CAA News Today
New in caa.reviews
posted by CAA — Oct 28, 2016
Hollis Clayson reads The Work of Art: Plein-air Painting and Artistic Identity in Nineteenth-Century France by Anthea Callen. The “impressive book, chockablock with technical information,” views “the visible painted mark” as not only an “index of an artist’s working methods and tools, but also the inescapable sign of the painter’s aesthetic, social, and institutional allegiances.” Read the full review at caa.reviews.
Claire Grace discusses Taryn Simon: Paperwork and the Will of Capital, an exhibition hosted at Gagosian Gallery, New York. Grace focuses on twelve sculptures that feature plant specimens yet spring “from the world of geopolitics and trade.” Although sculpture “is a departure for Simon,” the series “extends the research-driven, post-documentary axis of her photography-based practice.” Read the full review at caa.reviews.
James Housefield reviews Ruth E. Iskin’s The Poster: Art, Advertising, Design, and Collecting, 1860s–1900s. This “engaging and readable book” “rethinks the role of print media in the creation and transformations of modern art.” Arguing “persuasively for renewed examination of posters” in visual culture, the volume “contributes to the history of modern art, writ large.” Read the full review at caa.reviews.
Jessica N. Richardson examines From Giotto to Botticelli: The Artistic Patronage of the Humiliati in Florence by Julia I. Miller and Laurie Taylor-Mitchell. “A long-awaited study,” the book “traces the entire span of Humiliati art at a single location.” It “provides another model for breaking down period boundaries and envisaging images and objects as communicating through the centuries.” Read the full review at caa.reviews.
Caa.reviews publishes over 150 reviews each year. Founded in 1998, the site publishes timely scholarly and critical reviews of studies and projects in all areas and periods of art history, visual studies, and the fine arts, providing peer review for the disciplines served by the College Art Association. Publications and projects reviewed include books, articles, exhibitions, conferences, digital scholarship, and other works as appropriate. Read more reviews at caa.reviews.
South African Diary
posted by Janet Landay, Project Director, CAA-Getty International Program — Oct 18, 2016
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.
Committee on Women in the Arts Picks for October 2016
posted by CAA — Oct 16, 2016
Each month, CAA’s Committee on Women in the Arts selects the best in feminist art and scholarship. The following exhibitions and events should not be missed. Check the archive of CWA Picks at the bottom of the page, as several museum and gallery shows listed in previous months may still be on view or touring.
October 2016
Marking the Infinite: Contemporary Women Artists from Aboriginal Australia
Newcomb Art Museum of Tulane
Woldenberg Art Center, No. 202, 6823 St. Charles Avenue, New Orleans, Louisiana 70118
August 20–December 30, 2016
The Newcomb Art Museum of Tulane presents Marking the Infinite: Contemporary Women Artists from Aboriginal Australia, which offers a unique opportunity to appreciate the diverse practices of Aboriginal Australian women artists today. The exhibition features works by Nonggirrnga Marawili, Wintjiya Napaltjarri, Yukultji Napangati, Angelina Pwerle, Carlene West, Regina Pilawuk Wilson, Lena Yarinkura, and Gulumbu Yunupingu. Coming from remote areas of the island, these respected matriarchs and leaders use art to empower their respective communities.
Immersed in ancient cultural traditions, the presented artworks speak with individual voices to universal contemporary themes. Their subject matter range from remote celestial bodies and native flowers to venerable crafts traditions and women’s ceremonies. Each work is unique in facing fundamental questions of existence, asserting both our shared humanity and differences in experiencing and valuing the same planet. As a whole, this exhibition of contemporary women artists from Aboriginal Australia emerges as an evidence of the relevance of indigenous knowledge in the twenty-first century.
Contemporary Aboriginal Australian women’s painting emerged later than the men’s practice, attracting global attentio—especially since the 1990s. Since women began to paint later, they were exposed to a broader range of global cultures. As Hetti Perkins mentions in her catalogue essay for Marking the Infinite, “While cultural activity has always been central to the secular and sacred lives of women, art making in recent decades has offered a key means for women to also maintain their social and economic independence.”
Eleni Panouklia: Its Luminous Saying Must be Left a Conjecture
Palaio Elaiourgeio
Eleusis, Greece
September 4–November 15, 2016
Palaio Elaiourgeio presents Its Luminous Saying Must be Left a Conjecture, a large-scale installation by Eleni Panouklia. Throughout this site- and time-specific mixed-media intervention that is meant to be experienced at night, Panouklia (born in Agrinio, 1972) converts industrial ruins of Palaio Elaiourgeio (Old Oil Mill) of Eleusis into an evocative earthy soundscape of dark paths and inaccessible sanctuaries.
