CAA News Today
Committee on Women in the Arts Picks for August 2014
posted by CAA — Aug 10, 2014
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.
August 2014
Carolee Schneemann: History Works
Museo de Arte Contemporáneo de Castilla y León
Avenida de los Reyes Leoneses, 24, 24008, León, Spain
July 19–December 7, 2014
Carolee Schneemann is one of the most important artists to have emerged from the experimental avant-garde scene of New York in the early 1960s. Though finally acknowledged as a pioneer of feminist and performance art—an acknowledgement that had been for years unduly marred by her controversial, for many, use of her beautiful nude body—it is fair to say that the breadth and depth of her multiform contributions to the radical advancement of postwar art, including painting, film, performance, and multimedia installation, remains unstudied and unfathomed.
Redressing the uneven visibility of Schneemann’s work throughout her career by illuminating the diversity of its content, politics, and practices, Carolee Schneemann: History Works focuses on the constant engagement of her work with contemporary history while illuminating both the pacifist politics that complement her feminism and the critical ways in which Schneemann’s diverse and intricate engagement of print and TV images of death and crisis from the 1960s to today resists apathetic image consumption by seeking the active participation of the viewer. Mediated actuality offered a counterfoil for the sensate awakening proposed by Schneemann’s use of the body in art, already in 1963, with her kinetic theater group performance Newspaper Event in New York’s Judson Theater. It was her participation in the antiwar movement, however, that triggered her first use of media images (of war and death) in the mid-sixties, something that continues to characterize her collage aesthetic and multimedia practice. In 1965, for instance, Schneemann made a stunning “visual and sonic threnody,” the film-collage Viet Flakes in which appropriated images of the war in Vietnam were zoomed in and out under a collaged soundtrack composed by James Tenney. Two years later, in New York, the film was at the heart of her “kinetic theater” yet multimedia performance Snows (1967)—its scene of death and abandonment abstractly mimed by the performers—presented during Angry Arts Week: Artists against the Vietnam War. Performances of Snows and Night Crawlers, on the fringe of Expo 67 in Montreal, marked a high point in her political experiments in Kinetic Theatre and Expanded Cinema, during which film was extended beyond the screen to include collage and other forms of art.
Carolee Schneemann: History Works retraces the artist’s creations from the early performance Meat Joy to works contesting military interventions in Vietnam and the 1980s conflicts in Lebanon, concluding with recent pieces, several of which are being shown for the first time in Europe, including multimedia collages that variously echo the visual labyrinth of catastrophe in which we are plunged. Among them is the poignant photomontage Terminal Velocity, a monumental photographic montage that stands out as representative of a new form of historical painting, while also breaking another corporal taboo, that of the dead body, as put by Annable Teneze. With this work Schneemann records a real event while infusing a hard note of humanity across five columns of close-ups showing bodies falling from the World Trade Center towers on September 11, 2001. A hard-hitting creation based on a key moment in our current world, Terminal Velocity questions the effectiveness and the distortions of the media coverage of such tragic events, a question raised in such subsequent video installation works as More Wrong Things (2001) or Precarious (2009), in which spectators are submerged in a torrent of projected images and reflections.
Curated by Anabelle Teneze and begun last year at the Rochechouart Museum of Contemporary Art, which in 2012 bought Terminal Velocity, is accompanied by a fully illustrated catalogue with fresh views on the intersection of her art with history, feminism, and the empire of image, called Then and Now. Carolee Schneemann. Oeuvres d’Histoire, edited by Teneze and copublished with Analogues Éditions.
Carol Rama
Nottingham Contemporary
Weekday Cross, Nottingham, NG1 2GB, United Kingdom
July 19–September 28, 2014
Nottingham Contemporary presents a solo exhibition by Carol Rama, curated by Irene Aristizabal. Rama is an Italian self-taught artist born in 1918 in Turin, where she still lives. The expressiveness of Rama’s work means a direct result of the personal tragedies in her life. At age fifteen, Rama began her “vulgar” drawings as a form of healing when her mother was admitted to a psychiatric clinic. These psychosexual images based on her witnessing of female patients wandering the wards half naked were presented in her first exhibition in Turin in 1945. The exhibition was shut down, as her work was considered too radical for the Fascist-dominated Italy she grew up in. She didn’t receive international attention until the end of the 1990s, and her extensive career was recognized with the Golden Lion for Lifetime Achievement at the Venice Biennale in 2003.
Her autobiographical, explicitly female approach mirrors that of other artists of her time, such as Louise Bourgeois. In the 1960s, Rama began to use psychologically charged objects in her work, including doll’s eyes and animal claws, which led to her celebrated works with bicycle tires in the 1970s. Rama mentioned that rubber stimulated her more than all the other materials. She was attracted to the sensual, fleshlike quality of rubber and was interested in its character and temperament that suggest a feeling of unease. But her working with rubber refers once again to personal memories: Rama’s father owned a bicycle factory that failed. He committed suicide when he was declared bankrupt in 1942. The artist states that these works express the sadness she feels at his loss, a sadness that will never pass.
