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Rhodes Must Fall, downloaded from https://www.facebook.com/RhodesMustFall/photos

Posted by Janet Landay, Project Director, CAA-Getty International Program (for CAA News and the International Desk)

This summer I was invited by two alumni of the CAA-Getty International Program—Karen von Veh and Federico Freschi, both from the University of Johannesburg—to attend the 31st Annual Conference of the South African Visual Arts Historians (SAVAH). In the first five years of the CAA-Getty program, seven art historians from South Africa have participated—the most from any single country. Their strong presence at CAA’s Annual Conferences suggests a robust community of scholars, and I was eager to witness it firsthand.

In late July I flew to Johannesburg, where I met up with Rosemary O’Neill, associate professor of art history at Parsons the New School of Design and chair of CAA’s International Committee, who was also participating in the conference. On the day we arrived there was an intense thunderstorm followed by large hail. Our hosts, Karen von Veh and her husband Bengt, assured us that this was not normal for a Johannesburg winter. By the next day the sun had come out, and it remained sunny and pleasantly cool for the rest of our stay.

The weather may well serve as a metaphor for the abnormal state of affairs in South Africa: unusually stormy one day, seemingly calm the next. Twenty-two years after the end of apartheid, the country, and especially its university system, is in an enormous state of flux. Since March 2015, students have militated against South Africa’s twenty-three government-funded universities in two related protests. The first was Rhodes Must Fall, which demanded the removal of a sculpture of Cecil Rhodes, the embodiment of British racist colonial imperialism, from the University of Cape Town (UCT), and included the broader demand for decolonizing the university system, including curricula, language of instruction, and workers’ rights.

In October 2015 came Fees Must Fall, prompted by the announcement of a steep increase in fees at the University of Witwatersrand. Both movements have had successes: the UCT sculpture of Rhodes was removed, and many other public symbols of colonial rule have been taken down or defaced; students at Rhodes University persuaded authorities to consider renaming the school; and the government announced there would be no tuition increase for 2016. (This issue is being debated again, as increases for 2017 have elicited renewed protests.) These events are taking place at the same time that the government is reducing financial support for the universities.

Art, Design and Architecture Building at the University of Johannesburg, downloaded from university website, https://www.uj.ac.za/faculties/fada/Pages/Facilities.aspx

This was the context for SAVAH’s Annual Conference, as approximately sixty professors of art history, visual culture, and studio art gathered at the University of Johannesburg for three days of papers and discussion. Organized by Federico Freschi (executive dean), Brenda Schmahmann (research professor), and Karen von Veh (associate professor), all from the Faculty of Art, Design, and Architecture at the University of Johannesburg, the conference was titled “Rethinking Art History and Visual Culture in a Contemporary Context.” The ongoing crisis in higher education charged the sessions and discussions with particular intensity. The subjects addressed, whether historical, pedagogical, or political, were not chosen solely for theoretical considerations; speakers were seeking practical solutions to the immediate challenges they face as scholars and teachers in post-apartheid South Africa.

An underlying theme of the conference—how can art history be relevant and useful to scholars and students at this charged moment in time?—was a subtext in Steven Nelson’s eloquent keynote address. In a discussion of works by Houston Conwill, Moshekwa Langa, and Julie Mehretu, Nelson—a professor of African and African American art and director of the Center for African Studies at the University of California, Los Angeles—considered how the use of mapping and geography by these artists has reshaped our understanding of African ancestry, notions of diaspora, and urban spaces. The weaving of past and present, continental Africa and the African diaspora, and art-historical analyses of traditional forms and new media exemplified the ongoing relevance of the art-historical discipline to understanding contemporary art and culture.

