CAA News Today
News from the Art and Academic Worlds
posted by Christopher Howard — Mar 01, 2017
Each week CAA News summarizes eight articles, published around the web, that CAA members may find interesting and useful in their professional and creative lives.
What NEA Supporters Can Learn from the Republicans Who Tried to Destroy It
How can we save the NEA? Since Republicans argue they are merely trimming the bloated federal budget, it is tempting to rely on the simple fact that eliminating the NEA will do little toward this goal. But this fiscal argument, while factually correct, won’t galvanize people to come out and support the agency. (Read more from Artsy.)
Why Small Grants from the Endangered NEA and NEH Matter
If quality of life and nourishment of intellect and spirit are as important to our national well-being as military might, then maintaining support for the arts is a no-brainer. Maybe the arts legions descending on Washington, DC, this month should try to seduce members of Congress with excerpts from performances and art displays that our tax dollars have helped to make possible. (Read more from CultureGrrl.)
Removal of Student Painting in Capital Leads to Federal Lawsuit
David Pulphus, a high school artist from Saint Louis, may never become a free-speech cause célèbre akin to Chris Ofili, the London artist who caused a furor in 1999. Still, Rep. William Lacy Clay from Missouri filed a federal lawsuit arguing that the removal of a work by Pulphus from the Cannon House Office Building in Washington, DC, violates the artist’s First Amendment rights. (Read more from the New York Times.)
Research Finds Career, Entrepreneurial Training Leads to Stronger Career Outcomes for Arts Graduates
Recent graduates with arts degrees have better career and entrepreneurial training than those who came before them, according to a report released by the Indiana University School of Education. The research, based on a survey of arts graduates, demonstrates that new approaches to arts education are helping prepare students for careers and give them tools they need to succeed. (Read more from the Strategic National Arts Alumni Project.)
Professors and Politics: What the Research Says
When Betsy DeVos accused liberal faculty members of forcing their views on students, she infuriated many professors and won praise from conservatives. Most faculty members who weighed in on social media denied the indoctrination and unfairness charges. While not disputing her assertion that they are more likely than others to be liberal, they said it was unfair to say that this meant they were indoctrinating anyone. (Read more from Inside Higher Ed.)
Appalachian Identities and Photography as Social Commentary
Most of my students in art history and art appreciation are first-generation college students, and many of them come from the economically depressed counties within a short driving distance of my institution, Morehead State University in eastern Kentucky. Through in-class discussion and office-hour chats, I have learned that many of them feel strong ties to an Appalachian identity. (Read more from Art History Teaching Resources.)
Bice Curiger on Why Parkett Is Closing
“Young kids think everything has to be free,” said the curator and publisher Bice Curiger in a recent phone interview, shortly after the announcement that Parkett—the hefty, finger-on-the-pulse German-English magazine she cofounded some ninety-nine issues ago—would cease publication. “How can you survive?” (Read more from Artnet News.)
Thinking about Open Access and Library Subscriptions
Is there good reason to expect that open access is likely to lead libraries and other customers to cancel their paid journal subscriptions? The context in which we have to ask this question is, quite frankly, one of dire economic straits in many academic libraries. Of course, libraries have been saying this for years, even decades. (Read more from the Scholarly Kitchen.)
Lloyd Engelbrech: In Memoriam
posted by CAA — Feb 06, 2017
Professor Emeritus, Dr. Lloyd Engelbrecht (1927–2016), died peacefully in his sleep in hospice on New Year’s Eve after battling neuroendocrine cancer for half a year. He was a beloved faculty member of the Art History program at the University of Cincinnati, 1980–2001, where he taught the history of design, and modern art and architecture, and mentored twenty-four M.A. advisees.
He was the author of the first comprehensive, fully-documented biography of László Moholy-Nagy, Moholy-Nagy: Mentor to Modernism (Flying Trapeze Press, 2009) and, with his wife June Engelbrecht, the award-winning biography, Henry C. Trost, Architect of the Southwest (El Paso Library Association, 1981). Together, they also created a catalogue raisonné of the work of Trost and his family firm of Trost & Trost. Additionally, Engelbrecht published essays in Taken by Design: Photographs from the Institute of Design, 1937–1971 (U of Chicago Press, 2002), Best of Triglyph (Arizona State U Press, 2002), The Old Guard and the Avant-Garde: Modernism in Chicago, 1910-1940 (U of Chicago Press, 1990), and 50 Jahre New Bauhaus (Bauhaus-Archiv, 1987). Recently, he was working on a biography of Chicago’s first Modernist painter, Rudolph Weisenborn (1881–1974). Engelbrecht’s publications concerned the influence of the German Bauhaus in the U.S., and he helped mount exhibitions in both American and European museums.
Engelbrecht’s degrees were AB in General Studies, University of California, Berkeley, 1950; MS, Library Science, Columbia University, 1951; and an interdisciplinary doctorate from the Committee on History of Culture at the University of Chicago, University of Chicago, 1973. Engelbrecht received grants from the Graham Foundation for Advanced Studies in the Fine Arts and from the National Endowment for the Humanities.
Engelbrecht was a remarkably kind, generous, and positive man who will be missed by his two daughters, Khadija Engelbrecht Fouad and Julie Rowlands, and their husbands, Aladdin Fouad and David Rowlands, four grandchildren, Omar Fouad, Maryam Fouad, Ibrahim Fouad, and Hussain Fouad, and numerous friends, as well as many devoted former students. He was predeceased by his wife June-Marie Fink Engelbrecht.
CAA Statement on Immigration Ban
posted by CAA — Feb 01, 2017
The College Art Association (CAA), the largest professional group for artists and art historians in the United States, strongly condemns and expresses its grave concern about the recent presidential executive order aimed at limiting the movement of members of CAA and the broader community of arts professionals who fall under the selective set of criteria for national status or ethnic affiliation.
CAA has counted international scholars and artists among its members for many years. Committed to the common purpose of understanding the visual arts in all its forms, professionals throughout the world have enriched CAA’s community by adding diverse perspectives to the study, making, and teaching of art. With funding in recent years from the Getty Foundation to support travel and programs for scholars and curators from Africa, Latin America, Russia and Eastern Europe, and Asia, the association now includes members from seventy countries. More than ten percent of our individual members are international. CAA has counted international scholars and artists among its members since the earliest years of its existence. The roots of CAA’s present-day international program stemmed from a desire to assist European refugees in the 1930s to support personal safety as well as academic and artistic freedom. During that decade, CAA had a “foreign membership” category; as art historians fled Hitler’s Europe, CAA ran a lecture bureau for refugee scholars that created speaking engagements for them at institutions throughout the United States.
The recently announced ban on travel to the United States for residents of seven predominantly Muslim countries not only goes against the inclusive, secular underpinnings of American democracy, it stifles the open access to scholarship and art upon which our work is founded. The executive order goes against our professional and scholarly commitment to diversity, the global exchange of ideas, and the respect for difference. The contribution of immigrants, foreign nationals, and people of all cultural backgrounds greatly strengthens our intellectual and creative world. Further, we believe the executive order law challenges the values at the heart of the US Constitution’s protections on speech and association as well as our national commitment to democratic process for all.
