, DC. Her research involves “Remembering the Veteran: Disability, Trauma, and the American Civil War, 1861–1915.”

Vanessa Frances Rhiannon Crosby, a PhD candidate in the Department of Religious Studies at Northwestern University in Evanston, Illinois, has been named a 2013–14 predoctoral fellow by the Getty Research Institute in Los Angeles, California. She will work on “Foreign Goods and Trans-Regional Identities: Commemoration as Cross Cultural Encounter.”

John J. Curley, assistant professor in the Department of Art at Wake Forest University in Winston Salem, North Carolina, has received a publication grant from the Terra Foundation for American Art for his book A Conspiracy of Images: Andy Warhol, Gerhard Richter, and Cold War Visuality, forthcoming from Yale University Press.

Melissa Dabakis, professor of art history at Kenyon College in Gambier, Ohio, has been appointed Terra Foundation Senior Fellow in American Art for 2013 at the Smithsonian American Art Museum in Washington, DC. She will work on “A Cultural History of Italo-American Relations, 1760–1900.”

Melissa Dabakis, professor of art history at Kenyon College in Gambier, Ohio, has received a publication grant from the Terra Foundation for American Art for her book The American Corinnes: Women Sculptors and the Eternal City, 1850–1876, forthcoming from Pennsylvania State University Press.

Chanchal Dadlani, assistant professor of art history in the Department of Art at Wake Forest University in Winston-Salem, North Carolina, has been awarded a 2013–14 National Endowment for the Humanities Fellowship by the Getty Research Institute in Los Angeles, California. Her project is titled “Art and Epistemology between Early Modern India and France: The Collection of Jean-Baptiste Gentil.”

Andrew Demirjian, an artist based in Palisades Park, New Jersey, has been awarded a 2013 New Jersey Individual Artist’s Fellowship in the media/digital art category from the New Jersey State Council on the Arts.

Laura DeVito, a student in the MFA program in collaborative design at Pacific Northwest College of Art in Portland, Oregon, has completed a 2013 Spring Break Residency with Signal Fire in the deserts of Southern California.

Barbara Diener has accepted a residency for summer 2013 at the Artists’ Cooperative Residency and Exhibitions (ACRE), based in Steuben, Wisconsin.

Rob Duarte has been awarded a summer 2013 residency at the Artists’ Cooperative Residency and Exhibitions (ACRE), based in Steuben, Wisconsin.

Sam Durant, an artist based in Los Angeles, California, has been selected to participate in the 2013 Getty Artists Program, administered by the Education Department at the J. Paul Getty Museum in Los Angeles.

Kara Fiedorek, a doctoral student in art history in the Institute of Fine Arts at New York University, has accepted a research grant for her upcoming participation in a Mellon Research Initiative conference, “Art History and the Art of Deception,” scheduled for October 4–5, 2013.

Coco Fusco, an interdisciplinary artist and writer based in Brooklyn, New York, has completed a May–June 2013 residency at the Atlantic Center for the Arts in New Smyrna Beach, Florida.

Ken Gonzales-Day, an artist and the chair of the Art Department at Scripps College in Claremont, California, has accepted a 2013 summer residency at the Terra Residency Program in Giverny, France. He will work on a project called Absence, Stasis, and Other Non-Decisive Moments.

Ellery Foutch, who completed her PhD in the History of Art Department at the University of Pennsylvania in Philadelphia, has earned a 2013–15 postdoctoral teaching fellowship at the Courtauld Institute of Art in London, England, with help from the Terra Foundation for American Art.

Carl Fuldner, a doctoral student in the Department of Art History at the University of Chicago in Illinois, has been appointed a 2013–14 predoctoral fellow at the Smithsonian American Art Museum in Washington, DC. His dissertation examines “Evolving Photography: Naturalism and American Pictorialism, 1890–1917.”

