Donate Now
Join Now      Sign In
 

CAA News Today

People in the News

posted by CAA — Dec 17, 2012

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.

December 2012

Academe

Jay Gould, a photographer and a member of the faculty at the Maine Media Workshops, has joined Maryland Institute College of Art in Baltimore as a full-time faculty member in photography for academic year 2012–13.

Anne D. Hedeman has been appointed Judith Harris Murphy Distinguished Professor of Art History in the Kress Foundation Department of Art History at the University of Kansas in Lawrence. Prior to accepting the position, she was professor of art history and medieval studies at the University of Illinois in Urbana-Champaign.

Sonja Kelley, who has taught in the Department of Art and Art History at Macalester College in St. Paul, Minnesota, has been appointed a full-time faculty member in art history, theory, and criticism for academic year 2012–13 at Maryland Institute College of Art in Baltimore.

Daniela Sandler, a scholar and professor from the University of California, Santa Cruz, has joined Maryland Institute College of Art in Baltimore as a full-time faculty member in art history, theory, and criticism for academic year 2012–13.

Dominic Terlizzi, an artist, has become a full-time faculty member in foundations for academic year 2012–13 at Maryland Institute College of Art in Baltimore.

Allison Yasukawa, a visiting lecturer at the University of St. Frances in Joliet, Illinois, and a teaching artist with the Museum of Contemporary Art and the Chicago Artists Partnership in Education, has joined Maryland Institute College of Art in Baltimore as a full-time faculty member in humanistic studies for academic year 2012–13.

Museums and Galleries

Susan Ball, formerly interim director of programs at the New York Foundation for the Arts, has been appointed deputy director of the Bruce Museum in Greenwich, Connecticut. Ball had served as CAA executive director from 1986 to 2005.

Ian Berry, curator and associate director of the Frances Young Tang Teaching Museum and Art Gallery at Skidmore College in Saratoga Springs, New York, has been named director of his institution.

Sabine Breitwieser has left the Museum of Modern Art in New York, where she had been curator of media and performance art, for the Museum der Moderne Salzburg in Germany, where she will serve as director.

Nicholas Capasso, deputy director for curatorial affairs at the deCordova Sculpture Park and Museum in Lincoln, Massachusetts, has been named the new director of the Fitchburg Art Museum in Fitchburg, Massachusetts.

Mara Gladstone has been appointed assistant curator at the Palm Springs Art Museum in Palm Springs, California. She recently received her doctorate from the Graduate Program in Visual and Cultural Studies at the University of Rochester in Rochester, New York.

Katherine Hall, who recently earned a master’s degree in art history from the University of Georgia in Athens, has become curatorial fellow at the Houston Center for Contemporary Craft in Texas. Her position is for three years.

Thomas Kren has been promoted to associate director of collections for the J. Paul Getty Museum in Los Angeles, California. He had served as acting associate director for collections at the museum since January 2010 and also as senior curator of manuscripts there.

Elizabeth Morrison has been appointed senior curator of manuscripts at J. Paul Getty Museum in Los Angeles, California, succeeding Thomas Kren. She had been acting senior curator of manuscripts at the museum since January 2012.

Elizabeth A. Williams, assistant curator of decorative arts at the Los Angeles County Museum of Art in California, has been appointed curator of decorative arts and design at the Rhode Island School of Design Museum in Providence. She will take up her position in January 2013.

Organizations and Publications

Brooke Davis Anderson, deputy director of curatorial planning at the Los Angeles County Museum of Art in California, has been appointed executive director of Prospect New Orleans in Louisiana. She will work with the biennial’s artistic director and two curatorial advisors to organize Prospect.3.

Karin Higa, an independent scholar and curator and formerly senior curator at the Japanese American National Museum in Los Angeles, California, has been selected as a cocurator of Made in L.A. 2014, the city’s next biennial art exhibition.

Grants, Awards, and Honors

posted by CAA — Dec 15, 2012

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.

December 2012

Anna Sigrídur Arnar of Minnesota State University, Moorhead, has received the Robert Motherwell Book Award for the best publication in the history and criticism of modernism in the arts—including the visual arts, literature, music, and the performing arts. The $20,000 prize, administered by the Dedalus Foundation, based in New York, recognizes The Book as Instrument: Stéphane Mallarmé, the Artist’s Book, and the Transformation of Print Culture (Chicago: University of Chicago Press, 2011). Nominations are made by publishers, and the winner is chosen by a panel of distinguished scholars and writers.

Oskar Bätschmann of the Schweizerisches Institut für Kunstwissenschaft in Zürich, Switzerland, has been named Samuel H. Kress Professor at the National Gallery of Art’s Center for Advanced Study in the Visual Arts in Washington, DC.

Nina Berson has used a National Endowment for the Humanities (NEH) grant to produce a summer institute, “Mesoamerica and the Southwest: A New History for an Ancient Land,” which took place June 17–July 23, 2012. This NEH institute, sponsored by the Community College Humanities Association and held in Mexico, Arizona, and New Mexico, examined the interconnections among Mesoamerican and ancient Southwestern archaeological, anthropological, and art-historical studies.

S. Hollis Clayson, Bergen Evans Professor in the Humanities and Professor of Art History at Northwestern University in Evanston, Illinois, has been named the 2013–14 Samuel H. Kress Professor at the National Gallery of Art’s Center for Advanced Study in the Visual Arts in Washington, DC. Clayson will be the senior member of the center and counsel postdoctoral fellows. She will also complete her book, Electric Paris: The Visual Cultures of the City of Light in the Era of Thomas Edison (to be published by the University of Chicago Press).

Jonathan Fineberg, professor of art history emeritus at the University of Illinois in Urbana-Champaign, has received a 2012 Craft Research Fund Project Research Grant, administered by the University of North Carolina’s Center for Craft, Creativity, and Design in Hendersonville. He will use the $5,000 award to conduct research for the first scholarly monograph on the work of Robert Arneson.

Julia P. Herzberg has received a 2012–13 Fulbright Scholar grant. From March to May 2013, she will teach a graduate course, “Latin American Artists in the US from 1995: Globalism and Localism,” at the Universidad Diego Portales in Santiago, Chile, and work on a curatorial project at el Museo de la Memoria y los Derechos Humanos, also in Santiago.

Alexander Brier Marr of the University of Rochester in Rochester, New York, has earned an Ailsa Mellon Bruce Predoctoral Fellowship for Historians of American Art to Travel Abroad. The fellowship is administered by the National Gallery of Art’s Center for Advanced Study in the Visual Arts in Washington, DC.