Session topics during the two-day conference ranged from “International Curatorial Practices” to “The Politics of Display in South Africa” and “Decolonizing Education (Parts I and II)” to “Postcolonialism beyond South Africa.” Alison Kearney, a lecturer at the University of the Witwatersrand, delivered a paper titled “Art history is dead—long live art history!” in which she explored the deeper meaning of decolonizing the university, beyond the tokenistic call for more black authors and artists. This decolonization will lead to “the inevitable end of art history” and a return to the work of art and an interdisciplinary approach as a “deliberate means of destabilizing a single disciplinary gaze.” Fiona Siegenthaler, a senior lecturer at the Institute for Social Anthropology, Universität Basel, compared the call for decolonization in South Africa to the one in Uganda. Because the population in Uganda is overwhelmingly black, the call for decolonization has little to do with the racial profile of its teachers or students. Rather, the country is focused on rewriting curricula to be more relevant to their students’ lives. Both countries, she stated, are skeptical about the hegemony of neoliberalism as a form of neocolonialism, on the one hand, and the need for access to international contemporary art, art institutions, art markets and funding organizations, on the other.

Several speakers explored alternative approaches to current studies in South African art history. Lize van Robbroeck, from the University of Stellenbosch, spoke about “settler colonial studies” and a multinational research project she is part of that examines settler life in five former British dominions: New Zealand, South Africa, Canada, Australia, and the United States. The cultural, economic, and political circumstances in each of these colonies, in spite of particular dynamics in each, created comparable artistic products in the early to mid-twentieth century. The group’s research suggests that the demands to establish national art canons in each of these locations led to a corresponding art-historical neglect of the striking cross-national similarities in the art produced by artists in each place.

A paper by Jackson Davidow, from the Department of Architecture at MIT, called on the discipline of art history to enlarge its approach to “traverse geographies, temporalities, environments, and communities.” He made the case by discussing a global history of AIDS activist art, which must still be historically contextualized within local landscapes. His paper posed a crucial question to contemporary scholars: “How can global art histories work to decolonize and deconstruct the practices of our discipline rather than perpetuate its oppressive structuring?”

The conference ended with two papers from other humanities disciplines. The first one, by Brett Pyper from the University of the Witwatersrand, was about curating indigenous musical performances at the National Arts Festival in Grahamstown. Leana van der Merwe, of the University of Pretoria, delivered the second, which was about an “African” feminist philosophy of art. Many of the conference papers will be published in an upcoming issue of De Arte, a peer-reviewed South African journal on visual arts, art history, and art criticism.

The SAVAH conference was not the only significant art event taking place in Johannesburg during my visit. The meetings coincided with a historic exhibition held downtown at the Standard Bank Gallery: the first-ever presentation on the African continent of paintings and works on paper by Henri Matisse.

Henri Matisse, The Horse, the Rider and the Clown,1947, fifth plate of the book Jazz, Musée Matisse in Le Cateau-Cambrésis

Juxtaposed against the topic of the conference—rethinking art history in a contemporary context—this major exhibition provided another bellwether of the state of art history in South Africa. The absence of Matisse exhibitions in the entire continent until now can partially be explained by practical reasons related to insufficient resources (shipping and insurance costs, museum-quality exhibition spaces, etc.), but it is also likely due, in part, to a reluctance or lack of interest on the part of European and American collections and African-based organizers to bring the artist’s work to African audiences, in spite of Matisse’s great interest in African art. During my visit to South Africa, I was struck by the lack of Western art displayed in the museums, with the exception of a small collection on view at the National Museum in Cape Town. Little access to this art is yet another challenge for professors of art history, and it must relate to the absence of Matisse exhibitions as well. Why should South Africans be interested in his work if, for many, he is an unknown, dead white European artist? There is an audience for Matisse in South Africa, including the well-educated professional class and an active, sophisticated group of collectors who support a growing number of commercial galleries. There is also a vibrant community of artists in South Africa whose work characteristically draws on indigenous artistic traditions as well as global art. In spite of the limited audience—or perhaps because of it—a Matisse exhibition in Johannesburg is an important event, a major step toward broadening an appreciation of global art and its history.