Turning our backs on refugees and closing our borders selectively stifles creative and intellectual work in addition to its very real impact on peoples’ daily lives. We call on our public officials to thwart this attempt to seemingly preserve our own safety at the expense of those who are vulnerable and who also contribute so much.
Without question, CAA welcomes all members and non-members to our upcoming Annual Conference to discuss and debate what constitutes a thriving artistic and intellectual society. Such openness is essential to our mission. We are committed through dialogue and action to help any CAA members who are affected by this policy. To this end, the association and the Board of Directors will continue to monitor and respond to policies related to this order as well as pressure for its immediate repeal.
 Suzanne Preston Blier President |
 Hunter O’Hanian Executive Director Chief Executive Officer |
2016 Recipients of CAA’s Professional Development Fellowships
posted by Christopher Howard — Jan 23, 2017
CAA has awarded two 2016 Professional-Development Fellowships—one in visual art and one in art history—to graduate students in MFA and PhD programs across the United States. In addition, CAA has named one honorable mention in art history and two in visual art. The fellows and honorable mentions also receive a complimentary one-year CAA membership and free registration for the 2017 Annual Conference in New York.
Accepting the $10,000 fellowship in visual art is Daniel Seth Krauss, an MFA student in photography in the Tyler School of Art at Temple University in Philadelphia, Pennsylvania. The recipient of the $10,000 fellowship in art history is Sara Blaylock, a doctoral candidate in visual studies at the University of California, Santa Cruz.
The honorable mention for art history goes to Lex Lancaster, a PhD student at the University of Wisconsin, Madison. The two honorable mentions in visual art are Allison Rose Craver, an MFA candidate at Ohio State University in Columbus, and Andrew Jilka, an MFA student at the School of Visual Arts in New York.
Suzanne Preston Blier, president of the CAA Board of Directors, will formally recognize the two fellows and three honorable mentions at the 105th Annual Conference during Convocation, taking place on Wednesday, February 15, 2017, at the New York Hilton Midtown.
CAA’s fellowship program supports promising artists and art historians who are enrolled in MFA and PhD programs nationwide. Awards are intended to help them with various aspects of their work, whether for job-search expenses or purchasing materials for the studio. CAA believes a grant of this kind, without contingencies, can best facilitate the transition between graduate studies and professional careers. The program is open to all eligible graduate students in the visual arts and art history. Applications for the 2017 fellowship cycle will open in the late spring.
FELLOW IN VISUAL ART
Daniel Seth Kraus
Daniel Seth Kraus‘s work blends historical research with photographic practice to deepen our understanding of people and places. Currently his research investigates faith and work in the American South. Kraus’s work has been featured in numerous print and online publications, including Fraction Magazine, SeeSaw Magazine, Oxford American, and Aint Bad Magazine. His photographs have been exhibited in national and international juried exhibitions, including one at the Morris Museum of Art in Augusta, Georgia. He earned a BFA in photography and a BA in history from the University of North Florida in Jacksonville and is pursuing a MFA in photography at the Tyler School of Art at Temple University in Philadelphia, Pennsylvania.
FELLOW IN ART HISTORY
Sara Blaylock
Sara Blaylock will complete her PhD in visual studies at the University of California, Santa Cruz, in spring 2017. To date, the bulk of her research has concerned the experimental film, art, and visual culture of the German Democratic Republic during the 1980s. Her dissertation, “Magnitudes of Dissent: Art from the East German Margins,” focuses on how photography and film, body-based practices, print media, and galleries addressed issues of representation, performativity, and collectivity. It argues that experimental practice in a 1980s GDR was not only an antidote for but also an interpretation of a weakening state—a foil and a mirror to official culture.
Blaylock’s dissertation research has been supported by the German Academic Exchange Service and the Rosa Luxemburg Foundation, as well as by numerous grants from the University of California, Santa Cruz. She has published in numerous academic forums. Most recently, an article appeared in Gradhiva, a French-language journal of art history and anthropology, and Blaylock contributed an essay in both German and English to the catalogue for the exhibition Gegenstimmen. Kunst in der DDR 1976–1989 [Voices of Dissent: Art in the GDR 1976–1989], held at the Martin-Gropius-Bau in Berlin. Another article, “Bringing the War Home to the United States and East Germany: In the Year of the Pig and Pilots in Pajamas,” will appear in Cinema Journal later this year.
Blaylock was recently invited to codirect the International Association for Visual Culture, a scholarly organization that encourages inquiry and debate within the field and that advocates the critical and theoretical expansion of visual-culture studies in academic and artistic venues. She looks forward to helping to advance and strengthen the association’s vision.
HONORABLE MENTIONS IN VISUAL ART AND ART HISTORY
Allison Rose Craver
Allison Rose Craver will complete her MFA, with a concentration in ceramics, at Ohio State University in in Columbus in May 2017. Craver grew up in East Aurora, New York, and earned a BFA in 2010 from New York State College of Ceramics at Alfred University in Alfred. A year later she studied as a special student at the University of Wisconsin, Madison. Craver has shown her work nationally, including exhibitions at the Archie Bray Foundation for the Ceramic Arts in Helena, Montana, and the Arrowmont School of Arts and Crafts in Gatlinburg, Tennessee. In 2014 she was invited to demonstrate in the Process Room at the annual National Council on Education for the Ceramic Arts conference in Milwaukee. Craver’s work is process driven, using ceramics materials in conjunction with fiber and found objects to explore the nature of care and work.
Andrew Jilka
Andrew Jilka was born in in 1986 to a working-class home in Salina, Kansas. The son of a bus driver and a lunch lady, Jilka has been employed as a fast-food worker, a cigarette warehouse stocker, a furniture deliveryman, a Hewlett-Packard call-center representative, a bartender, and later an assistant to the artist Tom Sachs. After selling his Camaro, he enrolled at the University of Kansas in Lawrence, where he received a BFA in printmaking in 2009, as well as a scholarship to study printmaking at Hongik University in Seoul, Korea. Jilka’s work is greatly influenced by the instabilities and anxieties of his Midwestern upbringing. His painting is an attempt to reconcile the “high” of the history and lineage of contemporary painting with the Walmart culture he was raised in. Jilka approaches painting with both the deference of Brahms and the irreverence of the Ramones—and perhaps a touch of Taylor Swift. His work has been shown in group and solo exhibitions in Kansas City, Atlanta, New York, and Seoul. He is currently an MFA candidate at the School of Visual Arts in New York.
Lex Lancaster
Lex Morgan Lancaster is a PhD candidate in the Department of Art History at the University of Wisconsin, Madison, where they will complete their degree in May 2017. Lancaster’s dissertation, “Dragging Away: Queer Abstraction in Contemporary Art,” investigates abstraction as a tactic of queering in the work of contemporary artists who deploy nonrepresentational form for political ends. Their related article, “Feeling the Grid: Lorna Simpson’s Concrete Abstraction,” was published in ASAP/Journal (2017), and “The Wipe: Sadie Benning’s Queer Abstraction” is forthcoming in Discourse: Journal for Theoretical Studies in Media and Culture. Lancaster is chairing the session on “New Materialisms in Contemporary Art” at CAA’s 2017 Annual Conference in New York.