The installation begins and ends in the backyard of the derelict factory, and it consists of two cyclically communicating outdoor and indoor environments allowing individual and collective explorations. The work immerses the viewer in a contrapuntally structured experience of darkness by transforming the backyard of Palaio Elaiourgeio into a disorderly, pulsating landscape of powerful sonorous enclosure and combining that with a lonely ritual itinerary through the silent passageway of a long building, where an interactive event awaits each viewer. Together, the two environments seek to affectively advance both timely critical and timeless existential realizations through distinct bodily and reflective enlightenments, or, better yet, “un-concealments” of the wholeness of being in darkness.
Curated by Kalliopi Minoudaki, Its Luminous Saying Must be Left a Conjecture orchestrates the awakening of multisensory explorations through the creative collaborations with the sound designer Coti K., the light designer Katerina Maragoudaki, the photographer Vassilis Xenias, and the production organizer and design consultant Georgia Voudouri.
Candice Lin: A Body Reduced to Brilliant Colour
Gasworks
155 Vauxhall Street, London SE11 5RH, UK
September 22–December 11, 2016
Gasworks presents A Body Reduced to Brilliant Colour, the first UK solo exhibition by the American artist Candice Lin. Born in Massachusetts in 1979, Lin makes work that engages with notions of gender, race, and sexuality by examining discrepant bodies, vibrant material, and disobedience. In A Body Reduced to Brilliant Colour, the artist explores how histories of slavery and colonialism have been shaped by human attraction to particular colors, tastes, textures, and drugs. Drawing from scientific theories, anthropology, and queer theory, Lin traces the materialist urges at the root of colonial violence.
The exhibition includes a low-tech installation of tubing, plastic and glass containers, porcelain filters, hot plates, and other hacked household objects; her work boils, ferments, distils, dyes, and pumps liquid containing colonial trade goods such as cochineal, sugar, and tea. Transforming prized, historically loaded commodities into a stain reminiscent of murder, feces, or menstrual blood, the exhibition speaks to these fraught histories of conquest, slavery, torture, and theft, while exploring what happens when materials so loaded with history and meaning are situated in new systems of relations.
The exhibition is accompanied by a series of events, including Eating the Edifice, an illustrated lecture/demonstration by the food historian and artist Ivan Day that will outline the evolution of edible table art from the early Renaissance to the nineteenth century.
Complaints Department: Workshop operated by the Guerrilla Girls
Tate Exchange / Switch House
Level 5, Tate Modern, Bankside, London SE1 9TG, UK
October 4–9, 2016
From October 4 to 9, the Guerrilla Girls will operate a Complaints Department. Individuals and organizations are invited to Tate Exchange to conspire with the girls and to post complaints about art, culture, politics, the environment, or any other issue they care about. Throughout the week, a series of workshops and thematic discussions will be presented, encouraging participation and assisting the public in creating statements to post on rolling bulletin boards. The week culminates in a special public event documenting and exploring what has been collectively complained about.
Feminist Avant-Garde of the 1970s
Photographers’ Gallery
16-18 Ramillies Street, London, UK
October 7, 2016–January 8, 2017
Featuring forty-eight international female artists, the Photographers’ Gallery opens its new exhibition, Feminist Avant-Garde of the 1970s, wholly curated from the Verbund Collection in Vienna. “The exhibition highlights groundbreaking practices that shaped the feminist art movement and provides a timely reminder of the wide impact of a generation of artists.” Works in photography, collage, performance, film, and video by well-known feminist trailblazers such as Cindy Sherman and Martha Rosler will be on view, along with overlooked artists such as Katalin Ladik and Birgit Jürgenssen. In fact, the exhibition includes many artists from areas of the world lesser known for feminist art.
“Through radical, poetic, ironic and often provocative investigations,” these artists used their work to question identities, gender roles, and the sexual politics of the 1970s. The exhibition is curated by Gabriele Schor from the Verbund Collection and Anna Dannemann of the Photographers’ Gallery.
The Listen Conference 2016: Feminist Futures
Bella Union
Level 1, Trades Hall, 54 Victoria Street, Melbourne, Australia
October 14–16, 2016
The three-day feminist music conference Listen returns this October with presentations, panel discussions, workshops, and live performances. “The Listen Conference provides a unique opportunity to engage in constructive discussion on ideas relating to gender, feminism, creativity, intersections within communities, writing, and performance.” Keynote speakers include the writer and feminist activist Clementine Ford and the New York–based performer and activist Alok Vaid-Menon (from the trans South Asian performance art duo Darkmatter).
