CAA News Today
News from the Art and Academic Worlds
posted by Christopher Howard — Jun 24, 2015
Each week CAA News publishes summaries of eight articles, published around the web, that CAA members may find interesting and useful in their professional and creative lives.
A Win for Academic Freedom: Steven Salaita Awarded Back-to-Back Victories against University That Fired Him
The first part of June has awarded back-to-back victories to Steven Salaita, a professor who last year was dismissed from his post at the University of Illinois, Urbana-Champaign, for posting tweets considered by some to be beyond the pale of proper academic discourse. What makes this case especially interesting—and what the recent court decision and a critical vote by the largest confederation of US professors in the country shows—is the undue and improper interference of wealthy donors on the internal affairs of public educational institutions. (Read more from Salon.)
Should I Ask Someone to Write about My Show?
I’ve had two solo shows in the last couple of years that received absolutely no press coverage. I’m trying to get a better position at the college at which I currently teach and need all the help I can get. Reviews look good on a résumé. Should I ask some of the local writers to write about my next show? What if they are good friends? (Read more from Burnaway.)
Help Desk: Serious Damage
I have my work up in a solo exhibition at a well-known arts center in a large city. Last weekend during open gallery hours, I walked in to find five wall pieces and a major floor sculpture missing. The attendants had no idea what had happened or where the work was. Finally, I found someone who let me in to the offices where the work was being stored. Two pieces were broken and the rest were undamaged. How should I handle this situation? (Read more from Daily Serving.)
Blurring the Museum-Gallery Divide
Ever since Mark Rosenthal left his job as head of twentieth-century art at the National Gallery in Washington to become an independent curator, museums around the country have sought his talents. Now art galleries are trying to hire him, too—but not just for his scholarship. “There was a big expectation,” Rosenthal said, “that I could deliver works for sale.” (Read more from the New York Times.)
You Want to Write for a Popular Audience? Really?
At a recent job interview, I explained to the committee that I was trying to write a book for a popular audience. One of them smirked, but at least had the grace to try to hide it behind her hand. The self-described maverick of the team simply laughed out loud. The head of the committee stared at me in genuine amazement. “Why bother?” he asked. After all, there was no hope of reaching the general public. Or as he put it, “the masses will always just be the masses.” (Read more from the Chronicle of Higher Education.)
World’s Most Inaccessible Art Found in the Heart of the Colombian Jungle
A British wildlife filmmaker has returned from one of the most inaccessible parts of the world with extraordinary footage of ancient rock art that has never been filmed or photographed before. In an area of Colombia so vast and remote that contact has still not been made with some tribes thought to live there, Mike Slee used a helicopter to film hundreds of paintings depicting hunters and animals believed to have been created thousands of years ago. (Read more from the Guardian.)
Arts Philanthropy Booming, Cultural Giving Rises 9.2 Percent, New Study Says
Americans’ donations to arts and culture rose 9.2 percent in 2014, the highest increase in nine categories tracked by Giving USA, an annual report on charitable contributions. Overall, however, arts and culture commanded a modest share of the philanthropic pie. (Read more from the Los Angeles Times.)
How to Use Student Evaluations Wisely
I’m well aware that the value of student evaluations is contested, but like my father, I’ve also found that they can be useful tools. At my own institution, I inherited a nuanced set of faculty-designed guidelines on the use of student evaluations. Among the best ideas I found in them. (Read more from Vitae.)
New and Forthcoming in CAA’s Journals
posted by Joe Hannan — Jun 23, 2015
Here is what is new and forthcoming in CAA’s three scholarly journals.
caa.reviews
caa.reviews inaugurates a new field of coverage with “Reflections on Digital Art History” by art historian Pamela Fletcher. Editor-in-chief David Raskin provides an introduction to the essay including these statements: “The digital humanities is an emerging field that promises to merge technology with interpretative creativity, to create entirely new types of scholarly perspectives and methods for visualizing data. $500 loan online payday same day. Fletcher identifies two existing categories of projects that are already showing potential: archival modeling and visual data analysis. The former seeks to assemble tremendous detail in one central location, such as every document directly tied to Dante Gabriel Rossetti’s art, while the latter seeks to make complicated time and space relationships comprehensible, such as the evolving physical plant of Auschwitz-Birkenau during World War II. The scholarship is inspiring, since it is these pioneers who are setting the course we will all soon travel.”