Constance Moffett has used a National Endowment for the Humanities (NEH) grant to produce a summer institute, “Leonardo da Vinci: Between Art and Science” which took place June 25–July 13, 2012. This NEH institute, sponsored by the University of Virginia and Kunsthistorisches Institut in Florenz, explored how Leonardo melded art and science by using geography and cartography to begin his study of military engineering, canalization, and architecture.

Rachel Silberstein, a doctoral student in oriental studies at the University of Oxford in England, has earned a student and new professionals scholarship from the Textile Society of America. The award provided free registration for the society’s symposium, which was held September 19–23, 2012, in Washington, DC.

Carol Solomon, visiting associate professor of art history at Haverford College in Haverford, Pennsylvania, has received a 2012–13 Fulbright Award in the Middle East and North Africa Regional Reserach Program. She will undertake research in Tunisia and Morocco on contemporary art of the Maghreb, focusing on issues of national memory, culture, and identity.

Jenni Sorkin, assistant professor of contemporary art history at the University of Houston in Texas, has received a 2012 Craft Research Fund Project Research Grant from the University of North Carolina’s Center for Craft, Creativity, and Design in Hendersonville. Her $12,500 award will go toward research on a book-length study that recovers the gendered history of weaving and its uncertain disciplinary status within the mid-twentieth-century university.

Catherine Whalen, assistant professor at the Bard Graduate Center for Studies in the Decorative Arts, Design, and Culture in New York, has accepted a 2012 Craft Research Fund Project Research Grant, administered by the University of North Carolina’s Center for Craft, Creativity, and Design in Hendersonville. She will share the $8,000 award with a colleague, working toward a book on Paul Hollister, a critic and historian of the studio glass movement.

Teresa Wilkins, a doctoral student at Indiana University in Bloomington, has earned a 2012 Craft Research Fund Graduate Research Grant for $8,285 from the University of North Carolina’s Center for Craft, Creativity, and Design in Hendersonville. She will conduct dissertation research investigating the construction, use, and sociopolitical meaning of the modern feather arts of Hawai‘i.

Yanfei Zhu, a doctoral student in the Department of History of Art at Ohio State University in Columbus, has been named an Ittleson Fellow for 2011–13 by the National Gallery of Art’s Center for Advanced Study in the Visual Arts in Washington, DC. His project is titled “Transtemporal and Cross-Border Alignment: The Rediscovery of Yimin Ink Painting in Modern China, 1900–1949.”

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.

December 2012–January 2013

Mickalene Thomas: How to Organize a Room around a Striking Piece of Art
Lehman Maupin Gallery
540 West 26th Street, New York, NY 10001; and 201 Chrystie Street, New York, NY 10002
November 14, 2012–January 5, 2013

The two-part Mickalene Thomas: How to Organize a Room around a Striking Piece of Art is a the artist’s third solo exhibition at Lehmann Maupin Gallery. The Lower East Side space will present new large-scale paintings depicting landscapes and interior scenes and a series of short films created during her recent travels in Europe. In Chelsea, Thomas’s first documentary film, Happy Birthday to a Beautiful Woman, will be shown alongside photographs of her mother and long-time muse, Sandra Bush. The film is an emotionally raw and loving portrait of Bush as she reflects on her life experiences, including her personal struggles and battle with chronic illness. Thomas will also re-create one of her tableau environments in the gallery, allowing viewers to fully immerse themselves in the artist’s world while watching the film.

Deborah Kass

Deborah Kass, Before and Happily Ever After, 1991, oil and acrylic on canvas, 72 x 60 in. (artwork © Deborah Kass)

Deborah Kass: Before and Happily Ever After
Andy Warhol Museum
117 Sandusky Street, Pittsburgh, PA 15212
October 27, 2012–January 6, 2012

Before and Happily Ever After is the first midcareer retrospective of Deborah Kass at the temple of the artist who unleashed her potent turn to pop culture in order to explore first her “absence” and then her “presence” in it as a lesbian Jewish woman, as she has recently said. Consisting of seventy-five works, the exhibition unites the abstraction of her early and most recent work, unravels the development of Kass’s audiovisual mining of art history and pop culture through breakthrough painting series (such as The Warhol Project, The Jewish Jackie, and her latest, feel good paintings for feel bad times), and offers an incredible opportunity to be marveled by the variety of politics—and pleasures—that underpin her affective yet multilayered dialogue with pop culture and the exploration of (her) identity through it. As Kass sheds her own light on Andy Warhol through her work, and as her work continues to defend the potent ways in which women artists have engaged pop culture, the show promises to pave the way for other dialogues between women (neo-Pop or Pop) artists with (American) Pop or Warhol at his museum.

Ann Hamilton: the event of a thread
Park Avenue Armory
643 Park Avenue, New York, NY 10065
December 5, 2012–January 6, 2013

Ann Hamilton’s enchanting installation, the event of a thread, conducts a powerful, affective weaving of sounds, words, textures, and motions that shrouds the visitors with the intimacy of touch—the hand of cloth as the artist puts it—while translating the bodily intimacy of the “lap” and the daydream-like state of mind of “being read” into architectural scale and public experience. A multisensorial site-specific piece that is titled after a line from a definition of weaving by Anni Albers, the event of a thread is reminiscent of the artist’s childhood memories of daydreaming while being read in her grandma’s lap. Comprised of a field of swings, the installation is divided by an enormous silk glacial curtain whose motion is determined by the move of the swings and bracketed by a textile metaphorically being woven by the sonic threads of reading, writing, and live and recorded song. At the front of the installation two actors, covered with textured capes, read to caged birds, improvising combinations of Aristotelian excerpts that further elaborate on the role of touch in our self-awareness, weaving a tapestry of whispers that reach the visitors through separate speakers packaged in paper bags throughout the installation space. At the other end, rotating authors respond to the world outside and behind, weaving words into letters addressed to Far, to Near, to Time, to Sadness, and so on. In effect, the event of a thread reinstills belief in the viability and power of “relational” art as art literalizing its political claim to restoring the social bond by creating proximities through a strikingly intimate and poetic manner.

Caroline Burton: Prey
Accola Griefen Gallery
547 West 27th Street, No. 634, New York, NY 10001
December 7, 2012–January 12, 2013

In her first solo exhibition at Accola Griefen Gallery, Caroline Burton is exhibiting sculpture, painting, and drawing inspired by objects left behind or discarded. Her sculptural pillows in neutral tones allude to rest but render that impossible by the Hydrocal, wire, and canvas forms. Two rabbit’s feet cast in bronze hang on one wall and refer to the exhibition title. The exhibition also includes oil paintings on canvas, which depict discarded papers and rags.