Focusing on raising awareness and equality in the Australian music industry, “Listen” will cultivate “conversations from a feminist perspective around the experiences of marginalised people in Australia music.” Panels will encourage conversations on issues ranging from music making, the pros and cons of “call out culture,” race and sexism in music, and gender binaries in music and art, among other topics. The conference also features three nights of live music and movement-based performances, including experimental punk, Aboriginal mixes, dark techno, and poetry.
Adriana Marmorek: Love Relics
Nohra Haime Gallery
730 Fifth Avenue, 7th Floor, New York
September 14–October 15, 2016
Love Relics at Nohra Haime Gallery features photographs and videos by the Colombian artist Adriana Marmorek that document the ceremonial burning of twelve treasured objects associated with love. Most notable is the burning of Relic #16 and Relic #17, both wedding gowns, “showcasing the destruction of these institutional flags.”
The project originated at the end of another exhibition Reliquia, for which Marmorek exhibited fifty-one donated relics or treasures that represented memories of love or loved ones. When the exhibition finished, the artist chose to burn several of the relics, “digging deeper into the concept of eternity and ephemerality.” A ceremony was conducted for the owners of the objects, as she burned each and filmed them. “Some treasures—of love, happiness, sorrow and anger—had associated memories so deep that they had replaced the physical and enveloped an intense spiritual being.”
In addition to the videos, photographs are also on view, “capturing a split second in time,” while mementos such as an appointment book, a box of condoms, a matchbook, and a bridal bouquet are engulfed in flames.
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.
Grants, Awards, and Honors
posted by CAA — Oct 15, 2016
CAA recognizes its members for their professional achievements, be it a grant, fellowship, residency, book prize, honorary degree, or related award.
Grants, Awards, and Honors is published every two months: in February, April, June, August, October, and December. To learn more about submitting a listing, please follow the instructions on the main Member News page.
October 2016
Dustin Chad Alligood, curator for the Crystal Bridges Museum of American Art in Bentonville, Arkansas, was a participant in NextGen 2016, a program of the Getty Leadership Institute at Claremont Graduate University in Claremont, California.
Alex Arzt, an artist based in Adamstown, Maryland, has been awarded a 2016 residency at the Artists’ Cooperative Residency and Exhibitions (ACRE) program in Steuben, Wisconsin.
Renzo Baldasso, assistant professor of art history for the Herberger Institute for Design and the Arts at Arizona State University in Tempe, has been named a Paul Mellon Visiting Senior Fellow for fall 2016–winter 2017 by the National Gallery of Art’s Center for Advanced Study in the Visual Arts in Washington, DC. His research project is “A New Aesthetics for Print: The Emergence of the Visuality of the Printed Page from Gutenberg to Ratdolt.”
Caitlin Beach, a PhD candidate in the Department of Art History and Archaeology at Columbia University in New York, has earned a 2016–18 Wyeth Fellowship from the National Gallery of Art’s Center for Advanced Study in the Visual Arts in Washington, DC. As a nonresident predoctoral dissertation fellow, Beach will work on “Sculpture, Slavery, and Commodity in the Nineteenth-Century Atlantic World.”
John Richard Blakinger has accepted a two-year postdoctoral fellowship with the USC Society of Fellows in the Humanities at the University of Southern California in Los Angeles.
Andrianna Campbell, a doctoral student in art history at the Graduate Center, City University of New York, has received a Twelve-Month Chester Dale Fellow for 2016–17 from the National Gallery of Art’s Center for Advanced Study in the Visual Arts in Washington, DC. She will research “Norman Lewis: Linearity, Pedagogy, and Activism in His Abstract Expressionism, 1946–1964” during her time as a nonresident predoctoral dissertation fellow.
Natalie Campbell, an independent curator based in Washington, DC, has received a 2017 Curatorial Fellowship from the Center for Craft, Creativity, and Design in Asheville, North Carolina. With Carissa Carman, she will work on an exhibition called Tie Up, Draw Down, scheduled for summer 2017.
Carissa Carman, lecturer and area head of textiles in the Department of Studio Art at Indiana University in Bloomington, has received a 2017 Curatorial Fellowship from the Center for Craft, Creativity, and Design in Asheville, North Carolina. She will work on an exhibition called Tie Up, Draw Down, scheduled for summer 2017, with Natalie Campbell.
Peter Christensen, assistant professor of art history in the Department of Art and Art History at the University of Rochester in Rochester, New York, has won a 2016 SAH/Mellon Author Award from the Society of Architectural Historians. His book Germany and the Ottoman Railways: Art, Empire, and Infrastructure will be published by Yale University Press.