Art Journal Open and Art Journal
Last week Art Journal Open added two interviews to its growing content. “Broken Dishes: Kate Gilmore in Conversation with Dina Deitsch” is the second installment of a series in which Deitsch explores the creative process with artists whose work she has selected for exhibitions. She speaks with Gilmore about her performance and installation Like This, Before (2013), from the exhibition Paint Things: Beyond the Stretcher, which Deitsch and Evan Garza organized for the deCordova Sculpture Park and Museum in Lincoln, Massachusetts. The page features striking video of the performance. In “Immemorial: The Poetics of AIDS; A Conversation with Rudy Lemcke,” the artist and scholar Tina Takemoto interviews Lemcke, a San Francisco-based artist best known for works that captured the sensibilities of the early stages of the AIDS crisis. Lemcke’s work is featured in the larger thematic exhibition Art AIDS America, which just opened in Los Angeles at the West Hollywood Library and One Archive Gallery and Museum. During the next year, the show will travel to museums in Tacoma, Washington, Kennesaw, Georgia, and the Bronx, New York.
Art Journal
The next issue of the quarterly Art Journal will have a special focus on the work of the pioneering artist Carolee Schneemann. Over a fifty-year career, she has consistently been at forefront of experimental art—as filmmaker, performance artist, creator of media installations, and feminist artist. The centerpiece of the issue is “The Kitch Portfolio,” for which the artist has compiled thirty pages of previously unpublished artworks, photographs, journal entries, letters, and other archival works pertaining to a central presence in her work from the mid-1950s through 1976, the feline artist and performer Kitch. Two essays on Schneemann’s work by Thyrza Nichols Goodeve and Kenneth White are also featured. The issue includes an essay by Kerr Houston on Richard Serra’s 1966 renunciation of painting, as well as reviews of books by Sharon Kivland, Sharon Louden, Stephen Wright, and Todd Cronan. It will publish in print and online in early July.
The Art Bulletin
Don’t miss these essays published in the June issue of The Art Bulletin: “Building and Writing San Lorenzo in Florence: The Architect, The Biographer, The Patron, and The Prior” by Marvin Trachtenberg, “Van Dyck Between Master and Model” by Adam Eaker, “Rococo Representations of Interspecies Sensuality and the Pursuit of Volupté” by Jennifer Milam, and “Félix Vallotton’s Murderous Life” by Bridget Alsdorf. The September issue of The Art Bulletin publishes its first digital supplement to a feature article in the online version of “Performing the Jeweled Pagoda Mandalas: Relics, Reliquaries, and a Realm of Text” by Halle O’Neal.
Taylor & Francis Online
In addition to their print subscription(s), CAA members receive online access to current and back issues of Art Journal and The Art Bulletin. Taylor & Francis also provides complimentary online access to Word and Image, Digital Creativity, and Public Art Dialogue for CAA members. To access these journals, please log into your account at collegeart.org and click the link to the CAA Online Publications Platform on Taylor & Francis Online
News from the Art and Academic Worlds
posted by Christopher Howard — Jun 17, 2015
Each week CAA News publishes summaries of eight articles, published around the web, that CAA members may find interesting and useful in their professional and creative lives.
Why Should Collectors Get All the Breaks?
Many of America’s major museums have benefitted from laws that afford collectors tax breaks when donating works to institutions or charities, and now artists and their advocates are seeking similar compensation for works they gift. While collectors can write off the fair market value of works they donate to museums, artists can only claim for the costs of the materials they used to produce the work. (Read more from the Art Newspaper.)
After the Riots, Baltimore’s Best Shot at Redemption May Be Its Arts Community
On the April day when Freddie Gray died from injuries he suffered in police custody and a week before rioters took to the streets in protest, Karen Brooks Hopkins, president of the Brooklyn Academy of Music, gave a presentation to a small group of Baltimoreans about the future of their city. The symposium, in a state-of-the-art auditorium little more than a mile down North Avenue from the blighted block where Gray was arrested, centered on a question that has sparked revitalization efforts from Detroit to Dublin and from Miami to Marseille: whether arts can turn a city around. (Read more from the Washington Post.)
Dear Liberal Professor, Students Aren’t The Problem
In a recent Vox essay, a self-described “liberal professor,” writing under a pseudonym, explained how students had changed over his nine years in the college classroom. His liberal students now “terrify” him, he wrote, with their identity politics and imagined grievances. Here we go, I thought, another lament of the loss of white-male privilege, this time set at the university. What I quickly realized, however, was that the essay might be better characterized as a jeremiad, a cautionary tale that exaggerates current woes to elicit social change. (Read more from Vitae.)
The Art of Having Difficult Conversations
The ability to have difficult conversations is important for career success, productivity, and relationships in almost every field, and higher education is no exception. However, despite the need to have these conversations, the idea of addressing sensitive issues can be scary. This article provides strategies for having difficult conversations and gives example scripts. (Read more from Inside Higher Ed.)