Lancaster received their BA in art history from Case Western Reserve University in Cleveland, Ohio. They have assisted with exhibitions and public programs at the Cleveland Museum of Art as coordinator of teen programs and intern to the curator of contemporary art, and at the National Gallery of Art in Washington, DC, as a paid summer intern in the Department of Photographs. At the University of Wisconsin, Madison, Lancaster curated the exhibition Our House! Unsettling the Domestic, Queering the Spaces of Home at the Chazen Museum of Art.
Top News in 2016 from the Art and Academic Worlds
posted by Christopher Howard — Dec 28, 2016
As 2016 comes to a close, CAA would like to wish a safe and happy holiday season to its members, subscribers, partners, and other professionals in the visual arts. As we reflect on the past twelve months, the association would like to offer readers a look at the most accessed articles in the weekly CAA News email from the past year.
I Survived My First Year on the Tenure Track, but I’m Ready to Bail!
Now that I’ve survived my first year in a tenure-track position at a small liberal-arts college, all I want to do is curl up in a ball. A nonacademic position is opening up in my hometown. If I got the job, I’d still have adjunct faculty status and be able to supervise grad students. I’d also probably get a 30- to 50-percent salary increase. (Read more from Vitae.)
Advice for the Newly Tenured
I would love to share with you the three biggest mistakes that I observe newly tenured faculty members make. If you know what those mistakes are, then you are not only far less likely to make them, but you also have the opportunity to experiment with new ways of thinking and working that will help you to truly enjoy your tenured status. (Read more from Inside Higher Ed.)
How Many Hours a Week Should Academics Work?
How many hours do you work in a week? Many academics feel overworked and exhausted by their jobs. But there is little evidence that long hours lead to better results, while some research suggests that they may even be counterproductive. (Read more from Times Higher Education.)
The Disappearing Humanities Jobs
The arrival of annual reports on the job market in various humanities fields this year left many graduate students depressed about their prospects and professors worried about the futures of their disciplines. This week, the American Academy of Arts and Sciences released several new collections of data that show that these declines, part of a continuing pattern, are far more dramatic when viewed over a longer time frame. (Read more from Inside Higher Ed.)
Publish or Be Damned
The London office of Yale University Press has been a leading publisher of art history in the English language. When we heard of a new book planned by a leading scholar in the field, we expected to learn that Yale had pledged to publish it. When a bright graduate finished his or her dissertation, we hoped that Yale would publish it. (Read more from the Burlington Magazine.)
Racially Charged St. Louis Contemporary Art Museum Show Sparks Outrage
Racially charged works at a Contemporary Art Museum in Saint Louis exhibition have some calling for boycotts and the resignation of the museum’s chief curator. The museum has opted to build walls around the controversial pieces of art. The show will remain up and visitors will have access to all of the work. (Read more from Fox 2 News.)
Learning from My Teaching Mistakes
As a professional failed academic, I get asked if my decisions in graduate school were to blame for my failures. The answer is, of course, yes and no. Similar to anyone else with a PhD who isn’t delusional or lying, my relationship with my doctorate contains multitudes of defeats. And now, six years after I finished, I’ve got some perspective on both what I screwed up and what I didn’t. (Read more from Vitae.)
Syllabus Adjunct Clause
Here is a sample adjunct clause that can be inserted into any syllabus for courses taught by temporary faculty. Please keep in mind that since situations differ from school to school—and even from department to department—the following may not be universally applicable as written. Therefore, if you decide to use it, make the necessary changes to accurately reflect your own situation. (Read more from School of Doubt.)
When Students Won’t Do the Reading
Is there a more common lament among college instructors than “Why won’t students just do the reading?” It’s an important and difficult question. In my experience, many students understand, at least in the abstract, that the reading is important. (Read more from Inside Higher Ed.)
Why You Weren’t Picked
There are two major downsides to not getting that tenure-track job you applied for. The second one is the less obvious but may be the more pernicious in the long run: no one will tell you why you weren’t chosen. (Read more from the Chronicle of Higher Education.)
Why Most Academics Will Always Be Bad Writers
For at least a generation, academics have elaborately and publicly denounced the ponderous pedantry of academic prose. So why haven’t these ponderous pedants improved, already? The critics would say the ponderous pedants are doing it on purpose. (Read more from the Chronicle of Higher Education.)
Balancing the Books at Yale University Press in London
A letter signed by over 290 academics, curators, and writers expressed a “sense of shock at the restructuring of Yale University Press in London, particularly as it affects the renowned art books department.” Having learned that two commissioning editors were to be made redundant, the signatories asked for reassurance about Yale’s commitment to scholarly art publishing and for the rationale for the changes. (Read more from Apollo.)
How to Be an Unprofessional Artist
No one likes being called an amateur, a dilettante, a dabbler. “Unprofessional” is an easy insult. The professional always makes the right moves, knows the right thing to say, the right name to check. Controlled and measured, the professional never sleeps with the wrong person or drinks too much at the party. (Read more from Momus.)
Make No Mistake, Art History Is a Hard Subject. What’s Soft Is the Decision to Scrap It
In the UK, art history A-level is to be scrapped in 2018. The decision taken by the exam board AQA seems related to the Conservative government’s policy of ranking subjects by perceived relative difficulty, using an analogy of “soft” and “hard” that may be designed to belittle students and teachers who have apparently taken the easy way out. (Read more from Apollo.)
Essential PhD Tips: Ten Articles All Doctoral Students Should Read
If you’re still deciding whether to study for a doctorate, or even if you’re nearing the end of your PhD and are thinking about your next steps, we’ve selected ten articles that you really should take a look at. They cover everything from selecting your topic to securing a top job when your years of hard graft come to an end. (Read more from Times Higher Education.)
How to Become a Curator
Start out as an artist instead. In school, you’re always saddled with organizing the group shows, buying the beer, placating fellow artists’ fears, making the invitations, composing the checklist, finding the funding, contacting the press, inviting the audience. Your entire art practice becomes a smudgy line between curating and art, and you grow to feel strange and unnecessary. (Read more from Momus.)
Donald Trump, Taste, and the Cultural Elite
It’s said that taste defines us. The music I like lets you know, to some degree, what kind of person I am. Yet though this year’s presidential election has raised issues of racism, sexism, and classism, not much has been said about taste, and the role it may or may not have played in getting Donald Trump to the White House. (Read more from the Washington Post.)
Black Arts Community Expresses Outrage with Kelley Walker
“This is a mess, and I’m uncomfortable,” said Kat Reynolds as she spoke before the capacity crowd at the Contemporary Art Museum on September 22. The panel of artists and educators—who spoke during the Critical Conversations talk presented by Critical Mass for the Visual Arts—didn’t hold back from voicing their disdain about the art that hung in the very space where the discussion was taking place. (Read more from the St. Louis American.)