Grace Chuang, a doctoral candidate in art history at New York University’s Institute of Fine Arts, has been appointed a 2016–18 Samuel H. Kress Fellow by the National Gallery of Art’s Center for Advanced Study in the Visual Arts in Washington, DC. As a nonresident predoctoral dissertation fellow, Chuang will work on “The Furniture of Bernard II Vanrisamburgh, Master Cabinetmaker in Eighteenth-Century Paris.”
Lee Ann Custer, a PhD student in the University of Pennsylvania’s Department of History of Art in Philadelphia, has accepted an Ailsa Mellon Bruce Predoctoral Fellowship for Historians of American Art to Travel Abroad. The award was presented by the National Gallery of Art’s Center for Advanced Study in the Visual Arts in Washington, DC.
Catherine Damman, a doctoral candidate in the Department of Art History and Archaeology at Columbia University in New York, has earned a Twenty-Four-Month Chester Dale Fellow for 2016–18 from the National Gallery of Art’s Center for Advanced Study in the Visual Arts in Washington, DC. During her time as a nonresident predoctoral dissertation fellow, she will research “Unreliable Narrators: Laurie Anderson, Julia Heyward, and Jill Kroesen Perform the 1970s.”
Maggie Dethloff, a PhD student in the Department of Art History at the University of California, Irvine, has completed a 2016 summer internship at the National Gallery of Art in Washington, DC. For her project, Dethloff assisted with research and organization for an upcoming exhibition on the photographs of Sally Mann.
Jill Johnson Deupi, director and chief curator of the University of Miami’s Lowe Art Museum in Coral Gables, Florida, was a 2016 participant in the Getty Leadership Institute at Claremont Graduate University in Claremont, California.
Rachel Epp Buller, associate professor of visual arts and design at Bethel College in Mishawaka, Indiana, has been awarded one of the two Mary McMullan Grants given in the United States by the National Art Education Foundation. The grant will fund the development of a new course on activism, art, and design.
Jennifer Foley, director of education and community engagement for the Albright-Knox Art Gallery in Buffalo, New York, was a participant in NextGen 2016, a program of the Getty Leadership Institute at Claremont Graduate University in Claremont, California.
Sarah E. Fraser, professor of Chinese art history and deputy head of the Institute of East Asian Art History at Heidelberg University in Heidelberg, Germany, has been appointed Ailsa Mellon Bruce Senior Fellow at the National Gallery of Art’s Center for Advanced Study in the Visual Arts in Washington, DC. Fraser’s research concerns “Chinese as Subject: Genres in Nineteenth-Century Photography and the Migration of European Chinoiseries.”
Faye Raquel Gleisser, assistant professor of contemporary art in the Department of Art History of the Henry Radford Hope School of Fine Arts at Indiana University in Bloomington, has received a 2017 Academic Fellowship from the Georgia O’Keeffe Museum Research Center in Santa Fe, New Mexico. In fall 2017 Gleisser will work on “Guerilla Tactics: Performance Art and the Aesthetics of Resistance in American Visual Culture, 1967–83.”
Aaron M. Hyman, a doctoral candidate in the History of Art Department at the University of California, Berkeley, has earned a 2015–17 Andrew W. Mellon Fellowship from the National Gallery of Art’s Center for Advanced Study in the Visual Arts in Washington, DC. During his time as a resident predoctoral dissertation fellow, Hyman will research “Rubens in a New World: Prints, Authorship, and Transatlantic Intertextuality.”
Frances Jacobus-Parker, a doctoral student in the Department of Art and Archaeology at Princeton University in Princeton, New Jersey, has earned a 2017 Academic Fellowship from the Georgia O’Keeffe Museum Research Center in Santa Fe, New Mexico. Her dissertation is titled “Redescription: Vija Celmins and the Replica in Postwar American Art.”
Hagi Kenaan, associate professor in the Department of Philosophy at Tel Aviv University in Israel, has been named William C. Seitz Senior Fellow by the National Gallery of Art’s Center for Advanced Study in the Visual Arts in Washington, DC. He will work on “The Origins of Photography and the Future of the Image.”
Bahareh Khoshooee, an MFA candidate in studio art at the University of South Florida in Tampa, has earned a 2016 residency in the Artists’ Cooperative Residency and Exhibitions (ACRE) program in Steuben, Wisconsin.
David Young Kim, assistant professor in the Department of History of Art at the University of Pennsylvania in Philadelphia, has been appointed Paul Mellon Senior Fellow at the Center for Advanced Study in the Visual Arts by the National Gallery of Art in Washington, DC. His project will examine “The Groundwork of Painting: Background, Materiality, and Composition in Italian Renaissance Art.”
Dale Kinney, Eugenia Chase Guild Professor Emeritus in the Humanities and Research Professor at Bryn Mawr College in Bryn Mawr, Pennsylvania, has been named 2016–17 Samuel H. Kress Professor at the Center for Advanced Study in the Visual Arts by the National Gallery of Art in Washington, DC.