Ford Shifts Grant Making to Focus Entirely on Inequality
The fight against inequality will take center stage at the Ford Foundation under a sweeping overhaul announced today by the nation’s second biggest philanthropy. Not only will Ford direct all of its money and influence to curbing financial, racial, gender, and other inequities, but it will give lots more money in a way grantees have been clamoring for: It hopes to double the total it gives in the form of unrestricted grants for operating support. (Read more from the Chronicle of Philanthropy.)
MoMA.org Turns 20: Archiving Two Decades of Exhibition Sites
It’s hard to believe that MoMA’s website, which celebrated its twentieth anniversary in May, is older than Google. It began with two relatively simple (by today’s standards) HTML exhibition sites for the Mutant Materials and Video Spaces exhibitions in 1995. Since then, over two hundred exhibition sites have been created, documenting not only the museum’s evolving curatorial interests, but also huge changes in web coding and design. This collection of exhibition sites almost serves as its own online museum of the internet. (Read more from Inside/Out.)
Dying of Exposure
At some point, two years ago, maybe, I stopped doing things for free: no free writing, no free talks, no free critiques with artists or art students, nothing. I didn’t make the decision out of avarice; I made it as a matter of survival. I used to accept all kinds of invitations to do such things, paid or not, when I was a tenured professor. I used to feel that it was sort of crass to think about my economic needs when there were important intellectual ideas to discuss. But, of course, the privilege of not having to think about my intellectual labor in those terms was predicated on the very fact that I was being paid, by my university, if not by the publishers, colleges, students, or artists who hosted the events to which I was invited. (Read more from Art Practical.)
How to Tailor Your Online Image
You should have a curated Internet presence for the job market. The fact is, you will be Googled. That is not usually because search committees are trying to dig up dirt on you, or derail your candidacy. Rather, they just want to know more about you, and get a sense of your intellectual communities, of where and how you are active, and of your “style” of communication (lively, reserved, direct, blunt, tactful, supportive, combative, and so on). (Read more from Vitae.)
People in the News
posted by CAA — Jun 17, 2015
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.
June/August 2015
Academe
Bridget Alsdorf has been promoted to associate professor, with continuing tenure, at Princeton University in Princeton, New Jersey.
Abigail Krasner Balbale has joined the faculty at the Bard Graduate Center in New York as assistant professor of Islamic art and material culture.
Brandon Bauer , assistant professor of art at St. Norbert College in De Pere, Wisconsin, has received tenure.
S. Hollis Clayson, Bergen Evans Professor in the Humanities at Northwestern University in Evanston, Illinois, has been named Kirk Varnedoe Visiting Professor at the Institute of Fine Arts, New York University.
David J. Getsy has been appointed interim dean of graduate studies at the School of the Art Institute of Chicago in Illinois.
Jennifer A. Greenhill has left the University of Illinois in Urbana-Champaign to become associate professor of art history at the University of Southern California in Los Angeles.
Jennifer Dorothy Lee has joined the Department of Art History, Theory, and Criticism at the School of the Art Institute of Chicago in Illinois as assistant professor.
Kent Minturn, director of the master’s degree program in modern art at Columbia University in New York, has joined New York University’s Institute of Fine Arts as visiting assistant professor.
Museums and Galleries
William J. Chiego, director of the McNay Art Museum in San Antonio, Texas, since 1991, has announced his resignation, effective September 30, 2016.
Erin B. Coe has been appointed director of the Hyde Collection in Glens Falls, New York.
Philippe de Montebello, director of the Metropolitan Museum of Art from 1977 to 2008, has been named chair of the Hispanic Society Museum in New York.
Katherine de Vos Devine has been chosen to lead the Black Mountain College Museum and Arts Center in Asheville, North Carolina, as director.
John Jacob has joined the Smithsonian American Art Museum in Washington, DC, as McEvoy Family Curator for Photography.
Claire L. Kovacs, assistant professor of art history at Canisius College in Buffalo, New York, has become director of the Augustana Teaching Museum of Art at Augstana College in Rock Island, Illinois.
Sarah Montross, formerly Andrew W. Mellon postdoctoral curatorial fellow at the Bowdoin College Museum of Art in Brunswick, Maine, has become the new associate curator for the DeCordova Sculpture Park and Museum in Lincoln, Massachusetts.
Maura Reilly, formerly adjunct professor at the Sydney College of the Arts in Australia, has been appointed chief curator of the National Academy Museum in New York.
Timothy Rodgers, formerly director of the Scottsdale Museum of Contemporary Art in Arizona, has been named director of the Wolfsonian–Florida International University in Miami Beach, Florida.
Michael R. Taylor, formerly director of Dartmouth University’s Hood Museum of Art in Hanover, New Hampshire, has joined the Virginia Museum of Fine Arts in Richmond as chief curator and deputy director for art and education.