What Learning People Really Think about Lecturing
Is there really a war on lecturing going on across higher education? Do learning professionals want to kill the lecture? Read Christine Gross-Loh’s “Should Colleges Really Eliminate the College Lecture?” and you would be forgiven in thinking that there is and that we do. The problem is that her description of the current climate bears little resemblance to reality. (Read more from Inside Higher Education.)
Gallery Defends Kelley Walker, Artist under Fire in St. Louis Exhibit
The New York City–based gallery representing the artist Kelley Walker has responded to the controversy surrounding a racially charged exhibition at the Contemporary Art Museum in Saint Louis, but with a statement that raises more questions than it answers. (Read more from Riverfront Times.)
Should Colleges Really Eliminate the College Lecture?
Despite the increased emphasis in recent years on improving professors’ teaching skills, such training often focuses on incorporating technology or flipping the classroom, rather than on how to give a traditional college lecture. It’s also in part why the lecture—a mainstay of any introductory undergraduate course—is endangered. (Read more from the Atlantic.)
What Happens When a Museum Closes?
Four recently dissolved cultural institutions—the Museum of Biblical Art in New York, the Fresno Metropolitan Museum of Art and Science in California, the Corcoran Gallery of Art in Washington, DC, and the Higgins Armory Museum in Massachusetts—each offer a lesson in how to weather the complex process of closing a museum. (Read more from Artsy.)
Artiquette: Ten Mistakes Not to Make While Promoting Your Art
How do you make it in the art world? It’s a magical formula that involves, talent, drive, grit, and the ability to promote oneself. Unfortunately, talking up your own artwork, projects, and ideas can be a delicate balancing act. To help you walk that line, Artnet News has rounded up a list of mistakes to avoid in self-promotion. (Read more from Artnet News.)
Six Things to Keep in Mind When Applying for Art Grants
With governments cutting funding for the arts, it is getting harder for artists and art institutions to obtain art grants, fellowships, or scholarships. The professional grant writer Ethan Haymovitz has put together a list of things to keep in mind when writing your application. (Read more from Art Report.)
Getting beyond the Anecdote: Research and Art-History Pedagogy
Pedagogical innovations abound in art-history classrooms. National and regional conferences increasingly feature panels of inspirational examples and case studies. These sessions are well attended by instructors eager for new, proven ideas to improve their teaching. The speakers assure this audience of improved student engagement and efficacy at achieving learning outcomes with this or that innovation. But how can they prove it? (Read more from Art History Teaching Resources.)
This Art Historian Teaches FBI Agents and Surgeons How to See
Amy Herman teaches people how to see. Her tools of choice are famous artworks from major art institutions all over the world. Her typical pupils? Cops, FBI officers, medical students, and first responders. Herman teaches a class that helps people fine-tune their observational skills—which often prove critical in solving a crime or conducting open-heart surgery. (Read more from Fast Company.)
Five Strategies Successful Artists Follow to Thrive in Their Careers
As a gallery owner, I’ve been particularly interested in watching the careers of artists who have built strong sales of their work. These artists are able to generate sales that allow them to devote all of their time to their art. They have found ways to make a successful living while at the same time pursuing their passion. (Read more from Red Dot Blog.)
Five Time-Saving Strategies for the Flipped Classroom
I often hear comments like “The flipped classroom takes too much time,” “I don’t have time to devise so many new teaching strategies,” “It takes too much time to record and edit videos,” and “I don’t have time to cover everything on the syllabus.” I also hear “I tried to flip my class, but it was exhausting; so I quit.” If these comments sound familiar, it might be helpful to create margins in your flipped classroom. (Read more from Faculty Focus.)
How Do I Get My Foot in the Art World?
I’m a recent grad and want to learn more about the art world, so hopefully, one day, I can work in the arts. I didn’t major in art, but I took several art history and art classes and really loved them. I also love going to galleries and museums. Could you give me some suggestions on how to learn more? (Read more from Burnaway.)
Help Desk: Getting Paid for Curatorial Work
I’m a professional curator with over a decade of experience, mostly as a salaried professional. I’d like to do more freelance work, but curators seem to get paid nothing, absurdly little, or astronomical sums. How can I actually get paid for the work I do? (Read more from Daily Serving.)
Museums Are Keeping a Ton of the World’s Most Famous Art Locked Away in Storage
Most of Georgia O’Keeffe’s work is in storage. Nearly half of Pablo Picasso’s oil paintings are put away. Not a single Egon Schiele drawing is on display. Since the advent of public galleries in the seventeenth century, museums have amassed huge collections of art for society’s benefit. But just a tiny fraction of that art is actually open for people to view and enjoy. (Read more from Quartz.)
University of Chicago Strikes Back against Campus Political Correctness
The anodyne welcome letter to incoming freshmen is a college staple, but the University of Chicago took a different approach: it sent new students a blunt statement opposing some hallmarks of campus political correctness, drawing thousands of impassioned responses, for and against, as it caromed around cyberspace. (Read more from the New York Times.)
On Not Reading
The activity of nonreading is something that scholars rarely discuss. When they—or others whose identities are bound up with books—do so, the discussions tend to have a shamefaced quality. Blame “cultural capital”—the sense of superiority associated with laying claim to books that mark one’s high social status. (Read more from the Chronicle Review.)
Medieval Scots Used Art the Way We Use Social Media
Medieval Scots once gave each other postcard-sized artworks to forge social bonds, in the same way we post pictures on social media today, according to new research. The “postcards on parchment”—whose painted images included patron saints, the Virgin Mary and child, and highly decorated lettering—revealed status, allegiances, and values among the wealthy classes in the fourteenth and fifteenth centuries. (Read more from the Scotsman.)
Art Journal: Winter 2016 Issue
posted by CAA — Dec 26, 2016
Rolando del Fico, last seen in 1970s Italian gay underground comics, is resurrected in the Winter 2016 issue of Art Journal. A project by the Catalan artist Francesc Ruiz revives the irrepressible character, picaresque hero of myriad amorous adventures, in a visual tribute replete with Rolando’s thought-bubble iconography of salamis and cherubs in various states of excitement.
Other features in the issue explore little-examined aspects of more familiar bodies of work. Amy DaPonte analyzes the portraits of Turkish immigrants central to the early work of the German photographer Claudia Höfer. Liz Linden investigates the overlooked presence of the textual in the works Douglas Crimp gathered in 1977 for the watershed exhibition Pictures.
In the Reviews section, Lauren Richman reviews two exhibitions of work by the midcentury American photographer Lee Miller, along with their catalogues. The artist Liam Gillick considers a book by Dave Beech that grapples with the relation between art and capitalism in the contemporary neoliberal moment. Christa Noel Robbins assesses David J. Getsy’s book that sees the sculpture of the 1960s through the lens of transgender and “transformable” bodies. Finally, Kent Minturn reviews Pierre Leguillon’s book on the experimental typography of Jean Dubuffet—a significant compendium of the work that is also a work of art history.