Christine Eva Göttler, a professor and chair of the Institut für Kunstgeschichte at Universität in Bern, Switzerland, has been named a 2013–14 Getty scholar by the Getty Research Institute in Los Angeles, California. She will work on “Inventing Newness: Art, Local History, and ‘World Knowledge’ in Early Modern Antwerp (Mid-Sixteenth to Mid-Seventeenth Centuries).”

Jennifer Greenhill, associate professor of art history in the School of Art and Design at the University of Illinois, Urbana-Champaign, has been awarded an eight-week visiting professorship at the Institut National d’Histoire de l’Art in Paris, France, for spring 2014, thanks to the Terra Foundation for American Art.

Kenneth Haltman, H. Russell Pitman Professor of Art History in the School of Art and Art History at the University of Oklahoma in Norman, has accepted a visiting professorship in the John F. Kennedy Institute at Freie Universität in Berlin, Germany, for spring–summer 2014, with assistance from the Terra Foundation for American Art.

Adam Han, an MFA student in fiber and material studies at the School of the Art Institute of Chicago in Illinois, has been chosen as a 2013 Windgate Museum Intern by the Center for Craft, Creativity, and Design. He will contribute to a digital exhibition at the Smithsonian Institution’s Archives of American Art in Washington, DC, that tells the story of studio craft in the United States through primary-source material.

Mazie Harris, a doctoral student in the Department of the History of Art and Architecture at Brown University in Providence, Rhode Island, has accepted a fellowship to attend the 2013 Terra Summer Residency in Giverny, France. She will work on “The Portraits and Proprietary Claims of New York Photography Studios on Broadway 1853–1884.”

Andrew Hemingway, emeritus professor of history of art in the Department of History of Art at University College London in England, has accepted a visiting professorship in the John F. Kennedy Institute at Freie Universität in Berlin, Germany, for fall–winter 2013, courtesy the Terra Foundation of American Art.

Christopher Heuer, assistant professor in the Department of Art History and Archaeology at Princeton University in Princeton, New Jersey, has accepted a 2013 Grant to Individuals in the category of public program from the Graham Foundation for Advanced Studies in the Fine Arts. He will work on a project called “7 March 1965” with his collaborators, Abbey Dubin and Matthew Jesse Jackson, in a collective called Our Literal Speed.

Patricia Hills, professor in the Department of History of Art and Architecture at Boston University in Massachusetts, has been selected as a guest lecturer for 2013 at the Terra Summer Residency in Giverny, France. She will present “Whatever Happened to the ‘New Art History’? Reflections on Theoretical and Methodological Approaches since the 1970s.

Jessica L. Horton, an independent scholar who earned her doctorate in the Graduate Program in Visual and Cultural Studies at the University of Rochester in Rochester, New York, has been appointed a 2013–14 postdoctoral fellow at the Smithsonian American Art Museum in Washington, DC. She will work on “Diplomatic Choreographies: The Travels of Native American Dance Paintings during the Cold War.”

Kellie Jones, associate professor in the Department of Art History and Archaeology at Columbia University in New York, has been named a senior scholar for the 2013 Terra Summer Residency in Giverny, France. Her project is titled “Crisscrossing the World: Los Angeles Artists and the Global Imagination, 1960–1980.”

Wendy Katz, an associate professor in the Department of Art and Art History at the University of Nebraska in Lincoln, has been appointed a 2013–14 senior fellow at the Smithsonian American Art Museum in Washington, DC. Her project is “The Politics of Art Criticism in the Penny Press, 1833–61.”

Miri Kim, a PhD student in the Department of Art and Archaeology at Princeton University in Princeton, New Jersey, has accepted a fellowship to attend the 2013 Terra Summer Residency in Giverny, France. She will work on “‘Right Matter in the Right Place’: The Paintings of Albert Pinkham Ryder.”