Doing What You Want: Marie-Louise Ekman Accompanied by Sister Corita Kent, Mladen Stilinovic, and Martha Wilson
Tensta Konsthall
Taxingegränd 10, Box 4001, 163 04 Spånga, Stockholm, Sweden
October 18, 2012–January 13, 2013

Maria Lind, director of Tensta Konsthall, has interestingly used the work of a variety of artists, including Corita Kent and Martha Wilson, to flesh out the rebellious politics and feminist strategies of the work of Marie Louise Ekman, a fascinating and at times controversial figure of the Swedish art scene since the 1960s. Though a prominent artist who has worked in various media, celebrated in her home country mostly for her films, Ekman has not yet received the attention she deserves for her multifarious work that bridges Pop art and feminism from an idiosyncratic and often absurdist “girlie” point of view, radically exploring feminine identity and attacking bourgeois conventions. The exhibition focuses on her work from the 1960s to the 1980s, bringing together her transgressive objects that range from environments of Disney dolls and doll-occupied canvases, sewn silk, and pink fur objects to paintings on silk that straddle a variety of themes with her characteristic childish cartoony style.

Brooke Moyse

Brooke Moyse, Mount, 2011, oil on canvas, 72 x 80 in. (artwork © Brooke Moyse; photograph by Jason Mandella)

To Be a Lady: Forty-Five Women in the Arts
1285 Avenue of the Americas Art Gallery
1285 Avenue of the Americas, New York, NY 10019
September 24, 2012–January 18, 2013

Curated by Jason Andrew and organized by Norte Maar, this cross-disciplinary, cross-generational exhibition includes work by forty-five artists born over the last century “who happen to be women.” Those included are: Alma Thomas, Charmion von Wiegand, Louise Nevelson, Alice Neel, Barbara Morgan, Irene Rice Pereira, Janice Biala, May Wilson, Lenore Tawney, Louise Bourgeois, Edith Schloss, Grace Hartigan, Ruth Asawa, Betye Saar, Pat Passlof, Jay DeFeo, Susan Weil, Lee Bontecou, Viola Frey, Judy Dolnick, Kathleen Fraser, Hermine Ford, Mimi Gross, Nancy Grossman, Elizabeth Murray, Judy Pfaff, Genesis Breyer P-Orridge, Mira Schor, Mary Judge, Nancy Bowen, Lindsay Walt, Michelle Jaffé, Elisabeth Condon, Tamara Gonzales, Jessica Stockholder, Brece Honeycutt, Ellie Murphy, Julia K. Gleich, Austin Thomas, Ellen Letcher, Rachel Beach, Vanessa German, Kirsten Jensen, Brooke Moyse, and Nathlie Provosty.

Rosemarie Trockel: A Cosmos
New Museum of Contemporary Art
235 Bowery, New York, NY 10002
October 24, 2012–January 20, 2013

Curated by Lynne Cooke, A Cosmos is a truly remarkable exhibition, both as a survey of Rosemarie Trockel’s work and as a combination of different curatorial and museum-display models that pertinently structure, interweave, and contextualize the artist’s signature themes and media, illuminating her multifarious work in a productive and enchanting way.

Kate Davis: Not Just the Perfect Moments
Drawing Room
Tannery Arts, 12 Rich Estate, Crimscott Street, London SE1 5TE, United Kingdom
December 4, 2012–February 2, 2013

Kate Davis, a New Zealand–born artist based in Glasgow, has produced a new body of commissioned work for her solo exhibition at Drawing Room. Questioning how to bear witness to the complexities of the past, her artwork is an attempt to reconsider, reclaim, and reinvent what certain histories could look, sound, and feel like. This has often involved responding to the aesthetic and political ambiguities of historical artworks and their reception. Working across a range of media, Davis has kept drawing at the critical core of her visual vocabulary, and this exhibition is the first time she addresses her relationship to the medium, its activity, and its history so directly. Focusing on ideologies perpetuated through certain approaches to the teaching of drawing, Not Just the Perfect Moments will attempt to stand alongside the late artist, Jo Spence, to reexamine and unpick some of the ways in which a representational practice, such as drawing, has constructed perceptions of the individual. Spence’s groundbreaking photographic works often asked who owns images—especially images of the body. In this exhibition, as with much of Davis’s practice, photography and drawing are brought into close relation and questioned as techniques for challenging, and caring for, a past and future.

The Female Gaze: Women Artists Making Their World
Pennsylvania Academy of the Fine Arts Museum
118–128 North Broad Street, Philadelphia, PA 19102
November 17, 2012–April 7, 2013

With great treasures and many surprises, The Female Gaze: Women Artists Making Their World consists of works from the museum’s recently acquired Linda Lee Adler Collection of Art by Women, which boasts close to five hundred works of art (including paintings, photographs, drawings, watercolors, pastels, collage, prints, fabric pieces, ceramics, bronze, wood, and sculpture in other media) by over 150 artists. The gift includes works by artists not previously represented in the museum, such as Louise Bourgeois, Joan Brown, Viola Frey, Ana Mendieta, Christina Ramberg, Kiki Smith, and Beatrice Wood, as well as complementary works by artists already in the collection, including Gertrude Abercrombie, Edna Andrade, Diane Burko, Sue Coe, Janet Fish, Sarah McEneaney, Alice Neel, Louise Nevelson, Gladys Nilsson, Elizabeth Osborne, Betye Saar, and Nancy Spero. A fully illustrated catalogue, with contributions from Glenn Adamson, Anna C. Chave, Robert Cozzolino, Joanna Gardner-Huggett, Melanie Herzog, Janine Mileaf, Mey-Yen Moriuchi, Jodi Throckmorton, and Michele Wallace, is something to covet.

Filed under: CWA Picks, Uncategorized — Tags:

Make a Year-End Donation to CAA’s Annual Fund

posted by Patricia McDonnell — Dec 05, 2012

As 2012 comes to a close, the College Art Association extends thanks for your ongoing membership and support. Members, like you and me, are the engine and purpose for CAA, and it is through our help that CAA provides the myriad programs and services that so many artists, art historians, and other professionals in the visual arts depend upon. This fall, please consider making a generous contribution to CAA’s Annual Fund.