CAA sends print copies of Art Journal to all institutional members and to those individuals who choose to receive the journal as a benefit of membership. The digital version at Taylor & Francis Online is currently available to all CAA individual members regardless of their print subscription choice.
Staff Interview: Katie Apsey
posted by CAA — Dec 19, 2016
Katie Apsey
The next in a series of interviews with staff members is a conversation with Katie Apsey, CAA manager of programs.
How long have you worked at CAA?
I have worked at CAA just over one year now. I originally started in the Publications Department as data coordinator for the graduate-school directories and moved over to the Programs Department when Lauren Stark left her position to pursue work in the archives field.
What do you do at CAA?
Many different things! I do the administrative work for all programs related to the conference: session submissions for the Annual Conference Committee’s review, ARTexchange applications, submissions to the various conference publications and the conference website, special events, business meetings, poster sessions, appointments for mentoring sessions, and more! I also help the juries for the annual Awards for Distinction as well as the conference travel grants. Both are quite rewarding.
What does CAA mean to you?
I became a member of CAA long ago when I graduated with a BA in photography and was searching for my first job. At that point in my career, membership was a way for me to determine the state of the field—what kind of jobs and opportunities and career paths there were for me as a young artist. As my career shifted away from art practice and toward museum work and then art history, CAA became a network for keeping up with peers rather than a resource for the job market.
Can you talk about one of your favorite member moments?
It would be too hard to pick one moment of engagement with a member. While working in the Speaker Ready Room I overhear amazing conversations between session chairs and their speakers while they prepare before or recombobulate after their sessions. Observing the uniqueness of each group and noting the different approaches that session chairs take when creating thoughtful panels is equally inspiring. I always learn things about new theories, historiographies, artists, and exhibitions through osmosis while I am running around doing management tasks!
What do you like best about the arts and working in the arts?
This sounds so cliché, but I like being surrounded by creative people and getting inspired and challenged by them: people who know that the “right” or “best” answer is an ambiguous, moving target; people who, after they are done with the business of an email, send me a link to an article, exhibition, or artist’s webpage; people who know the value of thinking deeply or uniquely; and people who do what they do not for the money but for their belief in the importance of discourse.
Do you have a favorite moment from the Annual Conference?
When I attended as a regular member, my favorite moments were seeing my academic heroes speak or listening to the annual Distinguished Artist Interviews. Now that I work for CAA “behind the scenes,” my favorite moments have become working with the room monitors onsite. These are the people that check conference badges at the doors to session rooms. I enjoy hearing what they are working on with their art or scholarship, pointing them toward sessions they may have overlooked in the program, and taking in the stories of the retired professors who are volunteering their time.
You are writing your dissertation on Native American art, and the CAA office is up the street from the Smithsonian Institution’s National Museum of the American Indian (NMAI). Have you visited the museum often since working here?
Yes, I feel very lucky to be so close to the museum’s New York branch. One of the main curators there, Kathleen Ash-Milby, is a powerhouse who focuses on contemporary Native American art, which is what I write about most often, so I value seeing the exhibitions at the George Gustav Heye Center as soon as they open. The museum also has the film and media center with rare digital content and a cozy educational library that I like to visit on my lunch break. It is the perfect spot for even fifteen minutes of reading outside the office, or for watching a VHS tape from the NMAI collection of performances that hasn’t been digitized yet! A lot of tourists visit lower Manhattan, but many of them don’t know they can go inside the Customs House—the building that houses the museum—for free, so it still remains a quiet refuge with rotating exhibitions and frequent nighttime events. In fact, I attended a MuseumHue event there about art and social change just a few weeks ago!
Katie Apsey practices the Brazilian martial art of capoeira (photograph provided by Capoeira Vida)
You have performed and taught dance. What are your specialities and favorites?
Oh, I could go on for hours about this. I love whatever classes I can take. As a company dancer, I felt like contemporary dance challenged me the most intellectually. It really pushes the boundaries of expansive concepts like “movement,” “performance,” and “choreography.” Closer to my heart, though, are samba dance and the Brazilian martial art of capoeira, both of which feed my soul. Samba is physically demanding yet joyful and amazingly fun to perform. I love looking into the crowd from the stage and seeing hundreds of people smiling back or even dancing themselves because they can’t sit still. Conceiving of and making new costumes uses my creativity in a different way.
There are many types of samba—including carnival mas group/Rio-style samba, Bahian-style samba de roda, and Orisha dances associated with Candomblé—that speak to different needs, abilities, histories, lives, and energies. Dance is an art form that grows with a person over time and answers their needs in the moment. Capoeira is the same way. It is actually a martial art, not dance. It challenges both my body (I swear someday I will still be able to learn a back flip … in my thirties) as well as my mind (in the strategy of the game). Capoeira even challenges my musical abilities in having to learn all the songs and instruments while trying to sing in tune!
Fall 2016 Recipients of the Millard Meiss Publication Fund
posted by Christopher Howard — Nov 28, 2016
This fall, CAA awarded grants to the publishers of seven books in art history and visual culture through the Millard Meiss Publication Fund. Thanks to the generous bequest of the late Prof. Millard Meiss, CAA gives these grants to support the publication of scholarly books in art history and related fields.
The seven Meiss grantees for fall 2016 are:
- Rebecca Brown, Displaying Time: The Many Temporalities of the Festival of India, University of Washington Press
- Richard Emmerson, Apocalypse Illuminated: The Visual Exegesis of Revelation in Medieval Illustrated Manuscripts, Pennsylvania State University Press
- Michele Greet, Transatlantic Encounters: Latin American Artists in Paris between the Wars, Yale University Press
- Sharon Hecker, A Moment’s Monument: Medardo Rosso and the International Origins of Modern Sculpture, University of California Press
- Katie Hornstein, Picturing War in France, 1792–1856, Yale University Press
- Amy Neff, A Soul’s Journey into God: Art, Theology, and Devotion in a Franciscan Manuscript of the Late Duecento, Pontifical Institute of Mediaeval Studies
- Hsueh-man Shen, Authentic Replicas: Buddhist Art in Medieval China, University of Hawai‘i Press
Books eligible for Meiss grants must already be under contract with a publisher and on a subject in the visual arts or art history. Authors and presses must be current CAA members. Please review the application guidelines for more information.
Affiliated Society News for November 2016
posted by CAA — Nov 15, 2016
Association of Academic Museums and Galleries
The Association of Academic Museums and Galleries (AAMG) asks for your support in reaching 3,800 listserv members! Join the most active academic museum and gallery discussion board on the web and get answers to your questions about student engagement, faculty partnerships, and more. Visit us online.
Association of Print Scholars
The Association of Print Scholars (APS) recently celebrated its second anniversary, and the organization continues to grow through the dedicated work of its officers and members. According to its by-laws, APS must elect two officers biannually. In the coming weeks, online voting will take place for the positions of vice president and treasurer. Officers will also appoint a website coordinator.