In Johannesburg, the Matisse exhibition was the fourth in a series of presentations at the Standard Bank Gallery of works by twentieth-century modern European masters. Previous projects focused on Mark Chagall, Joan Miró, and Pablo Picasso. Through the curatorial efforts of Federico Freschi and Patrice Deparpe, director of the Musée Matisse in Le Cateau-Cambrésis, the exhibition Henri Matisse: Rhythm and Meaning was on view at the Standard Bank Gallery from July 13 to September 17, 2016. It included significant paintings, drawings, collages, and prints covering all the dominant themes in the artist’s oeuvre, from his early Fauvist years to the paper cut-outs produced in the last years of his life. As Freschi noted in introductory remarks, “Of particular interest to South African audiences is the inspiration Matisse took from African and other non-Western art forms during the early 1900s while struggling to find a new visual language to express the particular experience of the new, modern age.”

Patrice Deparpe, Director of the Musée Matisse in Le Cateau-Cambrésis, in the exhibition Henri Matisse: Rhythm and Meaning, downloaded from website of the Embassy of France in South Africa.

To open the SAVAH conference, a lecture, gallery talk and reception for the exhibition was held the evening before the conference proceedings began. Rosemary O’Neill presented a thought-provoking lecture titled, “Henri Matisse: Fluid Memory, Embodied Signs.” Her paper considered aspects of Matisse’s work in relation to the construct of memory, time, and intuitive expression, as well as the influence of the ideas of philosopher Henri Bergson. In discussing Jazz, O’Neill identified ways in which his Tahitian memories from 1930, as well as his own cultural context and artistic trajectory, resulted in the realization of the innovative process and expression soon evident in Matisse’s late cut-outs; their importance in relation to a revival of the decorative impulse in postwar France; and their analogous relationship to poetic and musical phrasing—that is, a system of ensemble signs—as articulated in the writings of the poet Louis Aragon. Freschi’s subsequent gallery talk elaborated on Matisse’s exploration of African modes of representation in his early works; then, calling special attention to the series of prints that comprise the artist’s book, Jazz, he emphasized the influence of his travel to Tahiti and the archipelago islands that appear in his use of patterns and rhythms, ephemeral materials, and a conceptual rather than perceptual approach to image making.

For an American visitor, the conference and exhibition provided much food for thought. It was impossible to ignore similarities in the dissatisfactions of university students in both countries. Like their South African counterparts, U.S. students are demanding a greater diversity of voices in the curriculum, on the faculty, and in the administrations of colleges and universities. In both countries, growing complaints about racial inequality and ties to apartheid or slavery have resulted in important, if mostly symbolic, changes. At about the same time that South African authorities were removing sculptures of Cecil Rhodes and suspending tuition hikes, leaders at Georgetown University announced efforts to make amends for its complicity in the nation’s slave trade, including preferential admissions for descendents of slaves sold in 1838 by Maryland Jesuits to stave off the college’s bankruptcy. Other schools, such as Brown University, Harvard University, Emory University, and the University of Virginia, have made their historical ties to slavery public and announced plans such as renaming buildings, creating racial justice programs, and erecting memorials acknowledging their ties to the transatlantic slave trade.

[Just last week in New York City, as part of an anti-Columbus Day protest, a diverse group of protesters, united under the banner “Decolonize This Place,” demanded the removal of an equestrian sculpture of Theodore Roosevelt (flanked on either side by a Native American and an African American) at the entrance to the American Museum of Natural History. The crowd included activists from the Black Lives Matter, Indigenous rights, and other labor and social justice movements. Calling it “the most visible symbol of white supremacy in New York,” the group also called for “decolonizing of the museum,” citing specific exhibits within the museum that highlight its history of white supremacy and colonialism. The demonstration was one of many across the country protesting the continued observance of Columbus Day, demanding that it be replaced by Indigenous People Day.]