The Annual Fund is integral to CAA’s mission, providing flexible funding to supplement the project-specific support that comprises the majority of charitable gifts to the organization. CAA is dedicated to continuing prized resources that members have come to expect, including:

  • The orchestration of the world’s preeminent conference for artists, art historians, critics, conservators, curators, students, and other professionals in the visual arts
  • The production of its highly regarded publications: The Art Bulletin, Art Journal, and caa.reviews
  • An abundance of online resources, including the Online Career Center for job listings, Standards and Guidelines for professional practices, and CAA News to keep you informed of developments in the field
  • Essential advocacy work to promote federal support of the visual art
  • Fellowships to graduate students and publishing grants for books in art history
  • Travel grants to students and international professionals to attend the Annual Conference
  • The production of yearly directories of graduate programs in the arts, which provide detailed information on higher-education programs in studio art and design, art and architectural history, curatorial studies, and more

CAA is dedicated to remaining a progressive voice and indispensible resource in the visual arts, but can only do so with the help and participation of its membership. Your contribution to the Annual Fund will allow CAA to make its active, essential voice in the art world a vital one into the future.

My great thanks for your ongoing support of CAA and contribution to this year’s appeal.

Sincerely,

 

 

Patricia McDonnell
CAA Vice President for External Affairs

P.S. Contributions to CAA’s Annual Fund are 100 percent tax deductible.

Filed under: Acknowledgments, Membership

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 2012

Susan Hamburger

Susan Hamburger, detail of a cartouche in the installation of Creeping Ornamentalism, 2012, acrylic-painted collage on paper with foam-board molding, dimensions variable (artwork © Susan Hamburger; photograph provided by the Visual Art Center of New Jersey)

Susan Hamburger: Creeping Ornamentalism
Mitzi and Warren Eisenberg Gallery
Visual Art Center of New Jersey, 68 Elm Street, Summit, NJ 07901
September 14–December 2, 2012

In Creeping Ornamentalism, Susan Hamburger creates a Rococo period room complete with faux moldings and intricate hand-painted panels that focus on the destruction caused by Hurricane Irene in 2011. The three states she depicts in the panels—New Jersey, Vermont, and Massachusetts—are all places where the artist has lived in the past. Imagery of flora and fauna suggests growth and destruction, and Hamburger includes likenesses of each state’s endangered animals: the osprey, the vesper sparrow, and the blue-spotted salamander. Like previous period rooms by Hamburger, the installation at Eisenberg Gallery borrows designs from eighteenth- and nineteenth-century European decorative and fine arts to address current social, political, and economic issues.

Materializing “Six Years”: Lucy R. Lippard and the Emergence of Conceptual Art
Brooklyn Museum
200 Eastern Parkway, Brooklyn, NY 11238
September 14, 2012–February 3, 2013

Superb in its conception and realization, Materializing “Six Years” pays homage to the influential art critic and feminist pioneer, Lucy R. Lippard, by exploring the role that her 1973 book on conceptual art, Six Years, played in the critical construction of the emergent art movement back then and its historical perception today. Organized by Catherine Morris of the museum and Vincent Bonin, an independent curator, the exhibition—itself a prime example of feminist curatorial practice—brings together the work of approximately ninety international artists, including Vito Acconci, Eleanor Antin, and Richard Serra, to illuminate how Lippard’s curatorial projects, critical writing, and politics contributed to art making, writing, and display in the United States and beyond.

Mickalene Thomas

Mickalene Thomas, Origin of the Universe 2, 2012, rhinestone, acrylic paint, and oil enamel on wood panel, 44 x 48 in. Private collection, New York (artwork © Mickalene Thomas; photograph by Christopher Burke Studio and provided by the artist, Lehmann Maupin Gallery, New York, and Suzanne Vielmetter Los Angeles Projects)

Mickalene Thomas: Origin of the Universe
Brooklyn Museum
200 Eastern Parkway, Brooklyn, NY 11238
September 28, 2012–January 20, 2013

In her first solo museum exhibition, Origin of the Universe, now on view at the Brooklyn Museum, Mickalene Thomas places her jewel-encrusted paintings in four living-room installations into addition to hanging them traditionally. She also presents, for the first time, a new twenty-three minute biographical film, Happy Birthday to a Beautiful Woman, which chronicles the life of the artist’s mother, Sandra Bush, who also serves as a model and muse in other works. Highlights of the show include several versions of the painting Origin of the Universe, a reimagining of Gustave Courbet’s provocative L’Origine du monde (1866) both as an intimate self-portrait and as a portrait of the Thomas’s wife. References to the old masters mix freely with a painted collage aesthetic, bringing together art history, folk art, and mural painting.

Sandra Ramos: Viaje al “Sueno Americano”
Accola Griefen Gallery
547 West 27th Street, New York, NY 10001
October 18–November 24, 2012

The Cuban artist Sandra Ramos plays with the motifs of childhood, fantasy, and travel in three series that address life in her native Havana, the wider world of the United States, and the disconnect between fiction and reality in which both countries are complicit. In Collectibles, Ramos has created books and dioramas that depict the artist as a small doll-like figure among silhouettes of famous skyscrapers. In Travel to the American Dream, the artist adds collaged elements and graphite drawing to digital prints of American passports and immigration documents. In Habana Mirage, curved pieces of mirrored Plexiglas pairing depictions of the skylines of Manhattan and Havana hug the corners of the gallery, evoking a self-reflective convergence.

Penny Slinger

Penny Slinger, Bookworm (An Exorcism), 1977, unique photocollage, 13½ x 20 in. (artwork © Penny Slinger; photograph provided by the artist and Broadway 1602, New York)

Penny Slinger: An Exorcism Revisited, 1977–2012
Broadway 1602
1181 Broadway, Third Floor, New York, NY 10001
September 11–November 30, 2012

Penny Slinger is one of the few women artists to have gained recognition for her work despite the sexism of the British art world in the 1960s, due partly from the support of her mentor, the poet and Surrealist art historian Sir Roland Penrose. Slinger, still active as an artist today, is known for her employment of Surrealist tropes (collage, self-transgression, sexual symbolism) from a woman’s point of view. She has also enjoyed a varied career outside the art world, as a set designer and director for a radical feminist theater collective in London called Holocaust, and as the author of the popular collage novels 50% – The Visible Woman (1971) and Exorcism (1977). In addition to presenting her mixed-media work, the exhibition at Broadway 1602 will display archival material that illuminates other sides of her art practice, such as an unrealized film project.