The International Fine Print Dealers Association (IFPDA) and APS collaboratively presented a panel discussion on the market for contemporary prints. The event marks the twenty-fifth anniversary of the IFPDA Print Fair, the largest and most celebrated art fair dedicated to fine prints. “Publishing the Contemporary: The State of Printmaking Today” took place on Saturday, November 5, 2016, in the Board of Officers Room at the Park Avenue Armory. The print specialist and critic Sarah Kirk Hanley moderated the conversation.
APS will host its affiliated-society panel at CAA’s 2017 Annual Conference in New York. “Collaborative Printmaking” is scheduled for Friday, February 17 at 3:30 PM in the Petit Trianon, 3rd Floor. Chaired by Jasper van Putten from Harvard University, the panel brings together a diverse group of print scholars and artists to explore the wide-ranging impact of collaboration in printmaking across cultures and times—from the European Middle Ages and colonial Peru to contemporary Johannesburg and Chicago. Speakers include: Suzanne Boorsch, Yale University Art Gallery; Emily C. Floyd, Tulane University; Kim Berman, University of Johannesburg; and Kate McQuillen, Independent Visual Artist. Please stay tuned for further updates on APS’s session, reception, and print-related activities.
APS members might enjoy reading the recent issue of Art in Print, which includes the National Gallery of Art curator Peter Parshall’s APS Inaugural Lecture, as well as responses from scholars and APS members.
Feminist Art Project
The Feminist Art Project has announced a call for submissions for “Bodies, Borders, Homes.” We live in a world of migratory population flows, resurgent nationalisms, and state-sanctioned violence. The next issue of Rejoinder web journal will explore the theme of bodies and borders in the context of these geopolitical phenomena. We invite submissions that focus on how the relationship between borders and bodies shapes our understandings of selfhood, exile, and home. Writing (including essays, commentary, criticism, fiction, and poetry) and artwork should address these relationships from feminist, queer, and social justice–inspired perspectives. We particularly welcome contributions at the intersection of scholarship and activism. For manuscript preparation details, please see our website. Rejoinder is published by the Institute for Research on Women at Rutgers University, in partnership with the Feminist Art Project, Rutgers University. Please send completed written work (2,000–2,500 words max), JPEGs of artwork, and short bios to the editor, Sarah Tobias, by December 9, 2016.
Italian Art Society
Next year marks the thirtieth anniversary of the Italian Art Society (IAS). To celebrate this milestone, the organization has initiated both membership and fundraising campaigns that will run through the end of 2016. Please encourage colleagues, students, friends, and aficionados working on or appreciative of Italian art, architecture, and visual culture to join IAS. We are encouraging our members to offer gift memberships to emerging scholars, contingent faculty, and independent scholars. Membership options begin at $20 for graduate students and include three other membership levels ($30 regular; $60 patron, and $100 institution/benefactor). New or newly renewed lapsed memberships paid by December 31, 2016, are valid until January 1, 2018.
IAS has also launched an anniversary-specific campaign to celebrate the growth and longevity of the organization. We ask members and others to consider donations in permutations of three and/or thirty ($3, $30, $300, 2 x $30, 30 x $2) to support IAS’s mission, programs, grants, charitable activities, and publications. Thus far we have raised nearly $2,000 in this fall’s fundraising campaign. During CAA’s annual meeting next February, IAS will host a gala reception to celebrate its thirtieth anniversary at the beautiful New York restaurant Il Gattopardo (13–15 West 54th Street, New York, NY 10019, less than a block from CAA’s conference headquarters, the New York Hilton Midtown). At the event we will honor several early presidents of IAS. The early history of the society may be found on our website.
Next year’s IAS/Kress Lecture will take place in Bologna in the Aula Magna of the former monastery of Santa Cristina, which now houses the Arts Department of the University of Bologna. Proposals to present the eighth annual IAS/Kress Lecture, on a topic related to Bologna or its environs, will be due in early January.
Japan Art History Forum
The Japan Art History Forum (JAHP) has announced two recent developments. First, the Japanese Art Society of America (JASA) will provide funding in support of the Chino Kaori Memorial Essay Prize. JASA will award $1,000 to the 2016 prize winner and has committed to provide a $1,000 award for the prize winner in each of the next four years, for a total of $5,000. Established in 2003 in memory of the distinguished art historian Chino Kaori, the Chino Kaori Memorial Essay Prize is awarded annually to a graduate student who has written an outstanding essay on a topic in the study of Japanese art history or visual culture. The award recognizes excellence in scholarship, with several past prize-winning essays later published in peer-reviewed journals. More information, including a list of past winners, can be found on the JAHF website. The prize continues to be supported by the University of Hawai‘i Press, which provides $400 in books from the press’s catalogue.
Second, former curatorial interns at the Clark Center for Japanese Art and Culture in Hanford, California, have created the Clark Center Graduate Travel Grant, which will award $500 annually to a graduate student of Japanese art wishing to visit a public or private collection of Japanese art for the purpose of in-person, hands-on research. The grant was created in commemoration of the closing of the Clark Center and in recognition of and heartfelt gratitude for the experience the Clarks and the center provided to the former interns and to many more young and emerging scholars in the field.
In June 2015, the Clark Center closed its doors after twenty years of offering exceptional exhibitions and programs for visitors from the local community in California’s Central Valley as well as Japanese art specialists from across the country and around the world. From its inception, the Clark Center also hosted an unparalleled curatorial internship program, which graduated a total of nineteen interns with valuable hands-on experience handling and caring for artworks, planning exhibitions, and working with the public. Bill and Libby Clark, founders of the center, not only created this rare opportunity for young scholars in the field; they also opened their home to us and welcomed us as part of their family. Seed money for this fund has been donated by the past interns of the Clark Center, and additional contributions to the fund are welcome on an ongoing basis. Donations to the Clark Center Graduate Travel Grant program can be made by visiting the JAHF website.
National Council of Arts Administrators
The forty-fourth annual conference of the National Council of Arts Administrators (NCAA) convened September 28–October 1, 2016 in Philadelphia, Pennsylvania. The organization is indebted to Hester Stinnett of Tyler School of Art at Temple University for organizing a truly exceptional conference. Featured speakers included Sean Kelley, senior vice president and director of public programming at Eastern State Penitentiary; Pepon Osorio, artist and Tyler professor; Greg Anderson, sociologist and dean of Temple University’s College of Education; and Blake Bradford, director of the Lincoln University-Barnes Foundation Museum.
The membership elected three new board members: Joe Poshek (Irvine Valley College); Jeni Mokren (State University of New York, New Paltz); and Peter Chametzky (University of South Carolina). They join returning directors Leslie Bellavance (Kendall College of Art and Design, Secretary), Lynne Allen (Boston University), Elissa Armstrong (Virginia Commonwealth University, President), Cathy Pagani (University of Alabama, Treasurer), Tom Berding (Michigan State University), Nan Goggin (University of Illinois, Urbana-Champaign), A. Blake Pearce (Valdosta State University), David LaPolombara (Ohio University), Michael Fels (Elon University), Andrea Eis (Oakland University, Past Treasurer) and Amy Hauft (University of Texas at Austin, Past President). Special thanks to Steve Bliss (Savannah College of Art and Design), Cora Lynn Deibler (University of Connecticut) and Jim Hopfensperger (Western Michigan University) for their excellent service and who rotated off the board this year.