Alison Weaver has become executive director of the Moody Center for the Arts in Houston, Texas. The center is scheduled to open in September 2016.
Jan Wurm has been appointed director of exhibitions at the Richmond Art Center in Richmond, California.
Organizations and Publications
Christopher P. Heuer, Samuel H. Kress Senior Fellow at the Center for Advanced Study in the Visual Arts at the National Gallery of Art in Washington, DC, has become associate director of research and academic programs at the Sterling and Francine Clark Art Institute in Williamstown, Massachusetts.
Tony White, associate chief librarian for reader services at the Metropolitan Museum of Art in New York, has joined the board of directors of the Center for Book Arts, also in New York.
Institutional News
posted by CAA — Jun 17, 2015
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.
June/August 2015
The Corning Museum of Glass in Corning, New York, has received a one-time grant of $50,000 from the Henry Luce Fund in American Art to research and digitize part of its American glass collection.
The Harvard Art Museums in Cambridge, Massachusetts, has joined the Google Cultural Institute and contributed 1,061 high-resolution images of works of art from its collection to the institute.
The Herron School of Art and Design, part of Indiana University–Purdue University Indianapolis, has accepted a $1,000 grant from the Indiana First Lady’s Charitable Fund. The award will support the school’s graduate program in art therapy.
The Metropolitan Museum of Art in New York has launched a new online video series, called The Artist Project. The museum will produce a season of clips in which one hundred artists respond to the permanent collection, choosing either a single work or galleries that spark their imagination.
The Philadelphia Museum of Art in Pennsylvania has accepted a three-year grant of $1,500,000 from the Henry Luce Fund in American Art to help reinstall and reinterpret its American art collection.
The Society of Architectural Historians, based in Chicago, Illinois, has received a three-year $150,000 grant from the Richard H. Driehaus Foundation for general operating support.
The Society of Architectural Historians, based in Chicago, Illinois, has been awarded a $20,000 grant from the Tawani Foundation to support activities related to the organization’s seventy-fifth anniversary.
Grants, Awards, and Honors
posted by CAA — Jun 15, 2015
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.
June/August 2015
Natalie Adamson, senior lecturer in the School of Art History at the University of St Andrews in St Andrews, Scotland, has been named a 2015–16 Getty Scholar by the Getty Research Institute in Los Angeles, California. Her research project is called “What Counts as Painting: Pierre Soulages and the Materiality of Postwar Art in France.”
Hannah Baader, academic program director and senior research scholar at the Kunsthistorisches Institut in Florenz, Max-Planck-Institut, Italy, has been appointed a 2015–16 Guest Scholar at the Getty Research Institute in Los Angeles, California. She will work on “Aesthetics and Materiality of Water, Fifteenth to Nineteenth Century.”
Susan Bean has received a spring 2015 research support grant from the Paul Mellon Centre for Studies in British Art for her project, “Modeling Cosmos and Colony: India’s Clay Sculpture in the Nineteenth Century.”
Christian Berger, research fellow and lecturer in the Department of Art History at the Institut für Kunstgeschichte und Musikwissenschaft at Johannes Gutenberg-Universität in Mainz, Germany, has been appointed Volkswagen Foundation Fellow by the Getty Research Institute in Los Angeles, California. His project is entitled “The Materials of Conceptual Art.”
Gregory Charles Bryda, a PhD candidate in the Department of the History of Art at Yale University in New Haven, Connecticut, has won a 2015–16 Predoctoral Fellowship from the Getty Research Institute in Los Angeles, California. His project is titled “The Spiritual Wood of Late Gothic Germany.”
Amy Bryzgel, lecturer in history of art at the University of Aberdeen in Aberdeen, Scotland, has been awarded an Arts and Humanities Research Council Early Career Fellowship for 2015–16 to support the finalization, publication, and dissemination of her research project, “Performance Art in Eastern Europe since 1960.”
Karen L. Carter, associate professor in the art-history program of Kendall College of Art and Design of Ferris State University in Grand Rapids, Michigan, will participate in the 2015 NEH Summer Institute, “Teaching the History of Modern Design: Beyond the Canon.”
Henry Colburn, a curatorial fellow in ancient art at the Harvard Art Museums in Cambridge, Massachusetts, has received a 2015–16 Postdoctoral Fellowship from the Getty Research Institute in Los Angeles, California. At the Getty Villa, he will work on “Archaeology of Empire in Achaemenid Egypt.”
Thomas Crow, Rosalie Solow Professor of Modern Art at the Institute of Fine Arts and associate provost for the arts at New York University, delivered the sixty-fourth annual Andrew W. Mellon Lectures in the Fine Arts at the National Gallery in Washington, DC, in March and April 2015.