Estelle Lingo, associate professor of art history and Donald E. Petersen Endowed Fellow at the University of Washington in Seattle, has been appointed Andrew W. Mellon Professor for 2016–17 at the National Gallery of Art’s Center for Advanced Study in the Visual Arts in Washington, DC.
Melissa Ming-Hwei Lo, assistant curator for the Huntington Library, Art Collection, and Botanical Gardens in San Marino, California, was a participant in NextGen 2016, a program of the Getty Leadership Institute at Claremont Graduate University in Claremont, California.
Fernando Loffredo has been selected as an A. W. Mellon Postdoctoral Fellow for 2015–17 by the National Gallery of Art’s Center for Advanced Study in the Visual Arts in Washington, DC. He is working on “A Sea of Marble: Traveling Fountains in the Early Modern Mediterranean.”
Joseph Madrigal, assistant professor of art at Luther College in Decorah, Iowa, has earned a 2016 residency at the Artists’ Cooperative Residency and Exhibitions (ACRE) program in Steuben, Wisconsin.
Michelle McCoy, a PhD student in the History of Art Department at the University of California, Berkeley, has been named Ittleson Fellow for 2015–17 by the National Gallery of Art’s Center for Advanced Study in the Visual Arts in Washington, DC. During her residency as a predoctoral dissertation fellows, McCoy will explore “Astrology and Astronomy in the Art of Liao-Yuan China and Inner Asia.”
Patricia Miranda, an artist, curator, and educator based in New York, has become the fall 2016 artist in residence at the I-Park Foundation in East Haddam, Connecticut.
Mary G. Morton, curator and head of the National Gallery of Art’s Department of French Paintings in Washington, DC, has been appointed 2016–17 Ailsa Mellon Bruce National Gallery of Art Sabbatical Curatorial Fellow at the Center for Advanced Study in the Visual Arts. Her exhibition will be titled Considering Caillebotte.
Itohan I. Osayimwese, assistant professor of the history of art and architecture at Brown University in Providence, Rhode Island, has won a 2016 SAH/Mellon Author Award from the Society of Architectural Historians. Her book Colonialism and the Archive of Modern Architecture in Germany will be published by the University of Pittsburgh Press.
Hannah Patterson, an artist based in Maryville, Tennessee, has accepted a 2016 residency from the Artists’ Cooperative Residency and Exhibitions (ACRE) program in Steuben, Wisconsin.
Giancarla Periti, associate professor of Italian Renaissance art at the University of Toronto in Ontario, Canada, has been honored with a Samuel H. Kress Senior Fellowship. During her time at the National Gallery of Art’s Center for Advanced Study in the Visual Arts in Washington, DC, she will work on “Correggio: Borders, Frames, and the Center of Painting.”
Lisa Pon, professor of art history in the Meadows School of the Arts at Southern Methodist University in Dallas, Texas, has received a Paul Mellon Visiting Senior Fellowship for fall 2016–winter 2017. Her research project at the National Gallery of Art’s Center for Advanced Study in the Visual Arts in Washington, DC, is called “Raphael and the Renaissance Arts of Collaboration.”
Aviva Rahmani, an artist based in New York, has won a 2016 award in architecture/environmental structures/design category through the Artists’ Fellowship Program of the New York Foundation for the Arts.
Jennifer Reynolds-Kaye, Lewis B. and Dorothy Cullman-Payson Postdoctoral Fellow at the Yale University Art Gallery in New Haven, Connecticut, was a participant in NextGen 2016, a program of the Getty Leadership Institute at Claremont Graduate University in Claremont, California.
Jeff Robinson, instructor of art and director of the Visual Arts Gallery at the University of Illinois in Springfield, has accepted a 2016 residency at the Artists’ Cooperative Residency and Exhibitions (ACRE) program in Steuben, Wisconsin.
Kristine Ronan, who recently earned her PhD in art history from the University of Michigan in Ann Arbor, has been awarded a 2017 Academic Fellowship from the Georgia O’Keeffe Museum Research Center in Santa Fe, New Mexico. As a postdoctoral fellow, Ronan will continue work on “Indian – Pop – Politics: The Rise and Fall of a Native/American Art Movement.”
Margaret Samu, a freelance art historian based in New York, has become writer in residence at New York University’s Jordan Center for the Advanced Study of Russia. She will work on her manuscript “Russian Venus” during the 2016–17 academic year.
Elke SeibertElke Seibert, a postdoctoral researcher, has been awarded a two-year fellowship at the German Center for the History of Art in Paris, France, sponsored by the German Research Foundation. She will continue researching “Prehistoric Rock Paintings and the Genesis of Contemporary Art in New York and Paris (1930–60).”