Kristina Renee Kleutghen, assistant professor in the Department of Art History and Archaeology at Washington University in Saint Louis, Missouri, has been awarded a 2013–14 National Endowment for the Humanities fellowship by the Getty Research Institute in Los Angeles, California. She will continue her work on “Visions of the West: Rediscovering Eighteenth-Century Chinese Perspective Prints and Viewing Devices.”

Marina Kliger, a PhD student in art history in the Institute of Fine Arts at New York University, has accepted a nine-week summer internship at the National Gallery of Art in Washington, DC. She will catalogue and digitize rare French and Belgian reproductive prints.

Ethan W. Lasser, Margaret S. Winthrop Associate Curator of American Art at the Harvard Art Museums in Cambridge, Massachusetts, has received the ninth annual Patricia and Phillip Frost Essay Award from the editorial board of the journal American Art, published by the Smithsonian American Art Museum, based in Washington, DC. His article, “Selling Silver: The Business of Copley’s Paul Revere,” appeared in the Fall 2012 issue of the journal.

Dimitrios Latsis, a PhD candidate in the School of Art and Art History at the University of Iowa in Iowa City, has been named Committee on Institutional Cooperation–Smithsonian Predoctoral Fellow by the Smithsonian American Art Museum in Washington, DC. In a position jointly hosted with the National Museum of American History, Latsis will research “Nature, Nation, Narrative: The Discourse of Landscape in Pre–World War II American Cinema.”

Tirza T. Latimer, chair of the Graduate Program in Visual and Critical Studies at California College of the Arts in Oakland, has been appointed a guest lecturer at the 2013 Terra Summer Residency in Giverny, France. She will give a talk on “The Making of Modernism’s Origin Myths.”

Craig Lee, a doctoral candidate in the Department of Art History at the University of Delaware in Newark, has taken a nine-week summer internship at the National Gallery of Art in Washington, DC. He will review files, construction plans, and progress photographs to produce materials showing the development and evolution of the museum’s master facilities plan projects.

Sara Lees, along with her coauthors Richard Tand and Sandra L. Webber, has won the thirty-third annual George Wittenborn Memorial Book Award from the Art Libraries Society of North America. Their publication is called Nineteenth-Century European Paintings at the Sterling and Francine Clark Art Institute (Williamstown, MA: Sterling and Francine Clark Art Institute, 2012).

Lihong Liu, who recently earned her doctorate in art history from the Institute of Fine Arts at New York University, has received a 2013–14 postdoctoral fellowship from the Getty Research Institute in Los Angeles, California. She will work on “Artistic Exchange between China and Europe during the Eighteenth Century.”

Michael Lobel, professor of art history at Purchase College, State University of New York, in Purchase, New York, has received a 2012–13 Chancellor’s Award for Excellence from his institution. The award recognizes his work in the category of scholarship and creative activities.

Stéphane Loire, chief curator in the Paintings Department at the Musée du Louvre in Paris, France, has been named a 2013–14 museum guest scholar by the Getty Research Institute in Los Angeles, California. His host at the J. Paul Getty Museum will be the Department of Paintings.

Joe Madura, a doctorial student in the Art History Department at Emory University in Atlanta, Georgia, has been appointed a 2013–14 predoctoral fellow at the Smithsonian American Art Museum in Washington, DC. His dissertation topic is “Revising Minimal Art in the AIDS Crisis, 1984–98.”

Christopher Manzione, an artist based in Vernon, New Jersey, has been awarded a 2013 New Jersey Individual Artist’s Fellowship in the category of media/digital art from the New Jersey State Council on the Arts.

Lee Mazow, associate professor of art history in the Department of Art at the University of Arkansas in Fayetteville, has been awarded the twenty-fifth annual Charles C. Eldredge Prize for Distinguished Scholarship in American Art from the Smithsonian American Art Museum, based in Washington, DC. The prize recognizes his latest book, Thomas Hart Benton and the American Sound (University Park: Pennsylvania State University Press, 2012).

Kori Newkirk, an artist based in Los Angeles, California, has won a 2013 fellowship from the Fellows of Contemporary Art. The award comes with a $10,000 prize.