Activities at the 2017 CAA Annual Conference include the annual NCAA reception (Thursday, February 16, 7:00–9:00 PM) and an NCAA-CAA affiliate session, “Entrepreneurship as Research, Teaching, Learning, or Service,” a fast-paced series of presentations on leadership (Thursday, February 16, 5:30–7:00 PM). NCAA welcomes new and current members, and all interested parties.
Public Art Dialogue
Public Art Dialogue (PAD) has announced the 2017 winner of its annual award for lifetime achievement in the field of public art. The artist Mierle Laderman Ukeles will be honored with an award reception during the CAA Annual Conference in New York, taking place February 15–18, 2017. PAD’s awards ceremony will take place at the Queens Museum. For more information, please see http://publicartdialogue.org/news
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 welcomed several new members, including three institutions: St. Petersburg Arts Project, the Getty Research Institute, and ARTMargins. The organization has also received its first donation to establish the Maya Semina Graduate Student Travel Grant. Several SHERA members are participating in the Association for Slavic, East European, and Eurasian Studies convention, taking place November 17–20, 2016, in Washington, DC. The SHERA membership meeting will take place on Friday, November 18, 6:15–7:45 PM at the Washington Marriott Wardman Park.
At the CAA Annual Conference in February 2017, SHERA will host two emerging-scholar sessions and a membership meeting. “Emerging Scholars: Politics and the Collective in East European and Russian Art, Part I” will take place on Wednesday, February 15, 10:30 AM–NOON, and “Emerging Scholars: Russian Artists and International Communities, Part II” will transpire on Friday, February 17, 8:30–10:00 AM. The SHERA membership meeting will happen on Friday, February 17, 5:30–7:00 PM. All events will take place in the conference hotel.
Visual Resources Association
The Visual Resources Association (VRA) expresses gratitude to CAA and its membership for the distribution of the VRA Professional Status survey in fall 2015. VRA is pleased to announce the completion and availability of the VRA 2015-16 Professional Status Task Force Report on Professional Status. This report provides extremely valuable information about the landscape of the profession and the needs of colleagues working within a variety of visual-resource and related environments. Almost half of the 446 survey respondents identified themselves as non-VRA members, which is a good indication of how support from an organization like CAA increased the survey’s reach and our understanding of the professional status and needs of our colleagues working across related fields. Thanks again to all affiliated-society members who assisted in this important work. Please do not hesitate to contact the VRA board with questions about the report by sending a message to board@vraweb.org.
VRA has once again been included in the important Cross-Pollinator collaboration with Digital Library Federation/Galleries, Libraries, Archives, and Museums (DLF-GLAM). Through the cross-pollinator grant last year, Andrea Schuler from Tufts University attended the DLF meeting; Meagan Duever of the University of Georgia attended the VRA-ARLIS/NA joint conference in Seattle. Since this year’s grant was funded by the Samuel H. Kress Foundation, the grant can support eight new travel awards to foster collaboration among museum and digital library communities. Four $1,000 fellowships will be offered to non-DLF-affiliated GLAM professionals to attend the 2016 DLF Forum, and four DLF-affiliated practitioners will receive a $1,000 award plus free registration to attend one of the upcoming conferences of the following partnering organizations: the American Institute for Conservation; the Art Libraries Society of North America; the Museum Computer Network; and VRA.
Women’s Caucus for Art
The Women’s Caucus for Art will present its 2017 Lifetime Achievement Awards to Mary Schmidt Campbell, Audrey Flack, Martha Rosler, and Charlene Teters on Saturday, February 18, 2017, at the New York Institute of Technology in midtown Manhattan. CAA members are invited to attend the ticketed VIP Awards celebration from 6:00 to 7:30 PM that precedes the public awards presentation at 8:00 PM. The WCA Lifetime Achievement Awards were first presented in 1979 to Isabel Bishop, Selma Burke, Alice Neel, Louise Nevelson, and Georgia O’Keeffe. Like those women, this year’s awardees have made significant contributions to the visual arts. The art historian Mary Schmidt Campbell is president of Spellman College. The work of the photorealist painter and sculptor Audrey Flack is in major museum collections. Martha Rosler is a nationally known video, text, and performance artist, as well as a frequent contributor to Artforum. Charlene Teters is academic dean at the Institute of American Indian Arts as well as an artist, writer, and activist. The 2017 President’s Award for Art and Activism will be presented to the feminist curator and educator Kat Griefen.
The Lifetime Achievement Awards are the culminating event at WCA’s annual conference (held during CAA, February 16–18) that includes a Thursday evening reception for the exhibition Wage On! Women, Art, and Money at Ceres Gallery in Chelsea, professional workshops, caucus sessions, and other opportunities for networking. WCA’s affiliated-society panel on “Maternal Art and Activism” with cochairs Rachel Buller and Margo Hobbs will take place on Friday, February 17 at 10:30 AM in the Rendezvous Ballroom. Be sure to visit WCA in the CAA Book and Trade Fair, too. Early bird tickets are available for the awards VIP reception until January 7, 2017.
Affiliated Society News for September 2016
posted by CAA — Sep 15, 2016
Association of Academic Museums and Galleries
You’ve probably heard the rumors, but now it’s official: the Association of Academic Museums and Galleries (AAMG) will hold its annual conference in Eugene, Oregon, June 22–26, 2017. “Why Museums Matter: The Teaching Museum Today” will be hosted by the University of Oregon’s Museum of Natural and Cultural History and the Jordan Schnitzer Museum of Art. The program will begin at 5:30 PM on Thursday, June 22, and offer tracks for: professional development (emerging and seasoned professionals); governance, best practices, and administration; curricular connections and new teaching and training models; relevance, diversity, and engagement; renovations and new facilities; and more. AAMG will post a call for proposals in early September, along with registration and hotel information.
American Institute for Conservation of Historic and Artistic Works
The Weissman Preservation Center at Harvard Library and the Foundation for the American Institute for Conservation of Historic and Artistic Works (FAIC) will present a multidisciplinary, two-day symposium called “Salted Paper Prints: Process and Purpose.” The program will focus on the preservation, characterization, use, and interpretation of the salt print process, now over 175 years old. Scholarly presentations will include the technical history of the salt print process (both positive and negative images), historical applications of the process for copying and disseminating information, and innovative materials analysis. While many salt prints have survived as beautifully preserved images with rich tonal ranges, they can also be prone to fading and color shifts. New conservation research has assisted our understanding of these fragile items, and renewed interest in the historical and artistic aspects of salt prints has paralleled this preservation research.
Papers are currently being accepted to present at the symposium. Applicants are encouraged to submit abstracts or drafts of three hundred words or less, along with a brief bio or CV. The symposium will include individual presentations of no more than twenty minutes in length and panel discussions on an applicable topic—submissions for both formats are welcome. Preference will be given to recent collaborative research that uses scientific and art-historical evidence to shed light on the preservation of salt prints, their technical evolution and identification, and the cultural impact of this seminal photographic process. Visit the call for papers page on the AIC website for more details. Abstracts must be submitted by December 16, 2016. The symposium will take place September 14–15, 2017, at Harvard University in Cambridge, Massachusetts.