Zeynep Simavi, program specialist in public and scholarly engagement for the Smithsonian Institution’s Freer Gallery of Art and Arthur M. Sackler Gallery in Washington, DC, was a participant in NextGen 2016, a program of the Getty Leadership Institute at Claremont Graduate University in Claremont, California.
Anna P. SokolinaAnna P. Sokolina has become the first Milka Bliznakov Scholar in recognition and support of her research proposal, “Life to Architecture: Milka Bliznakov Academic Papers and Records of Russian Women Architects at the IAWA.” The Milka Bliznakov Research Prize Jury 2016 at the International Archive of Women in Architecture, facilitated at Virginia Polytechnic Institute and State University, created a new designation that includes a stipend to cover a two-year period (2016–18).
Phil Taylor, a doctoral student in the Department of Art and Archaeology at Princeton University in Princeton, New Jersey, has been appointed David E. Finley Fellow for 2014–17 by the Center for Advanced Study in the Visual Arts at the National Gallery of Art in Washington, DC. His research, to be undertaken as a resident predoctoral dissertation fellow, examines “Raoul Ubac’s Photographic Surrealism.”
Jill Vaum, a PhD candidate in the Department of History of Art at the University of Pennsylvania in Philadelphia, has received an Ailsa Mellon Bruce Predoctoral Fellowship for Historians of American Art to Travel Abroad, awarded by the National Gallery of Art’s Center for Advanced Study in the Visual Arts in Washington, DC.
Leslie Wilson, a graduate student in the Department of Art History at the University of Chicago in Illinois, has received a Twenty-Four-Month Chester Dale Fellow for 2015–17 from the Center for Advanced Study in the Visual Arts at the National Gallery of Art in Washington, DC. While a resident predoctoral dissertation fellow, Wilson will consider “Past Black and White: The Color of Post-Apartheid Photography in South Africa, 1994‒2004.”
Oliver M. Wunsch, a PhD candidate in the Department of History of Art and Architecture at Harvard University in Cambridge, Massachusetts, has been appointed Robert H. and Clarice Smith Fellow for 2016–17 by the National Gallery of Art’s Center for Advanced Study in the Visual Arts in Washington, DC. As a nonresident predoctoral dissertation fellow, he will research “Painting against Time: The Decaying Image in the French Enlightenment.”
Irini Zervas, who recently earned an MA in art history from Hunter College, City University of New York, has completed work as a 2016 National Gallery of Art Summer Intern. For her project in Washington, DC, Zervas assisted with research and organization for an upcoming exhibition on women photographers working from the 1920s through the 1940s.
Books Published by CAA Members
posted by CAA — Oct 15, 2016
Publishing a book is a major milestone for artists and scholars—browse a list of recent titles below.
Books Published by CAA Members appears 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
Anastasia Aukeman. Welcome to Painterland: Bruce Conner and the Rat Bastard Protective Association (Oakland: University of California Press, 2016).
Michael Corris. Leaving Skull City: Selected Writings on Art (Dijon, France: Les Presses du réel, 2016).
Wayne Franits, ed. The Ashgate Research Companion to Dutch Art of the Seventeenth Century (New York: Routledge, 2016).
Peter J. Holliday. American Arcadia: California and the Classical Tradition (New York: Oxford University Press, 2016).
Sharon Louden. The Artist as Cultural Producer: Living and Sustaining a Creative Life (Bristol, UK: Intellect Books, 2017).
Adair Margo and Melissa Renn. Tom Lea, Life Magazine, and World War II (El Paso, TX: Tom Lea Institute, 2016).
Craig McDaniel and Jean Robertson. Spellbound: Rethinking the Alphabet (Bristol, UK: Intellect Books, 2016).
Christina Bryan Rosenberger. Drawing the Line: The Early Work of Agnes Martin (Oakland: University of California Press, 2016).
Laura E. Smith. Horace Poolaw, Photographer of American Indian Modernity (Lincoln: University of Nebraska Press, 2016).
Nicholas Stanley-Price, Mary K. McGuigan, and John F. McGuigan Jr. At the Foot of the Pyramid: 300 Years of the Cemetery for Foreigners in Rome (Bonn: Arbeitskreis selbständiger Kultur-Institute, 2016).
Linda Stein, ed. Holocaust Heroes: Fierce Females; Tapestries and Sculpture by Linda Stein (Philadelphia: Old City Publishing, 2016).
Meiqin Wang. Urbanization and Contemporary Chinese Art (New York: Routledge, 2016).
News from the Art and Academic Worlds
posted by Christopher Howard — Oct 12, 2016
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.