Laura Hart Newlon has accepted a residency at the Artists’ Cooperative Residency and Exhibitions (ACRE) in Steuben, Wisconsin. Newlon’s collaborator, Kate O’Neill, will join her at the summer 2013 program.

Kasia Ozga has been awarded a summer 2013 residency at the Artists’ Cooperative Residency and Exhibitions (ACRE), based in Steuben, Wisconsin.

Laure Poupard, a doctoral student at Université Paris IV—Sorbonne in Paris, France, has earned a research travel grant to the United States from the Terra Foundation for American Art. He/she will work on “The Artistic Sources of Propaganda Photographs: Official Photographic Exhibitions in America, 1935–1946.”

Meha Priyadarshini, a doctoral candidate in the Department of History at Columbia University in New York, has been named a 2013–14 predoctoral fellow by the Getty Research Institute in Los Angeles, California, to work on “From Jingdezhen to Puebla: Cultural and Artistic Exchange across the Pacific.”

Jennifer Quick, a graduate student in the Department of History of Art and Architecture at Harvard University in Cambridge, Massachusetts, has been accepted the 2013 Phillip and Patricia Frost Predoctoral Fellowship at the Smithsonian American Art Museum in Washington, DC. Her project is called “The Dynamics of Deskilling: Ed Ruscha 1956–70.”

Leslie Reinhardt, an independent scholar based in Maryland, has been appointed a 2013–14 senior fellow at the Smithsonian American Art Museum in Washington, DC. She will explore “Copley’s Death of Major Peirson” in a joint position with the National Portrait Gallery

Steve Rowell, an artist, curator, and researchers, has won a 2013 Grant to Individuals in the film category from the Graham Foundation for Advanced Studies in the Fine Arts. His project is called Parallelograms.

Casey Ruble, an artist based in Clinton, New Jersey, has been awarded a 2013 New Jersey Individual Artist’s Fellowship for her works on paper from the New Jersey State Council on the Arts.

Sofia Sanabrais, an independent scholar based in Los Angeles, California, has been named a 2013–14 Getty scholar by the Getty Research Institute in Los Angeles. Her research project is called “The Globalization of Taste: The Influence of Asia on Artistic Production in Colonial Latin America.”

Emily Schlemowitz, an MA student in art history at Hunter College, City University of New York, has been selected as a 2013 Windgate Museum Intern by the Center for Craft, Creativity, and Design. She will work closely with curatorial and exhibitions staff at the John Michael Kohler Arts Center in Sheboygan, Wisconsin, to assist with research in preparation for the 2014 Arts/Industry exhibition and publication.

Ileana Selejan, a PhD student in art history in the Institute of Fine Arts at New York University, has been awarded a research grant to participate in a Mellon Research Initiative conference, “Art History and the Art of Deception,” that will take place October 4–5, 2013.

Yoshiaki Shimizu, Frederick Marquand Professor of Art and Archaeology (emeritus) at Princeton University in Princeton, New Jersey, has been named a 2013–14 guest scholar by the Getty Research Institute in Los Angeles, California. His topic is “Transmission and Transformation: The China–Japan Interface in Arts and Other Things.”

Elizabeth Simmons, a graduate student on the PhD curatorial track in the Department of Art History at the University of Delaware in Newark, has accepted a nine-week summer internship at the National Gallery of Art in Washington, DC. She will assist in updating collections records according to recent catalogues raisonnés and other art-historical research.

Xiao Situ, a PhD student in the Department of the History of Art at Yale University in New Haven, Connecticut, has accepted a 2013–14 predoctoral fellowship from the Wyeth Foundation for American Art. Situ will continue research and writing for “Emily Dickinson’s Window Culture, 1830–86” at the Smithsonian American Art Museum in Washington, DC.

Marie M. Sivak, an artist based in Portland, Oregon, has received the 2013 Margo Harris Hammerschlag Direct Carving Award, which comes with a $10,000 prize.