Under Pressure
Joslyn Art Museum
2200 Dodge Street, Omaha, NE 68102
October 6, 2012–January 6, 2013

Under Pressure is a group exhibition that includes stellar modern and contemporary prints by Hung Lui, Kara Walker, Lorna Simpson, Helen Frankenthaler, Vija Celmins, Ellen Gallagher, Jennifer Bartlett, Barbara Krueger, and Kiki Smith. Organized by Toby Jurovics, chief curator of the Joslyn Art Museum, the show is culled from the collection of Jordan D. Schnitzer and his Family Foundation and will travel to Kansas, Utah, and Montana through 2014.

Kiki Kogelnik: I Have Seen the Future
Kunstverein Hamburg
Klosterwall 23, Hamburg, Germany 20095
September 15–December 30, 2012

I Have Seen the Future, an exhibition devoted to the Austrian artist Kiki Kogelnik, is the latest in a series of shows at the Kunstverein that seeks to reevaluate marginalized women artists associated with the male-dominated Pop art movement of the 1960s. Kogelnik, like her peer Evelyne Axell, the subject of a 2011 retrospective at the museum, made work about the female body in assemblage, painting, and sculpture. She is remembered within feminist art circles primarily for her super heroines—silhouettes with caricatured facial features often evoking the artist herself. Kogelnik’s work also addressed the political and cultural changes of the decade with topical paintings such as Heavy Clouds over the Cuba Crisis (1964) and Hit the Moon (1969), and through a series of colorfully painted bomb sculptures.

Filed under: CWA Picks, Uncategorized — Tags:

Grants, Awards, and Honors

posted by CAA — Oct 15, 2012

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

Grants, Awards, and Honors is published every two months: in February, April, June, August, October, and December. To learn more about submitting a listing, please follow the instructions on the main Member News page.

October 2012

Fred C. Albertson, associate professor in the Department of Art at the University of Memphis in Tennessee, has been named a 2012–13 Getty Scholar at the Getty Research Institute in Los Angeles, California. Albertson will be in residence at the Getty Villa in Malibu, working on a project titled “Palmyrene Sculpture in North American Museums.”

Ronni Baer, the William and Ann Elfers Senior Curator of Paintings at the Museum of Fine Arts, Boston, has been named a Museum Guest Scholar at the Getty Research Institute in Los Angeles, California. Baer will be in residence from January to March 2013.

Martina Bagnoli, curator of medieval art at the Walters Art Museum in Baltimore, Maryland, will be a scholar in residence at the Center for Advanced Study in the Visual Arts at the National Gallery of Art in Washington, DC. Bagnoli will use her residency to research “The Five Senses and Medieval Art.”

Susanna Berger, a graduate student at the University of Cambridge in England, has been awarded a 2011–13 Samuel H. Kress Fellowship via the Center for Advanced Study in the Visual Arts at the National Gallery of Art in Washington, DC. The title of Berger’s research project is “The Art of Philosophy: Early Modern Illustrated Thesis Prints, Broadsides, and Student Notebooks.”

Kathryn Brown, assistant professor of art history at Tilburg University in the Netherlands, has been awarded a funded visiting fellowship at the Humanities Centre of the Australian National University in Canberra for July and August 2013. Her project is titled “Global Art and the Networked City.”

Kaira Marie Cabañas, a lecturer and director of the MA Program in Modern Art: Critical and Curatorial Studies in the Department of Art History and Archaeology at Columbia University in New York, has been named a 2012–13 Getty Scholar at the Getty Research Institute in Los Angeles, California. She will spend her residency on “Expressive Restraint: Geometric Abstraction and the History of Madness in Brazil.”

Matthew P. Canepa, assistant professor of art history at the University of Minnesota, Twin Cities, will be a Getty Scholar in residence at the Getty Villa in Malibu, California. Canepa, a specialist in the art and archeology of ancient Iran and the Mediterranean, will be working on a project, “Royal Glory, Divine Fortune: Contesting the Global Idea of Iranian Kingship in the Hellenized and Iranian Near East, Central and South Asia (330 BCE–642 CE).”

Tiziana D’Angelo, a doctoral candidate in the Department of the Classics at Harvard University in Cambridge, Massachusetts, has been awarded a predoctoral fellowship from the Getty Research Institute in Los Angeles, California. D’Angelo’s residency will be devoted to a research project, titled “Travelling Colors: Artistic Models and Cultural Transfers in South Italian Funerary Wall Painting (IV–II BCE).”

Thierry de Duve, emeritus professor at the Charles de Gaulle Université Lille 3 in Villaneuve, France, has been awarded a William C. Seitz Senior Fellowship at the National Gallery of Art’s Center for Advanced Study in the Visual Arts in Washington, DC. His research project is called “Manet’s Testament, Duchamp’s Message, Broodthaers’ Lesson.”

Jessica Feldman, an intermedia artist based in New York, has earned an emerging artist fellowship from Socrates Sculpture Park in Long Island City, New York. An exhibition of outdoor work by the fifteen fellowship recipients will be on view from September 9, 2012, to March 31, 2013.

Ksenya Gurshtein, a recent PhD graduate of the University of Michigan in Ann Arbor, has been named a 201113 Andrew W. Mellon Postdoctoral Curatorial Fellow at the National Gallery of Art in Washington, DC.

Cynthia Hahn, professor of art history at Hunter College and the Graduate Center, City University of New York, has been named an Ailsa Mellon Bruce Senior Fellow at the Center for Advanced Study in the Visual Arts at the National Gallery of Art in Washington, DC. Hahn will use the fellowship to work on her project, “Reliquaries: Objects, Action, Response.”

Marius Bratsberg Hauknes, a doctoral candidate in the Department of Art and Archaeology at Princeton University in Princeton, New Jersey, has been awarded a twenty-four-month Chester Dale Fellowship. The 2011–13 fellowship is administered by the Center for Advanced Study in the Visual Arts at the National Gallery of Art in Washington, DC. Hauknes’s dissertation is titled “Imago, Figura, Scientia: The Image of the World in Thirteenth-Century Rome.”

Jessica L. Horton, a PhD candidate in the Graduate Program in Visual and Cultural Studies at the University of Rochester in Rochester, New York, has been named a 2011–13 Wyeth Fellow through the Center for Advanced Study in the Visual Arts at the National Gallery of Art in Washington, DC. She will use her fellowship, from the International Dissertation Research Fellowship Program, to conduct research on “Places to Stand: Native Art beyond the Nation.”

Mark Jamra, a typographic designer and associate professor at the Maine College of Art in Portland, has won a Stonington Residency at the Stephen Pace House in Stonington, Maine. The residency provides studio space and living accommodations and is open only to college alumni, faculty, and staff members.