From my vantage point as a participant at the SAVAH conference, the most striking similarity between the two countries was the paucity of people of color among art history professors and students. This was the great unspoken problem at the conference, evidenced by the prevalence of white faculty and students at a gathering focused on decolonization, art and activism, and keeping art history relevant. There were a small number of people of color at the conference among both speakers and attendees, but much like at a CAA Annual Conference, the dominant color was white. The answer is not, as some radical South African students demand, to rid the curriculum of all European content, or to replace all white professors with black ones; rather, it lies both in a multiplicity of voices and a questioning of assumptions rooted in the foundational texts of the field. Solving this problem may be the greatest challenge to art history’s relevance, even as progress is made alongside the slow path to racial equality.

South Africa is sometimes called a Petri dish for studying race relations. Only twenty-two years away from government-enforced racism, the country’s efforts in building a democratic, racially equal society offer many lessons about effective and less effective ways to accomplish radical change. The art historians I met in Johannesburg have created a vital community in which to study and struggle with these lessons. They are keeping the discipline of art history alive and relevant to the cultural and political challenges they face. But how they do it may provide important guidelines for scholars in the United States. In spite of numerous differences between the two countries—especially in scale, resources, and history—both South African and U.S. art historians are grounded in the same antecedents. How to retain the strengths of a discipline born in nineteenth-century Germany while stretching its geographic parameters to include all cultures is a challenge we all face.

Comment on this article in the Diversity in the Arts community on CAA Connect.

A CAA Road Trip

posted by Janet Landay, Program Manager, Fair Use Initiative — Oct 18, 2016

Bowdoin College Museum of Art in Brunswick, Maine (photograph by Janet Landay)

In late September, Hunter O’Hanian and I had the pleasure of spending a weekend at Bowdoin College in Brunswick, Maine, to attend two CAA events hosted by Anne Goodyear, codirector of the Bowdoin College Museum of Art and a former CAA president. We arrived at the picturesque New England campus on a beautiful fall day. The college’s art museum, one of the oldest in the country, anchors the western edge of the quad, its neoclassical façade presiding gracefully over green lawns and majestic trees where students played Frisbee, read, or walked across campus. It was a perfect weekend to welcome CAA members to campus.

The first group arrived that Saturday afternoon to attend a CAA member reception, the first of several Hunter has planned around the country to provide an opportunity for him to meet with members in a relaxed setting and talk about CAA. The event began with a tour of the Bowdoin College Museum of Art given by Anne and her husband, the museum’s codirector, Frank Goodyear. Immediately following, we all walked a block away to Anne and Frank’s house to enjoy some wine and cheese on their back patio. The fifteen or so participants hailed from several schools and museums in addition to Bowdoin—Colby College, Bates College, the Portland Museum of Art, and the Farnsworth Art Museum—and included art historians, artists, librarians, and independent scholars.

Members spoke in turn about their most memorable CAA experiences: attending a first conference, interviewing and getting a job, meeting old friends, or networking with scholars in their fields. Hunter then shared thoughts about his goals for CAA based on what he has learned from members since he became executive director in July. He observed the importance of connectivity—how to keep CAA members in touch with issues in the field, but especially how to keep them in touch with each other. And he described many of the changes members will experience at the next Annual Conference, including a focus on personal experience, captured by a new theme for the meetings, myCAA.

On Sunday morning, several of the same CAA members returned, joined by others from around the state, for a half-day workshop about copyright and fair use. Peter Jaszi, a co–lead investigator on CAA’s Fair Use Initiative, came from Washington, DC, to Bowdoin to lead the program, which focused on how visual-arts professionals can use CAA’s Code of Best Practices in Fair Use for the Visual Arts in their work. Following an introduction to copyright and fair use, the workshop began with a look at how museum professionals can use the Code when employing copyrighted materials in their work.