Deborah Stratman, an artist and filmmaker based in Chicago, Illinois, has won a 2013 Grant to Individuals in the exhibition category from the Graham Foundation for Advanced Studies in the Fine Arts. Her project is titled Subsurface Voids.

Edward J. Sullivan, Helen Gould Sheppard Professor in the History of Art at New York University’s Institute of Fine Arts, has received a publication grant from the Terra Foundation for American Art. His book, forthcoming from Yale University Press, is called From San Juan to Paris and Back: Francisco Oller, Caribbean Artist in the Age of Impressionism.

Tina Tahir, an artist based in Chicago, Illinois, has been selected a winner of the 2013 ARTslanT Prize for her mixed-media sculpture Thirty (2012).

Ellen Tani, a doctoral candidate in the Department of Art and Art History at Stanford University in Stanford, California, has received a 2013–15 predoctoral dissertation fellowship from the Carter Woodson Institute for African and African-American Studies at the University of Virginia in Charlottesville. Her dissertation is entitled “Black Conceptualism and the Atmospheric Turn, 1968–2008.”

Alex Taylor a doctoral student in the Department of History of Art at Oxford University in Oxford, England, has accepted a fellowship to attend the 2013 Terra Summer Residency in Giverny, France. She will work on Forms of Persuasion: Art and Corporate Enterprise in the 1960s.”

Nancy Um, associate professor in the Department of Art History at Binghamton University, State University of New York, in Binghamton, New York, has been named a 2013–14 Getty scholar by the Getty Research Institute in Los Angeles, California. Um will continue working on
“The Material World of the Overseas Merchant in Yemen: Ceremonies, Gifts, and the Social Protocols of Trade, 1700-1750.”

Luis Vargas-Santiago, a graduate student in the Department of Art and Art History at the University of Texas at Austin, has been named Terra Foundation Predoctoral Fellow in American Art for 2013–14 by the Smithsonian American Art Museum in Washington, DC. His dissertation is called “The Diaspora of Emiliano Zapata: From the Mexican Revolution to the American Imagination.”

Charlene Villaseñor-Black, associate professor in the Department of Art History at the University of California, Los Angeles, has been named a 2013–14 Getty scholar by the Getty Research Institute in Los Angeles, California. She is researching “Itinerant Artists in the Global Early Modern World.”

Emily Warner, a PhD candidate in the History of Art Department at the University of Pennsylvania in Philadelphia, has accepted a 2013–14 predoctoral fellowship from the Smithsonian American Art Museum in Washington, DC. Her dissertation is entitled “Crafting the Abstract Environment: The Abstract Mural in New York, 1935–60.”

Sarah Warren, assistant professor of art history at Purchase College, State University of New York, in Purchase, New York, has been named James Renwick Senior Fellow in American Craft at the Smithsonian American Art Museum in Washington, DC. The name of her research project is “Craft between Modernism and Counterculture: Rhinebeck and the Studio Craft Movement.”

Spencer Wigmore, a doctoral student in the Department of Art History at the University of Delaware in Newark, has taken a nine-week summer internship at the National Gallery of Art in Washington, DC. He will assist in research and organization for a forthcoming exhibition on nineteenth-century American landscape photography.

Tatsiana Zhurauliova, a PhD candidate in the Department of the History of Art at Yale University in New Haven, Connecticut, has accepted a 2013 fellowship for the Terra Summer Residency in Giverny, France. She will work on
“Arcadia Americana: American Landscape in the Art of Arshile Gorky, Pavel Tchelitchew, and Yasuo Kuniyoshi during World War II.”

Claire Zimmerman, assistant professor of art history and architecture at the University of Michigan in Ann Arbor, has won a 2013 Grant to Individuals for a publication from the Graham Foundation for Advanced Studies in the Fine Arts, based in Chicago, Illinois. Her book project is called Photographic Modern Architecture.