Susan Dackerman, consultative curator at the Harvard Art Museums in Cambridge, Massachusetts, has been named a 2015–16 Getty Scholar by the Getty Research Institute in Los Angeles, California. Her project is called “Early Modern Print Culture and the Islamic World.”
Vidya Dehejia, Barbara Stoler Miller Professor of Indian and South Asian Art at Columbia University in New York, has been chosen to deliver the sixty-fifth annual Andrew W. Mellon Lectures in the Fine Arts next spring at the National Gallery of Art in Washington, DC.
Nathan S. Dennis of Johns Hopkins University in Baltimore, Maryland, has won a 2015 Rome Prize from the American Academy in Rome in the category of ancient studies.
Ljerka Dulibić has been appointed Craig Hugh Smyth Fellow for 2015–16 at Villa I Tatti, the Harvard University Center for Italian Studies in Florence. She is researching “Italian Renaissance Paintings in the Strossmayer Gallery, Zagreb, Croatia.”
Nina Ergin, associate professor in the Department of Archaeology and History of Art at Koç University in Istanbul, Turkey, has been appointed a 2015–16 Getty Fellow by the Getty Research Institute in Los Angeles, California. She will work on “Heavenly Fragrance from Earthly Censers: Conveying the Immaterial through the Sensory Experience of Material Objects.”
Noémie Etienne, a recent graduate of the Department of Art History at the University of Geneva in Switzerland and the University of Paris 1 Sorbonne in France, has accepted a 2015–16 Postdoctoral Fellowship from the Getty Research Institute in Los Angeles, California. She will research “A Material Art History? Paintings Restoration and the Writing of Art History.”
Andrew Finegold has been appointed a 2015–16 Andrew W. Mellon Postdoctoral Fellow at the Institute of Fine Arts, New York University.
Holly Flora has been selected to be a fellow for 2015–16 at Villa I Tatti, the Harvard University Center for Italian Studies in Florence. She will work on “Cimabue, the Franciscans, and Artistic Change at the Dawn of the Renaissance.”
Caroline O. Fowler has been appointed A. W. Mellon Postdoctoral Fellow at the Center for Advanced Study in the Visual Arts in Washington, DC, by the Getty Research Institute in Los Angeles, California. She will work on “Absence Made Present: An Early-Modern History of Drawing and the Senses.”
Thomas W. Gaehtgens, director of the Getty Research Institute in Los Angeles, California, has been awarded the prestigious Prix Mondial Cino Del Duca 2015. The prize, given by the Simone et Cino del Duca Foundation, is awarded each year by the Foundations of the Institut de France.
Katharine McKenney Johnson of Johns Hopkins University in Baltimore, Maryland, has won a 2015 Rome Prize from the American Academy in Rome in the category of modern Italian studies.
Sonal Khullar has won a spring 2015 research support grant from the Paul Mellon Centre for Studies in British Art for her project, “Fertile Grounds: Art, Primitivism, and Postcoloniality in Twentieth-Century India and Great Britain.”
Christian K. Kleinbub has received a 2015–16 fellowship at Villa I Tatti, the Harvard University Center for Italian Studies in Florence. He will research “Michelangelo’s Inner Anatomies.”
Marci Kwon, a doctoral student at the Institute of Fine Arts, has received a scholarship from New York University’s Graduate School of Arts and Science to attend the 2015 Summer School of Criticism and Theory at Cornell University.
Brett Lazer, a PhD student at the Institute of Fine Arts, has won a 2015–16 Dean’s Dissertation Fellowship from New York University’s Graduate School of Arts and Science.
Barbara London, an independent scholar and curator based in New York and an adjunct professor in the School of Art at Yale University in New Haven, Connecticut, has been appointed a 2015–16 Getty Fellow by the Getty Research Institute in Los Angeles, California. Her research project concerns “Video Art: From Fringe to the Forefront.”
C. Matthew Luther, an artist based in Milwaukee, Wisconsin, has earned a 2015 residency at the Artists’ Cooperative Residency and Exhibitions, better known as ACRE.
Monika Malewska has won a 2015 Working Artist Grant/Art Purchase Award for $1,000 for her watercolor, Bacon Wreath No. 4 (2009).
Leo Mazow, associate professor of art history in the J. William Fulbright College of Arts and Sciences at the University of Arkansas in Fayetteville, has been awarded a Paul Mellon Visiting Senior Fellowship by the Center for Advanced Study in the Visual Arts in Washington, DC.
Susanna McFadden, assistant professor at Fordham University in New York, has been appointed a 2015–16 Getty Scholar by the Getty Research Institute in Los Angeles, California. She will work on “Tales of a Lost Art: Megalographic Wall Paintings and the World of Late Antiquity” at the Getty Villa.