Participants had been asked to bring real-life questions with them. Thus, a museum director wanted to know whether his museum could allow photography in the galleries of works still protected by copyright. A curator described a challenge she had in getting an image for a catalogue from a museum in central China. When she received no reply from the museum, she resorted to scanning the image from another book. Is that fair use? Other questions involved loan forms, credit lines, and online projects.

As the day continued, the program moved on to address questions from professionals in other areas: librarians and archivists, professors and teachers, artists and independent scholars. Can a faculty member use images in class that she got from a flash drive she had received from a foreign museum? What kind of credit information is necessary for a blog about films? Is Shepard Fairey’s image of Obama a good case study for students learning about fair use? How should the institutional repository on a college campus view the copyright protection of yearbook photographs? By the end of the afternoon, a remarkable range of questions had been discussed, and the forty participants came away with a much greater understanding of fair use and how to rely on it in their work.

Peter Jaszi and Kyle Courtney at CAA’s fair-use town hall at Harvard University (photograph by Janet Landay)

On Monday, Hunter, Peter, and I were in Cambridge, Massachusetts, to join Kyle Courtney, a copyright specialist in Harvard’s Office for Scholarly Communication, for a fair-use town hall on the campus of Harvard University. As in Maine, Peter began the program with an introduction to fair use, and I followed with a description of CAA’s Fair Use Initiative. Kyle spoke about a program he directs at Harvard that trains librarians to be “first responders” to users’ questions about fair use. Although relatively new, the program has proven to be an effective way to support and teach visual-arts professionals about fair use. It is now being replicated on other university campuses. The event was then opened to questions from the sixty-five members of the audience, which Peter and Kyle discussed in depth.

Many of the topics were similar to those that had been addressed at the Bowdoin workshop, but a new subject emerged as well: advocacy. Does a professor who has had a manuscript accepted have any recourse when her publisher requires signed author agreements stating that all images had been cleared for publication and all fees paid? The answer is yes; she can ask her publisher to read CAA’s Code and explain that many, if not all, of her uses of images comply with the doctrine of fair use. While the effort may not succeed (though CAA has several success stories on file), over time it will familiarize publishers with the principles outlined in the Code. Changes have already taken place, in large part due to this kind of challenge from users. Yale University Press now accepts fair-use defenses from its authors who are publishing monographs; the Robert Rauschenberg Foundation embraced a fair use policy for that artist’s work; and CAA not only encourages its authors to consider whether or not their uses are fair, but it also indemnifies authors against lawsuits about works used under fair use.

The program concluded with a reminder that CAA is happy to answer questions about fair use; please don’t hesitate to contact us at nyoffice@collegeart.org.

The CAA member reception at Massachusetts College of Art and Design (photograph by Janet Landay)

Later on Monday, Hunter and I joined another group of CAA members at the Massachusetts College of Art and Design for a wine-and-cheese reception at the school’s President’s Gallery and Bakalar and Paine Galleries. Attendees included a wide range of members, from professors who have belonged to the association for thirty years to new members just graduating from MFA programs. Lisa Tung, the gallery’s director and curator, kicked off the event with a tour of two exhibitions currently on view, Encircling the World: Contemporary Art, Science, and the Sublime and Women’s Rights Are Human Rights: International Posters on Gender-Based Inequality, Violence, and Discrimination. Hunter, who is a former vice president for development at MassArt, then invited participants to speak about how CAA is valuable to them. He emphasized the importance of hearing from members so that CAA can support them as fully as possible in this rapidly changing world.

CAA’s road trip continued in early October with another member’s reception in Portland, Oregon. Later this month we will convene a fair-use workshop in Seattle, Washington. More events are planned for early next year in Georgia and Virginia. Stay tuned!

The Bowdoin College fair-use event was organized by the Bowdoin College Museum of Art and CAA, with funds provided by the Andrew W. Mellon Foundation. The Harvard University fair-use event was organized by Harvard’s Office for Scholarly Communication, thanks to the generous support of the Arcadia Fund, and by CAA, with funds provided by the Mellon Foundation.