Cruelty and Kindness in Academia
Academics don’t have a reputation for being kind. To put it gently, higher education values intellect over affect. Kindness tends to be viewed as the opposite of criticism. Scholars, after all, are trained in critique, and not necessarily the constructive kind. (Read more from Vitae.)
Why New-Media Art Still Hasn’t Fully Gone Mainstream
Artists working in “new” media have never been so widely admired—a generation of artists in their twenties and thirties, including Amalia Ulman, Neil Beloufa, Ian Cheng, Jon Rafman, and Cécile B. Evans, are now shown internationally. Yet a quarter of a century after the emergence of digital art, it continues to raise challenges for museums, galleries, and collectors. (Read more from the Art Newspaper.)
The Questions We Should Be Asking Our Students
How much do you know about how your students study? I’ve been asking the question a lot lately, and most of the answers I’ve heard aren’t all that impressive. They’re more about how the faculty member thinks students study, how they should study, or how they aren’t studying. (Read more from Faculty Focus.)
What It Takes to Recover a Stolen Work of Art
A recent highly publicized announcement that two stolen van Gogh paintings had been recovered after fourteen years was a welcome surprise. How do thieves make off with a painting? What should a victim do after realizing they’ve been robbed? Why are only a tiny percentage of works recovered? (Read more from Artsy.)
Alizarin Crimson: Now You See It…
If a single color embodies the dividing line between pigments considered suitable for permanent works of art and those that are suspect and poor in lightfastness, Alizarin Crimson (PR 83) would be it. And yet the color is still used by many artists who are drawn to it in spite of its many problems. (Read more from Just Paint.)
Old Media, New Media, Data Media: Evolving Publishing Paradigms
Not so long ago we routinely talked of old vs. new media. The old was characterized by investment in and creation of content, which gave rise to a common set of properties—definitive and authoritative journalism and scientific reports, the fixed text, and the pursuit of the finest authors and top creative talent. New media, on the other hand, was digital and had its own set of properties. (Read more from the Scholarly Kitchen.)
The Rise of Living-Room Galleries in London
Young artists and curators throughout London are organizing public exhibitions in their own homes. Many are recent graduates who cannot afford the hefty cost of renting a temporary space. “There’s a pressing need for young artists to find inexpensive places to show art,” said Elena Colman. (Read more from the Art Newspaper.)
What’s behind Art’s Uneasy Celebrity Courtship?
The art world collectively raised its eyebrows when Sotheby’s Hong Kong announced a collaborative curated auction with Choi Seung-hyun, the 28-year-old Korean boy-band star known as T.O.P. Yet the art world’s newly discovered courtship of celebrity is deeper than it seems, which is why it’s making so many people uneasy. (Read more from Artnet News.)
News from the Art and Academic Worlds
posted by Christopher Howard — Oct 05, 2016
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.
Burning Questions: How Can I Promote My Exhibition?
I’ve got an exhibition coming up at a small artist-run gallery space. They don’t have any real budget for promotion or anything like that. So I’m wondering something: What are the best low-cost (preferably free) ways to promote my exhibition? (Read more from Burnaway.)
Islamic Extremist Sentenced to Nine Years in Prison for Destroying Timbuktu Mausoleums
In an unprecedented move, Ahmad Al-Faqi Al-Mahdi pleaded guilty to war crimes for ordering the razing of nine mausoleums and the fifteenth-century Sidi Yahia mosque in the ancient city of Timbuktu in northern Mali. The historic verdict marks the first time the international criminal court in The Hague has heard a case about the demolition of cultural heritage. (Read more from the Art Newspaper.)
What Is the Real Impact of Public Art Programs?
The production and introduction of artworks into the public domain started to be regulated and organized by national programs in the 1930s. Although state-sponsored institutions—such as the US Federal Art Project, the USSR’s Ministry of Culture, and the Chinese Communist Party’s art-related efforts—primarily pursued propaganda goals, this laid the foundation for public art programs worldwide. (Read more from Artnet News.)
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.)
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 the Riverfront Times.)
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.)
Who Gets the Credit for Collaboration?
The most important part of your tenure package at a research university is—shockingly!—your research. The tricky part of scholarly evaluation is collaboration. In a tenure case, the external letter writers will be asked to evaluate your contribution to the field, which includes evaluating how much you contributed to the collaborative projects listed on your CV. (Read more from Vitae.)
How to Systemize Your Workflow
Graduate students will argue that because our tasks are so varied and diverse, because research is so unpredictable, because the very nature of good scholarly work is its novelty, nothing we do can actually be systemized effectively. But I would argue that this is exactly where we need to systemize, so that we can spend minimal time on the rote things and spend the majority of our energy and cognitive cycles on the issues that actually matter. (Read more from Inside Higher Ed.)