Paul B. Jaskot, professor of the history of art and architecture at DePaul University in Chicago, Illinois, has been named Ailsa Mellon Bruce Visiting Senior Fellow at the Center for Advanced Study in the Visual Arts at the National Gallery of Art in Washington, DC. Jaskot will use his fellowship to work on a project, titled “Cultural Fantasies, Ideological Goals, and Political Economic Realities: The Built Environment at Auschwitz.”

Nathaniel B. Jones, a doctoral student in art history at Yale University in New Haven, Connecticut, has received the David E. Finley Fellowship via the Center for Advanced Study in the Visual Arts at the National Gallery of Art in Washington, DC. He intends to conduct research on his dissertation, “Nobilibus pinacothecae sunt faciundae: The Inception of the Roman Fictive Picture Gallery,” in Europe for two years, spending the third year of the fellowship in residence at CASVA.

Jennifer Josten, assistant professor in the Department of History of Art and Architecture at the University of Pittsburgh in Pennsylvania, has been named a Getty Postdoctoral Fellow at the Getty Research Institute in Los Angeles, California. Josten’s project is titled “Mathias Goeritz’s Arquitectura Emocional: Shades of the New Monumentality in Midcentury Mexico.”

Subhashini Kaligotla, a poet and a doctoral student in the Department of Art History and Archaeology at Columbia University in New York, has been named an Ittleson Fellow at the Center for Advanced Study in the Visual Arts at the National Gallery of Art in Washington, DC. Her fellowship, which spans from 2012 to 2014, will be devoted to her dissertation, “Shiva’s Waterfront Temples: Reimagining the Sacred Architecture of India’s Deccan Region.”

Cindy Kang, a PhD candidate in the Institute of Fine Arts at New York University, has been named a Getty predoctoral fellow for 2012–13. Kang will be in residence at the Getty Research Institute in Los Angeles, California, working on her dissertation, “Wallflowers: Tapestry and the Nabis in the Fin-de-siècle France.”

Jinah Kim has been named a National Endowment for the Humanities Fellow at the Getty Research Institute in Los Angeles, California. Kim, a recent PhD graduate of the University of California, Berkeley, will devote her fellowship to “Visions and the Visual: Color in Esoteric Buddhist Visual Practices in Medieval South Asia.”

Stuart Lingo, associate professor of art at the University of Washington’s School of Art in Seattle, has been named a Samuel H. Kress Senior Fellow at the Center for Advanced Study in the Visual Arts at the National Gallery of Art in Washington, DC. Lingo will use his fellowship to work on a project titled “Bronzino’s Bodies: Fortunes of the Ideal Nude in an Age of Reform.”

Beili Liu, a multidisciplinary artist and associate professor of art at the University of Texas at Austin, received the Distinction Award at the 2011 Kaunas Biennial in Lithuania. Liu’s art uses elemental materials, such as wood, paper, salt, metal, and incense, to transform gallery spaces into meditative installations.

David S. Mather, who recently earned his PhD in the Visual Arts Department at the University of California, San Diego, has received a postdoctoral fellowship from the Getty Research Institute in Los Angeles. Mather will use his residency at the Getty Center to further develop “‘The Wild Joy of Color’: Boccioni and the European Avant-Garde,” a chapter from his dissertation.

Jennifer Nelson, a graduate student in the Department of the History of Art at Yale University in New Haven, Connecticut, has been awarded a Robert H. and Clarice Smith Fellowship for 2012–13 from the Center for Advanced Study in the Visual Arts at the National Gallery of Art in Washington, DC. Nelson will use the award to work on “Image beyond Likeness: The Chimerism of Early Protestant Visuality, 1517–1565.”

Joshua O’Driscoll, a doctoral candidate in the Department of the History of Art and Architecture at Harvard University in Cambridge, Massachusetts, has been named a 2011–14 Paul Mellon Fellow at the Center for Advanced Study in the Visual Arts at the National Gallery of Art in Washington, DC. O’Driscoll will spend time on “Picti Imaginativo: Image and Inscription in Ottonian Manuscripts from Cologne.”

Ann E. Patnaude, a PhD student in the Department of Art History at the University of Chicago in Illinois, has received a twelve-month Chester Dale Fellowship for 2012–13, administered by the Center for Advanced Study in the Visual Arts at the National Gallery of Art in Washington, DC. Her dissertation is called “Locating Identity: Mixed Inscriptions in Archaic and Classical Greek Pottery and Stone, ca. 675–336 BCE.”

David Pullins, a doctoral candidate the Department of the History of Art and Architecture at Harvard University in Cambridge, Massachusetts, has been named a David E. Finley Fellow for 2012–15. The fellowship, which comes from the Center for Advanced Study in the Visual Arts at the National Gallery of Art in Washington, DC, will allow him to work on his dissertation, “Cut and Paste: The Mobile Image from Watteau to Pillement.”

William W. Robinson, the Maida and George Abrams Curator of Drawings in the Fogg Museum’s Division of European and American Art at Harvard Art Museums in Cambridge, Massachusetts, has been named a Museum Guest Scholar at the Getty Research Institute in Los Angeles, California. Robinson will be in residence at the Getty from July to September 2013.

Sophia Ronan Rochmes, a PhD candidate in the Department of the History of Art and Architecture at the University of California, Santa Barbara, has received a predoctoral fellowship from the Getty Research Institute in Los Angeles, California. Rochmes will work on “Shades of Gray: Functions of Color and Colorlessness in Grisaille Manuscripts.”

Jennifer Margaret Simmons Stager, who earned her PhD from the History of Art Department at the University of California, Berkeley, has received a fellowship to study at the Getty Research Institute in Los Angeles, California, supported by the National Endowment for the Humanities. She will be in residence at the Getty Villa in Malibu, researching “The Embodiment of Color in Ancient Mediterranean Art.”

Roberto Tejada, the Distinguished Endowed Chair in Art History in the Meadows School of Art at Southern Methodist University in Dallas, Texas, has been named the 2012–13 recipient of the Fulbright-FAAP Distinguished Chair in the Visual Arts. The award from the Fulbright US Scholar Program will enable Tejada to engage in scholarship with faculty and students at the Fundação Armando Alvares Penteado (FAAP) in São Paulo, Brazil.

Krista Thompson, associate professor of art history at Northwestern University in Evanston, Illinois, has received an American Council of Learned Societies fellowship for her project, “Photography, Screen, and Spectacle in Contemporary African Diasporic Cultures.”