Filed under: Copyright, Fair Use, Intellectual Property, Legal Issues, Membership, Uncategorized — Tags: Museums and Galleries —

People in the News

posted by CAA — Oct 15, 2016

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

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

October 2016

Academe

Celeste-Marie Bernier, formerly of the University of Nottingham in England, has taken up a position as professor of black studies at the University of Edinburgh in Scotland.

John Hatch has been appointed chair of the Department of Visual Arts at Western University in London, Ontario, Canada.

Mary Healy, formerly research fellow and guest lecturer in the history of art and visual culture at Trinity College Dublin in Ireland, has become lecturer at University College Cork, also in Ireland.

Sheila Pepe has become a faculty member in the MFA Fine Arts program at the School of Visual Arts in New York.

Museums and Galleries

Alan Chong

Alan Chong, formerly director of the Asian Civilisations Museum and the Peranakan Museum in Singapore, has been named director and chief executive officer of the Currier Museum of Art in Manchester, New Hampshire.

Amanda Gilvin

Amanda Gilvin, formerly visiting assistant professor of African art at Skidmore College in Saratoga Springs, New York, has been appointed assistant curator of collections for the Davis Museum at Wellesley College in Wellesley, Massachusetts.

Michael Goodson

Michael Goodson, formerly director of exhibitions at the Beeler Gallery at Columbus College of Art and Design in Columbus, Ohio, has been appointed senior curator of exhibitions for Ohio State University’s Wexner Center for the Arts, also in Columbus.

Jens Hoffmann, deputy director of exhibitions and programs at the Jewish Museum in New York, has a new position at his institution: director of special exhibitions and public programs.

Kristin Holder, print room manager for the Blanton Museum of Art’s Julia Matthews Wilkinson Center for Prints and Drawings at the University of Texas at Austin, is now curator emerita at her institution.

Sarah Newman, previously consulting curator of modern art for the National Gallery of Art in Washington, DC, has been named James Dicke Curator of Contemporary Art at the Smithsonian American Art Museum, also in Washington, DC.

Stephanie E. Rozman

Stephanie E. Rozman has joined the Norton Simon Museum in Pasadena, California, as assistant curator for Asian art.

Khristaan D. Villela, formerly professor of art history and scholar in residence at Santa Fe University of Art and Design in New Mexico, has been named director of the Museum of International Folk Art in Santa Fe.

Jonathan Frederick Walz

Jonathan Frederick Walz, formerly curator of American art for the Sheldon Museum of Art at the University of Nebraska in Lincoln, has been appointed director of curatorial affairs and curator of American art at the Columbus Museum in Columbus, Georgia.

 

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

Institutional News

posted by CAA — Oct 15, 2016

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.

October 2016

The exhibition Animal-Shaped Vessels will benefit from an NEH grant (photograph provided by Harvard Art Museums)

Harvard Art Museums in Cambridge, Massachusetts, have been awarded a $325,000 grant from the National Endowment for the Humanities to support their fall 2018 exhibition, Animal-Shaped Vessels from the Ancient World: Feasting with Gods, Heroes, and Kings.

Harvard Art Museums in Cambridge, Massachusetts, have unveiled a new online resource dedicated to the Bauhaus, one of the most influential schools of art and design in the twentieth century.

Maryland Institute College of Art in Baltimore has been awarded a $142,604 grant from the Maryland Governor’s Office on Service and Volunteerism, in partnership with the Corporation for National and Community Service, to support the school’s Community Art Collaborative AmeriCorps service program.

Studying African art (photograph provided by the Virginia Museum of Fine Arts)

The Virginia Museum of Fine Arts in Richmond has accepted a $1.5 million grant from the Andrew W. Mellon Foundation to support the in-depth technical examination, conversation, and art-historical study of the museum’s African art collection.

 

Filed under: Uncategorized — Tags: Institutional News, Member News, Member Spotlight —

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