Amy F. Ogata, professor of art history at the University of Southern California in Los Angeles, has become a 2015–16 Getty Scholar. While at the Getty Research Institute in Los Angeles, she will explore on “Metallurgy: Metal and the Making of Modern France.”
Laurel O. Peterson of Yale University in New Haven, Connecticut, has earned a spring 2015 fellowship from the Paul Mellon Centre for Studies in British Art to conduct research in the United Kingdom for her doctoral dissertation, “The Decorated Interior: Artistic Production in the British Country House, 1688–1745.”
John Pollini, professor of classical art and archaeology in the Department of Art History at the University of Southern California in Los Angeles, has been appointed a 2015–16 Getty Villa Scholar. At the Getty Research Institute, he will work on ”From Polytheism to Christianity in Late Antique Egypt.”
Joanna Sheers, a doctoral student at the Institute of Fine Arts, New York University, will be the 2015–17 Anne L. Poulet Curatorial Fellow at the Frick Collection in New York.
Caitlin Silberman, a PhD candidate in art history at the University of Wisconsin in Madison, has been selected as a 2015 Committee on Institutional Cooperation–Smithsonian Institution Predoctoral Fellow. She will research her doctoral project, “Thinking with Birds in British Art and Visual Culture, 1840–1900,” at the National Museum of Natural History in Washington, DC.
Laura Splan, an artist based in Brooklyn, New York, has earned a 2015 residency at the Artists’ Cooperative Residency and Exhibitions, better known as ACRE.
Anatole Tchikine has accepted a Craig Hugh Smyth Fellowship for 2015–16 at Villa I Tatti, the Harvard University Center for Italian Studies in Florence. His project is “Water and Form: Reinventing the Fountain in Renaissance and Baroque Italy.”
Ruth Weisberg, an artist and educator, has received the 2015 SGC International Printmaker Emeritus Award.
Bert Winther-Tamaki, a professor of art history at the University of California, Irvine, has been named Consortium Professor with his 2015–16 Getty Fellowship. While at the Getty Research Institute in Los Angeles, he will focuses on “Wood, Ink, Clay, Stone: Bringing Natural Materials to Life for Modern Japan.”
Katharine J. Wright, a PhD candidate at New York University’s Institute of Fine Arts, has accepted an Andrew W. Mellon Curatorial Research Fellowship at the Metropolitan Museum of Art in New York.
Allison Young of the Institute of Fine Arts, New York University, has earned a spring 2015 fellowship from the Paul Mellon Centre for Studies in British Art to conduct research in the United Kingdom for her doctoral dissertation, “‘Torn and Most Whole’: Zarina Bhimji and the ‘Culture Wars’ in Britain, 1970–2002.”
Books Published by CAA Members
posted by CAA — Jun 15, 2015
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.
June/August 2015
Patricia Blessing. Rebuilding Anatolia after the Mongol Conquest: Islamic Architecture in the Lands of Rūm, 1240–1330 (Burlington, VT: Ashgate, 2014).
Amy Bryzgel. Miervaldis Polis (Riga, Latvia: Neputns, 2015).
Karen L. Carter and Susan Waller, eds. Foreign Artists and Communities in Modern Paris, 1870–1914: Strangers in Paradise (Burlington, VT: Ashgate, 2015).
Elizabeth Cronin. Heimat Photography in Austria: A Politicized Vision of Peasants and Skiers (Salzburg: Fotohof edition, 2015).
John Davis, Jennifer A. Greenhill, and Jason D. LaFountain, eds. A Companion to American Art (Oxford, UK: Wiley-Blackwell, 2015).
Jane DeBevoise. Between State and Market: Chinese Contemporary Art in the Post-Mao Era (Boston: Brill 2014).
Wayne Franits. Vermeer (New York: Phaidon, 2015).
Ruth E. Iskin. The Poster:Art, Advertising, Design, and Collecting, 1860s–1900s (Hanover, NH: Dartmouth College Press, 2015).
Sonal Khullar. Worldly Affiliations: Artistic Practice, National Identity, and Modernism in India, 1930–1990 (Oakland: University of California Press, 2015).
Peggy Levitt. Artifacts and Allegiances: How Museums Put the Nation and the World on Display (Oakland: University of California Press, 2015).
Lisa Pon. A Printed Icon in Early Modern Italy: Forlì’s Madonna of the Fire (New York: Cambridge University Press, 2015).
Jules David Prown and Karen Denavit. Louis I. Kahn in Conversation: Interviews with John W. Cook and Heinrich Klotz, 1969–70 (New Haven, CT: Yale Center for British Art, in association with Manuscripts and Archives, Sterling Memorial Library, Yale University, and the Architectural Archives of the University of Pennsylvania, 2015).