Ming Tiampo, associate professor of art history at Carleton University in Ottawa, Ontario, has received an honorable mention from the Dedalus Foundation’s Robert Motherwell Book Award for Gutai: Decentering Modernism (Chicago: University of Chicago Press, 2011).

Noa Turel has been awarded a postdoctoral fellowship from the Getty Research Institute in Los Angeles, California. Turel, who recently received her PhD from the University of California, Santa Barbara, will be in residence from September 2012 to June 2013, working on “Living Color: The Animation Paradigm of Pictorial Realism 1350–1550.”

Susan M. Wager, a PhD student in the Department of Art History and Archaeology at Columbia University in New York, has been named a Samuel H. Kress Fellow for 2012–14 from the Center for Advanced Study in the Visual Arts at the National Gallery of Art in Washington, DC. Wager, whose specialty is eighteenth- and nineteenth-century French visual culture, will research her dissertation, titled “Boucher’s Bijoux: Luxury Reproductions in the Age of Enlightenment.”

Gennifer Weisenfeld, associate professor in the Department of Art, Art History, and Visual Studies at Duke University in Durham, North Carolina, has been awarded a grant from the Graham Foundation for Advanced Studies in the Fine Arts for her book, Imaging Disaster: Tokyo and the Visual Culture of Japan’s Great Earthquake of 1923 (Berkeley: University of California Press, 2012).

Stephen Hart Whiteman has been awarded a 2012–14 A. W. Mellon Postdoctoral Fellowship at the Center for Advanced Study in the Visual Arts at the National Gallery of Art in Washington, DC. His project is titled “Vocabularies of Culture: The Landscape of Multiethnic Emperorship in the Early Qing Dynasty (1661–1722).”

Jeff Williams, an artist and assistant professor in studio art at the University of Texas at Austin, has won the 2012 Texas Prize, a $30,000 triennial award sponsored by the Austin Museum of Art/Arthouse. The prize, given to an emerging artist based in Texas, is juried by an international group of artists, scholars, and curators.

Marie Yasunaga, a PhD candidate in the Department of Comparative Literature and Culture at the University of Tokyo in Japan, has received a predoctoral fellowship from the Getty Research Institute in Los Angeles, California. Yasunaga will be a resident from September 2012 to June 2013; her project is titled “Color Theories in Museum Spaces: Installation Experiments by Karl Ernst Osthaus and Karl With. From German Kunstgewerbe-Reformbewegung through Symbolism and Expressionism to the Era of the White Cube.”

Mantha Zarmakoupi, a Humboldt Postdoctoral Fellow in the Archäologisches Institut at the Universität zu Köln in Germany, has been named a 2012–13 Getty Scholar at the Getty Research Institute in Los Angeles, California. Zarmakoupi specializes in classical art and archeology, which she will explore during her residency in a project titled “The Idea of Landscape in Roman Luxury Villas.”

Extended Deadline for 2014 Conference Session Proposals

posted by Emmanuel Lemakis — Aug 23, 2012

CAA has extended the deadline for session proposals for the 2014 Annual Conference in Chicago to Friday, September 14, 2012. Conference sessions cover the breadth of current thought and research in art, art and architectural history, theory and criticism, pedagogical issues, museum and curatorial practice, conservation, and developments in technology.

The 2014 program is shaped by four broad submission categories: Historical Studies, Contemporary Issues/Studio Art, Educational and Professional Practices, and Open Forms. For Open Forms, members may submit themed panels that feature alternative formats such as panel discussions or interviews, or even sessions that provide alternate speaking lengths, rather than the usual five speakers in twenty-minute presentations.

You must be a current CAA member in order to submit a proposal. Please visit www.collegeart.org/proposals/2014 for complete details on the process.

Image: Anish Kapoor’s Cloud Gate, 2004, in Millennium Park (photograph by Bradley Marks)

Filed under: Annual Conference

Institutional News

posted by CAA — Aug 17, 2012

Read about the latest news from institutional members.

Institutional News is published every two months: in February, April, June, August, October, and December. To learn more about submitting a listing, please follow the instructions on the main Member News page.

August 2012

The Amon Carter Museum of American Art in Fort Worth, Texas, has received a $75,000 grant from the National Endowment for the Humanities to support an online cataloguing project of eight American photographers of the twentieth century: Carlotta Corpron, Nell Dorr, Laura Gilpin, Eliot Porter, Helen Post, Clara Sipprell, Erwin E. Smith, and Karl Struss.

The Cleveland Museum of Art in Ohio is creating an online catalogue of fifty-four British portrait miniatures from the museum’s collection of miniature painting from the seventeenth, eighteenth, and nineteenth centuries. The catalogue will allow the paintings to be viewed at actual size and in great detail; an essay by Cory Korkow, a curatorial fellow at the museum, will accompany the work.

The Indianapolis Museum of Art in Indiana has received a $190,000 grant from the National Endowment for the Humanities to digitize and catalogue primary materials about Miller House and Garden, a modernist home designed by Eero Saarinen that was registered as a national historic landmark in 2000 and is owned and cared for by the museum. The collection includes blueprints, correspondence, textile samples, sketches, and photographs related to the house.

The University of the Arts in Philadelphia, Pennsylvania, is the recipient of a $500,000 gift from a university trustee, Irvin J. Borowsky, and his wife, Laurie Wagman, to establish the annual Irvin Borowsky Prize in Glass Art. The donation will also fund the Irvin Borowsky Center for Glass Arts, a 3,700-square-foot studio and exhibition space.

The Wadsworth Atheneum Museum of Art in Hartford, Connecticut, has been awarded a $2 million grant from the Connecticut State Bond Commission and an additional $2.5 million from foundations and individuals to support an extensive renovation due to be completed in 2014. Affecting 70,000 square feet, the project will focus on creating additional gallery space, energy conservation, and improving storage facilities.

Recent Deaths in the Arts

posted by Christopher Howard — Jul 09, 2012

In its monthly roundup of obituaries, CAA recognizes the lives and achievements of the following artists, curators, designers, photographers, filmmakers, and other men and women whose work has had a significant impact on the visual arts. This month was marked by the loss of the Pop art dealer Ivan Karp, the film scholar Andrew Sarris, and the feminist art historian Paula Hays Harper.