Association of Historians of American Art
The Association of Historians of American Art (AHAA) invites you to attend its fourth biennial symposium, to be held October 6–8, 2016, in Fort Worth, Texas. Online registration is now open. To learn more about the schedule, obtain hotel information, and register, visit www.ahaaonline.org/?page=2016Symposium. The registration fee is $40, and the event is only open to current AHAA members. If you are not yet a member, please consider joining this scholarly community. Membership rates start at $35.
AHAA is also proud to announce a third issue of its online journal, Panorama, which includes a roundtable devoted to pedagogical approaches (featuring the work of Jules Prown), a special section on “Art and Invention,” an article on Kara Walker, new Research Notes, book and exhibition reviews, and responses to the question “Is American art history conservative?” AHAA is grateful for the efforts of Panorama staff, editors, and contributors, and for the support of our readers. As always, the association invites your input and contributions.
AHAA looks forward to gathering in New York for the 2017 CAA Annual Conference. The annual business meeting will take place noon–1:30 PM on Friday, February 17. The AHAA-sponsored scholarly session will be “The Gustatory Turn in American Art” (date/time TBA).
In the coming year, several board terms will expire. AHAA wishes to thank board members who have served the organization and to welcome nominations and self-nominations for the open positions, each with three-year terms. These include three appointed positions (membership coordinator, secretary, and web coordinator) and two elected positions (treasurer and cochair). The cochair alternates annually between academic and museum professionals; this year we invite candidates from the academy. Please contact AHAA at info@ahaaonline.org or chair@ahaaonline.org if you are interested in the position or wish to nominate a colleague.
Foundation in Art: Theory and Education
Celebrating its fiftieth year of first principles educational leadership, the KCAI’s Foundation Department will host FATE’s sixteenth biennial conference, “To the Core and Beyond,” to take place April 5–8, 2017, in Kansas City, Missouri. Registration for the conference is now open. Leading voices in fundamental art and design instruction will gather at the InterContinental Kansas City at the Plaza. Early-bird registration is open until September 30, 2016. Conference registration includes breakfast and lunch (April 6–8). For conference registration and more information, please visit http://www.foundations-art.org/conferences.
FATE has improved Silver and Gold Institutional Sponsorship levels this year and now offers a new biennial Retiree Faculty Individual Membership! See http://www.foundations-art.org/membership for more information. Also coming up is the FATE regional conference, “Technology Integration into Design Foundations Tech Swap,” which meets on Saturday, November 5, 2016, 10:00 AM–3:00 PM at the University of North Texas. The $20 cost includes coffee, muffins, and lunch (vegetarian option available). For more details, send an email to the event’s coordinator, Deanna Ooley, or visit http://www.foundations-art.org/regional.
FATE’s affiliated-society session at CAA’s 2017 Annual Conference, titled “Using the F-Word for Good, Not Evil: Fail, Fail Again, Fail Better,” meets on Thursday, February 16, 10:30 AM–noon in the Madison Suite, Second Floor, New York Hilton Midtown. How do we, as teachers, ignite courage and curiosity in students to explore and jump past their fears of failing? Discoveries occur when we allow tinkering, investigation, and getting things “wrong”—colossal failures hold surprising connections, connotations, and fruitful risks. That’s where the good stuff lives. “Don’t give up!” (see Miranda July). “Ever tried. Ever failed. No matter. Try Again. Fail again. Fail better” (see Samuel Beckett). This FATE session will proactively frame failure (pep talks), continue inquiries (experiments), and describe what to do when things go off the rails (glean the good). Speakers will present discussions starters, brainstorming, projects, ways of critiquing, pedagogy, and practice.
Italian Art Society
Last month the Italian Art Society sponsored two sessions at the annual meeting of the Sixteenth Century Society and Conference (SCSC) in Bruges, Belgium. “Co-petition: Testing the Boundaries of Cooperation and Competition” was organized by Alexis Culotta (American Academy of Art, Chicago), and “The Holy Republic of Venice,” was organized by Allison Sherman (Queen’s University) and Eveline Baseggio Omiccioli (Fashion Institute of Technology, State University of New York). Along with the Historians of Netherlandish Art and the Flemish Research Centre for the Arts in the Burgundian Netherlands, IAS sponsored a special event at the Groeningemuseum in Bruges. Anne Van Oosterwijk, assistant curator of old master paintings at the museum, lectured on sixteenth-century painters’ workshops and practices in Bruges; the lecture was followed by a gala reception.
IAS has announced the upcoming deadlines for two travel awards: the IAS Conference Travel Grant for Modern Topics (deadline: October 1, 2016) provides a minimum of $500 to subsidize transoceanic travel to present in an IAS-sponsored session on the art or architecture of Italy from the early nineteenth century to the present. The deadline for the IAS Travel Grant for Graduate Students and Emerging Scholars, which funds travel to any conference at which IAS has a presence, is November 1, 2016.
IAS is pleased to announce that Karen Lloyd (Stony Brook University) has joined the executive board as acting vice president for program coordination.
Society of Architectural Historians
An SAH Study Day “Louis Kahn in San Diego and La Jolla,” organized by the Society of Architectural Historians (SAH), will take place on November 4, 2016. William Whitaker, curator and collections manager of the Architectural Archives of the University of Pennsylvania School of Design, and Jochen Eisenbrand, chief curator of the Vitra Design Museum, will lead a special preview tour of their exhibition Louis Kahn: The Power of Architecture at the San Diego Museum of Art, the first retrospective of Louis Kahn’s work in two decades. After lunch, participants will get a behind-the-scenes tour of Kahn’s renowned Salk Institute for Biological Studies with Whitaker, Tim Ball, director of facilities at the Salk Institute, and Claire Grezemkovsky, associate director of foundation relations. Sara Lardinois of the Getty Conservation Institute will be on hand to discuss Kahn’s designs of the teak window walls, which are currently under conservation by the Getty. A Study Program Fellowship will be available for a graduate student or emerging professional to participate in this Study Day. Registration opens on September 13.
SAH will present its 2016 Awards for Architectural Excellence at its seventh annual awards gala on Friday, November 4, 2016, at the Racquet Club of Chicago. Honorees include the philanthropist Richard H. Driehaus (for architectural stewardship); Sarah Herda, director of the Graham Foundation for Advanced Studies in the Fine Arts and coartistic director of the Chicago Architecture Biennial (for public engagement with the built environment); and Peter Landon, founder and principal of Landon Bone Baker Architects (for design, planning, and sustainability). The awards represent a unique gathering of architectural practice and academic study, honoring the contributions of individual projects to the built environment. Gala proceeds benefit the society’s educational mission and the ongoing restoration of SAH’s headquarters, the Landmark Charnley-Persky House. Tickets are available at sah.org/gala.