Jauneth Skinner. The Way of the Cross (Jacksonville, AL: Quiet Crow Press, 2015).
Krista Thompson. Shine: The Visual Economy of Light in African Diasporic Aesthetic Practice (Durham, NC: Duke University Press, 2015).
Jennifer Wild. The Parisian Avant-Garde in the Age of Cinema, 1900–1923 (Berkeley: University of California Press, 2015).
News from the Art and Academic Worlds
posted by Christopher Howard — Jun 03, 2015
Each week CAA News publishes summaries of eight articles, published around the web, that CAA members may find interesting and useful in their professional and creative lives.
IIE Launches Program to Assist Threatened Artists
The Institute of International Education will soon launch a program to save the lives and work of artists who face persecution in their home countries. The new Artist Protection Fund, a three-year pilot program supported by a $2.79 million grant from the Andrew W. Mellon Foundation, will make life-saving fellowship grants to threatened artists from any field of artistic endeavor and place them at host universities and arts centers in countries where they can safely continue their work and plan for their future. (Read more from the Institute of International Education.)
Protecting Priceless Art from Natural Disasters
The reviews of the new design of the Whitney Museum of American Art in New York have been glowing. But the most intriguing feature might be one that’s gone largely unnoticed: its custom flood-mitigation system, which was designed halfway through the museum’s construction, in the aftermath of 2012’s Hurricane Sandy, when more than five million gallons of water flooded the site. (Read more from the Atlantic.)
Taking the Measure of Sexism: Facts, Figures, and Fixes
Despite encouraging signs of women’s improved status and visibility in the art world, there are still major systemic problems. Do not misunderstand me: women artists are in a far better position today than they were forty-five years ago, when Linda Nochlin wrote her landmark essay, “Why Have There Been No Great Women Artists?” Access to “high art” education, to which women have historically been denied, is now possible for many with financial means. Moreover, the institutional power structures that Nochlin argued made it “impossible for women to achieve artistic excellence, or success, on the same footing as men, no matter what the potency of their so-called talent, or genius,” have been shifting. (Read more from ARTnews.)
62 Women Share Their Secrets to Art World Success: Part One
What are the secrets to a successful career in the art world? Artnet News asked sixty-two women in the upper echelons of museums, galleries, art public-relations firms, and art nonprofits to tell us what they’ve learned over the course of their careers, and to offer their advice for women looking to break into the business. (Read more from Artnet News.)
62 Women Share Their Secrets to Art World Success: Part Two
What are the secrets to a successful career in the art world? Artnet News asked sixty-two women in the upper echelons of museums, galleries, art public-relations firms, and art nonprofits to tell us what they’ve learned over the course of their careers, and to offer their advice for women looking to break into the business. (Read more from Artnet News.)
The Rise of the Private Art “Museum”
In the heart of Berlin stands a windowless concrete bunker so awesomely ugly that, when you see it, you instinctively avert your gaze. It is heavy, gray, and shrapnel-pocked, and has no signage to explain its protean history. Designed by the Nazi architect Karl Bonatz, the bunker was built in 1942 as an air-raid shelter for Germans. After the fall of the Berlin Wall, the building was appropriated for use first as an avant-garde performance space and later as a techno club. In 2003, Christian and Karen Boros bought the building to display a portion of their sizable collection of contemporary art. (Read more from the New Yorker.)
Looking for Creativity in Brains Will Take More Creativity
About a decade and a half ago, the neuroscience world got super stoked about a sexy new way to look at living brains: functional magnetic resonance imaging (fMRI). Now, fMRI is still a great tool—just as long as you’re applying it to questions that it can actually answer. The problem is, many questions that can be answered simply with fMRI data have, by virtue of being simple, already been answered. That means any successive studies done with fMRI have to meet a much, much higher bar. (Read more from Wired.)
Digitally Divided
There’s nothing like being without the internet for a few days to realize how much I don’t miss it, at least occasionally. But it also makes me realize how much I assume when I have regular access. I’ve been vacationing in parts of the country where our cell phones can’t reach a signal. It’s a good time to relax, listen to the wind in the trees, take long walks with no particular destination in mind, but you can’t pick up the latest news, keep your email clutter cut down to size, or check tomorrow’s weather, all things that I take for granted normally. (Read more from Inside Higher Ed.)
News from the Art and Academic Worlds
posted by Christopher Howard — May 27, 2015
Each week CAA News publishes summaries of eight articles, published around the web, that CAA members may find interesting and useful in their professional and creative lives.
Does Color Even Exist?
Color perception is an ancient and active philosophical problem. It’s an instance of the wider category of sensory perception, but since the color spectrum fits on a single line, it has always been of particular interest. In her new book Outside Color, M. Chirimuuta gives a serendipitously timed history of the puzzle of color in philosophy. To read Outside Color as a layman feels like being let in on a shocking secret: neither scientists nor philosophers know for sure what color is. (Read more from the New Republic.)