  • Carl F. Barnes Jr., a former president of the International Center of Medieval Art, died on May 25, 2012, at the age of 77. Barnes was a professor emeritus of art history at Oakland University in Rochester, Michigan, where he had taught from 1971 to 2001. A specialist in European medieval art, he wrote extensively on the thirteenth-century French artist Villard de Honnecourt
  • Barton Lidice Benes, a sculptor and collector, died on May 30, 2012, at the age of 69. Benes made art from the raw materials of everyday life, drawing support and controversy for using medical equipment associated with AIDS/HIV treatment and the cremated remains of friends who perished from the disease. His object and art-filled apartment is now being meticulously re-created as an installation at the North Dakota Museum of Art in Grand Forks
  • Willard Bond, an artist known for his vibrant paintings of yachts and seascapes, died on May 19, 2012. He was 85 years old. Bond was a versatile artist, influenced in equal parts by the teaching of Buckminster Fuller and by his own experience as a pier master at New York’s South Street Seaport. Admirers claim that his paintings embody the ineffable experience of being on a boat at sea
  • Frederick J. Brown, a figurative painter deeply inspired by jazz music and the legacy of Abstract Expressionism, passed away on May 5, 2012. He was 67 years old. Brown created colorful, highly expressionistic portraits of people whom he admired, such as the avant-garde composer Anthony Braxton and the painter Willem de Kooning. His artworks were exhibited at the Studio Museum in Harlem, the Smithsonian Institution’s National Portrait Gallery, and the New Orleans Museum of Art
  • Paula Hays Harper, an art historian who challenged the discipline with her feminist perspective, died on June 3, 2012, at the age of 81. In the 1970s, Harper was instrumental in establishing the feminist art program at California Institute of the Arts and for three decades was a professor at the University of Miami in Florida. She also coauthored a biography of the Impressionist painter Camille Pissarro
  • Paul Jenkins, an American abstract painter known for his poured-paint technique, died on June 9, 2012, at the age of 88. In the 1950s Jenkins spent extensive time working and showing in Europe, a factor that made him less visible in the New York art scene than his aesthetic peers, Jackson Pollock, Helen Frankenthaler, and Morris Louis. Jenkins’s art, though, was wildly popular, and the artist had many prominent patrons and museum exhibitions throughout the United States, France, and Great Britain. On a side note to his career arc, Jenkins’s paintings were featured in the 1978 film, An Unmarried Woman
  • Gerhard Kallmann, an architect known for his controversial modernist design for Boston City Hall, died on June 19, 2012, at the age of 97. Built in 1968, the Brutalist building was criticized and praised, sometimes at the same time. Ada Louise Huxtable, architecture critic for the New York Times, wrote that Boston now had “one of the handsomest buildings around, and thus far, one of the least understood”
  • Ivan Karp, an art dealer and gallery owner who championed Pop art in its early days, passed away on June 28, 2012. He was 86 years old. Karp served as codirector of the Leo Castelli Gallery and in 1969 opened his own space, OK Harris, in SoHo, which established the fledgling artist neighborhood as the new gallery mecca in Manhattan. Artists whom Karp promoted include Andy Warhol, John Chamberlain, Roy Lichtenstein, and Claes Oldenburg
  • Jeff Keen, a British experimental filmmaker, visual artist, and poet, passed away on June 21, 2012. He was 88 years old. In his late 30s Keen hit his stride as an artist with a series of short, surrealistic films that combined collage techniques and innovative sound tracks. Keen was a founding member of the London Film-Makers Co-op in 1966 and actively participated in the counterculture movement
  • Mary Katharine MacGregor, a former curator of prints and drawings at the Joslyn Art Museum in Omaha, Nebraska, died on May 16, 2012, at the age of 89. MacGregor was affiliated with several New York art museums, including the Museum of Modern Art, before she returned to her native Iowa to pursue a curatorial position at the Print and Drawing Study Room at the University of Iowa’s Museum of Art
  • Georges Mathieu, a French abstract painter, passed away on June 10, 2012. He was 91 years old. In the 1940s and 1950s Mathieu worked in the mode of Lyrical Abstraction, a French counterpart to Abstract Expressionism in the United States. He often performed his paintings in front of a live audience as a demonstration of his dramatic, freeform technique
  • LeRoy Neiman, an artist and illustrator of the good life, died on June 20, 2012, at the age of 91. Like a contemporary Norman Rockwell, Neiman worked in a space between the fine-art and magazine worlds. He painted illustrations of sporting events for Playboy in the 1950s and taught for many years at the School of the Art Institute of Chicago
  • Justine Price, a professor of art history at Canisius College in Buffalo, New York, died on October 24, 2011, at the age of 42. A faculty member of Canisius College since 2005, she had recently received tenure and been named the director of the college’s art-history program. Her scholarly interests extended from American Pop art to contemporary Polish photography
  • Michael Rabe, a scholar of South Asian art and a professor at Xavier University in Chicago, died in late March 2012. Rabe’s colleague Andrew Cohen has written a special obituary for CAA
  • Andrew Sarris, a film critic and scholar who wrote for the Village Voice for many years, passed away on June 20, 2012, at the age of 83. A champion of auteur theory, Sarris wrote a seminal book on the subject, The American Cinema: Directors and Directions 1929–1968 (1968). He had taught at Columbia University’s School of the Arts and was an inspirational figure to several generations of film critics and historians
  • A. Richard Turner, an expert on Italian Renaissance art, particularly the legacy of Leonardo da Vinci, died on September 9, 2011. He was 79 years old. Turner was the author of Inventing Leonardo (1993), a book that analyzed five centuries of critical dialogue on the artist. Turner had a long teaching career that included stints at the University of Michigan, Princeton University, and Middlebury College before he became the director of the Institute of Fine Arts at New York University in 1979
  • Jeff West, a champion of the arts in Dallas, Texas, died on May 22, 2012, at the age of 54. The executive director of the Shakespeare Festival of Dallas, West had helped bring film culture to the city with the AFI Dallas International Film Festival. He also worked for eleven years as executive director of the Sixth Floor Museum at Dealey Plaza, an institution that preserves the memory of President John F. Kennedy’s assassination

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

Filed under: Obituaries, People in the News

Propose a Session for the 2014 Annual Conference in Chicago

posted by Lauren Stark — Jun 26, 2012

CAA invites individual members to propose a session for the 102nd Annual Conference, taking place February 12–15, 2014, in Chicago, Illinois. 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 2014 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 2014 conference is now open. In order to submit a proposal, you must be a current CAA member. Deadline extended: September 14, 2012; no late applications are accepted.

Image: Georges Seurat, A Sunday on La Grande Jatte — 1884, 1884–86, oil on canvas, 81¾ x 121¼ in. Art Institute of Chicago (artwork in the public domain)

Filed under: Annual Conference, Membership