News from the Art and Academic Worlds
posted by Christopher Howard — Sep 28, 2016
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.
Zero Correlation between Evaluations and Learning
A number of studies suggest that student evaluations of teaching are unreliable due to various biases against instructors. Yet conventional wisdom remains that students learn best from highly rated instructors. What if the data backing up conventional wisdom were off? A new study suggests that past analyses linking student achievement to high student teaching evaluation ratings are flawed. (Read more from Inside Higher Ed.)
How Colleges Should Adapt in a Networked Age
Perhaps you’ve stood in the front of a classroom, looked out on the room full of students distractedly checking email or Facebook, and thought: they’re just not that into this. When you were younger, students were more respectful of the professor at the podium. The change may indicate a bigger shift in attitudes toward college and authority figures in general. (Read more from the Chronicle of Higher Education.)
Autocorrect: The Politics of Museum Collection Re-Hangs
In the past year, three major New York museums—the Museum of Modern Art, the Whitney Museum of American Art, and the Brooklyn Museum—as well as a host of others around the world, have reinstalled their collection galleries in ways that privilege the alternative historical trajectory or new discovery over the transcendent masterpiece. (Read more from ARTnews.)
Back to Nature
By 2016 it is obvious that midcentury modernism is the defining design influence of the decade, with slim, sculpted furniture and thin, minimalist lines now ubiquitous. But a parallel trend has developed that revives a different aspect of the modernist aesthetic, just in time to address newer anxieties about our looming environmental apocalypse: the use of plants as design elements. (Read more from Curbed.)
How to Create Gender Equality in the Arts
Last week at the New School in New York, four female museum directors gazed up at an image of a woman sporting the all-caps slogan “The Future Is Female.” They were gathered to discuss the dearth of women in art-world leadership roles—and what it takes to get there. (Read more from Artsy.)
Self-Made Supermodels
In early 2015, near the end of her MFA in fine arts at Parsons, Leah Schrager set out on a project to create a celebrity by 2020—entirely via the internet—as an art practice. The celebrity she began to create was a hyper-sexy, cyber-savvy female rock star named Ona. (Read more from Rhizome.)
MoMA Will Make Thousands of Exhibition Images Available Online
After years of planning and digitizing, hundreds of thousands of documents and photographs in the Museum of Modern Art’s archives will now be available online. The digital-archive project will include almost 33,000 exhibition installation photographs, along with the pages of 800 out-of-print catalogs and more than 1,000 exhibition checklists, documents related to more than 3,500 exhibitions from 1929 through 1989. (Read more from the New York Times.)
How to Be a Better Networker
Your network starts locally with the people know from your lab or office, the floor you are on, your department, the journal club you attend, the lunchroom, and the like. Then, what do you do outside your training? Do you play a sport in a student league? Are you involved in a religious organization? Do you have kids and meet other parents through their care or activities? (Read more from Inside Higher Ed.)
New in caa.reviews
posted by CAA — Sep 23, 2016
Alison C. Fleming reads Federico Barocci and the Oratorians: Corporate Patronage and Style in the Counter-Reformation by Ian F. Verstegen. The book “efficiently tackles the subject” of “the interior decoration of the Chiesa Nuova in Rome,” with a focus on Federico Barocci “and how his style corresponded so well to the tenets of the Oratorians that they repeatedly sought his paintings.” Read the full review at caa.reviews.
Claudia Swan reviews Benjamin Schmidt’s Inventing Exoticism: Geography, Globalism, and Europe’s Early Modern World. Merging historical and art-historical elements, this “formidable study” examines artworks and luxury goods “produced in Dutch ateliers between 1670 and 1730 under the rubric of ‘exotic geography,’” which the author views as “a new rhetorical and artistic mode.” Read the full review at caa.reviews.
Carol Damian discusses two books centered on the questions of what is a Latino and what is Latino art: Thirteen Way of Looking at Latino Art, by Ilan Stavans and Jorge J. E. Gracia, and Our America: The Latino Presence in American Art, an exhibition catalogue from the Smithsonian American Art Museum. Both books evidence how “the entire Latino issue is a construct, complicated, and imperfect” and “make valuable contributions to this ongoing discussion.” Read the full review at caa.reviews.
Caa.reviews publishes over 150 reviews each year. Founded in 1998, the site publishes timely scholarly and critical reviews of studies and projects in all areas and periods of art history, visual studies, and the fine arts, providing peer review for the disciplines served by the College Art Association. Publications and projects reviewed include books, articles, exhibitions, conferences, digital scholarship, and other works as appropriate. Read more reviews at caa.reviews.