Help Desk: Support for Artists
I espouse fair-labor initiatives such as W.A.G.E. to pay artists. However, my own projects are often un- or underfunded; if a stipend covers a significant portion of my expenses, that seems like a success, even if I take a loss on my own time and labor. As a consequence I’m unable to pay myself, much less my collaborators, contributors, and volunteers. How do I navigate this paradox? (Read more from Daily Serving.)
A Few Good Reasons to Drop Out of Art School
Earlier this month, the first-year students in the MFA program in visual art at the University of Southern California announced that they were all dropping out. It was also a brave gesture—not heroic, but one made at a personal cost and resonant with the larger situation in art right now. The MFA is not only a prerequisite for teaching art but a marker of professional seriousness in the art world: if you want to get your work into the Whitney Biennial, so the conventional wisdom goes, you’re going to need a degree. Abandoning one on principle is no small thing. (Read more from the New Yorker.)
Racial and Ethnic Diversity in Arts Management: An Exposé and Guide
Are you tired? Rundown? Listless? Do you constantly meet the diversity quota in meetings? Well, if you answered, “yes” to these questions, you are not alone. I, too, suffer from only-one syndrome. I, too, am the person that everyone turns to when a question arises about “outreach” to people of color. As a student, intern, and employee in the field of arts administration, I have a desire to change my answers to “no,” which has sparked my commitment to promoting systemic change in performing arts organizations through racial and ethnic diversity management and engagement. (Read more from HowlRound.)
Why We Should Let the Pantheon Crack
John Ochsendorf wants to tear down Rome’s iconic Pantheon. He wants to pull apart its two-thousand-year-old walls until its gorgeous dome collapses. Destroying it, he believes, is the best way to preserve it. But the Pantheon that Ochsendorf, a professor of engineering and architecture at the Massachusetts Institute of Technology, has in mind to destroy is less than 20 inches high, and it’s made of 492 three-dimensionally-printed blocks. (Read more from Nautilus.)
This Is What Happens When You Slash Funding for Public Universities
On February 25, three University of Arizona graduate students had a meeting with Kelli Ward, a Republican state senator. They were lobbying against massive new cuts to state spending on higher education; the number being thrown around was $75 million. Under the state constitution, attending the university is supposed to be as “nearly free as possible,” but due to state budget cuts, tuition had increased more than 70 percent between 2008 and 2013 for in-state students—the severest hike in the country. (Read more from the Nation.)
Do Touch the Artwork at Prado’s Exhibit for the Blind
It’s a warning sign at art museums around the world: “Don’t touch the artwork.” But Spain’s famous Prado Museum is changing that, with an exhibit where visitors are not only allowed to touch the paintings—they’re encouraged to do so. The Prado has made three-dimensional copies of some of the most renowned works in its collection—including those by Goya, Velázquez, and El Greco—to allow blind people to feel them. (Read more from National Public Radio.)
I Know What You Need to Do This Summer
What should you do over the summer to prepare for the academic job market in the fall? In the next few months, you should aim to solidify all of the elements of your record that you can. That includes your dissertation if you are still ABD, as well as your publications, teaching, conferences, and references. Perhaps you might even do some initial research toward new projects. (Read more from Vitae.)
Final Webinars in Series on Fair Use
posted by Janet Landay, Program Manager, Fair Use Initiative — May 26, 2015
Register now for the next webinar in CAA’s series on fair use in the visual arts, meeting this Friday, May 29 at 1 PM EDT and the final review on Friday, June 5 at 1 PM EDT. Join the lead principal investigators of CAA’s new Code of Best Practices in Fair Use for the Visual Arts, Patricia Aufderheide, university professor in the School of Communication at American University and Peter Jaszi, professor of law in the Program on Information Justice and Intellectual Property at American University’s Washington College of Law, for an in-depth look at the Code’s section on fair use in museums and archives and a final review of the entire series. Registration for the live events is free and open to the public thanks to a generous grant from the Andrew W. Mellon Foundation.
Video recordings of the webinars in this series are available for CAA members. To access, log into your account on collegeart.org and click on the “Webinars” tab in the left-hand navigation column. Recordings of each webinar in the series will be made available to members the week following the event.
CAA will issue Certificates of Participation to those who attend all five webinars in the series. Registration secures you a spot in all remaining webinars, however you may attend any number of the remaining webinars through this registration. The webinars will cover the following topics:
May 29, 2015, 1:00-2:00 PM (EDT): Fair Use in Museums and Archives
June 5, 2015, 1:00-2:00 PM (EDT): Fair Use in the Visual Arts: A Review