The exhibition features over fifty works and a contextual program that includes presentations of Shut Up, Actually Talk, a radical feminist freak-show by the Italian performance artist Chiara Fumai, and Inside Carol Rama, a selection from a series of ninety photographs taken by Bepi Ghiotti over the last two years in Rama’s legendary studio-home.
Annette Wehrmann: We’re Watching TV Because We Can’t Afford a Revolution
Badischer Kunstverein
Waldstraße 3, 76133, Karlsruhe, Germany
July 11–September 7, 2014
Badischer Kunstverein presents an extensive solo exhibition dedicated to Annette Wehrmann (1961–2010), curated by Ort des Gegen e.V. and Anja Casser. Ort des Gegen e.V. was founded in Hamburg in 2011 to preserve the artistic estate of the late artist. Wehrmann lived and worked in Hamburg. Throughout her diverse practice, she has developed a unique artistic position. Somewhere between sculpture and intervention, Werhmann fused conceptual and performance art methods with the language of the Situationist International, feminism, and science fiction. Her oeuvre, a distinctive mix of anarchic prose, dry humor, and intellectual discourse, reflects the political development, the daily life, and the art scene of the 1990s. Wehrmann had an important position in her generation and what became the art scene of post-Wall Berlin.
Werhmann’s drawings, sculptures, installations, performances, videos, and texts speak to the reader about the life of an artist for whom every observation becomes material for her work. Voicing her unease about the world, Wehrmann underlined an independent creative position that not only inscribed in her art, but also in her life.
Under the title We’re Watching TV Because We Can’t Afford a Revolution, this exhibition brings together a range of the artist’s individual pieces and series of works, including the sculptural works Fußbälle/Kugeln (1991) and her photographic series Blumensprengungen (1991–95), in which the artist literally exploded a number of flowerbeds arranged in urban locations, and UFO architectures. These assemblages of cheap materials, influenced by feminist science-fiction literature, are given a central role in the exhibition. They were described by the artist as a “retreat into oneself” and a “desire for a better, different life.”
Roni Horn: Everything was sleeping as if the universe were a mistake
Fundació Joan Miró
Parc de Montjuïc, 08038, Barcelona, Spain
June 20–September 28, 2014
Fundació Joan Miró and Obra Social “la Caixa” present Everything was sleeping as if the universe were a mistake, a solo exhibition by Roni Horn (b. 1955, New York) conceived by the artist herself. Borrowing the title from Fernando Pessoa’s The Book of Disquiet, the exhibition explores the different media, major themes, formats, and approaches that Horn has used over the past twenty years. Through this huge installation comprised of sculptural works, photographic series, working drawings, and a floor piece, Horn intends to offer an overall experience. The works selected represent a compendium of the elements that underpin the creative process of the American sculptor, installation artist, draughtsman, photographer and writer: people, the landscape, light, words, water, presence, glass, faces, change, forms, series, spaces, the appearance of the self, and time.
The show includes text-oriented sculptural installation from the White Dickinson series; the photographic series You are the Weather, Part 2, which explores the essence of water as well as questions of human identity and appearance; Still Water (The River Thames, for Example) and Dead Owl; as well as a series of self-portraits a.k.a. and Her, Her, Her and Her, a voyeuristic mosaic composed with individual photographs taken in a women’s locker rooms at a 1928 Icelandic indoor swimming-pool complex. Here, Horn uses repetition to examine the relationship between individual and collective identity and to create an endless labyrinth of gazes and disenchanted desire.
The exhibition also includes Horn’s recent work Untitled as the centerpiece of the overall installation, four videos about her work, and a floor piece entitled Rings of Lispector (Água Viva) that combines drawing and literary quotes. Since drawing has been an essential aspect of Horn’s creative practice over the last thirty years, the exhibition includes a room set aside for working drawings.
Feminine Futures: Avant-Garde Female Artists in the Fields of Performance and Dance
Le Consortium
37 rue de Longvic, 21000, Dijon, France
June 21–September 28, 2014
The Consortium Art Center presents the exhibition Feminine Futures, an illuminating survey of radical experimentation with dance and performance by female avant-garde artists from 1870 to 1970—itself a potent and understudied prelude of feminist and performance art. Curated by the artist and curator Andrien Sina and first staged in the context of 2009 Performa in New York, Feminine Futures, in its latest iteration in France, comprises more than six hundred items—an incredible collection of photographs, letters, drawings, manifestos, programs, and first editions that sheds light on the unexplored gendered margins of twentieth-century avant-gardes in which overlooked origins of body art and interdisciplinary vanguard art practices seem to lie. “The history of the early-twentieth-century female avant-gardes, concerned with the body, dance, or performance, was forged independently of dominant artistic movements,” says the curator of the exhibition, as “the female figure, sublimated and idealized through the literary fantasies of Symbolists or hysterical due to the earliest ‘psychopathological’ investigations, gave way to an unequalled degree of expressiveness and freedom.” “The appropriation by women of their own modernity and the invention of multiple hypotheses as regards the Future Woman,” he continues, “open up new perspectives, suggesting a radical transcendence of the fine arts disciplines via actions where the body was seen in itself as a fully fledged work of art.”
Unveiling hidden “minor practices” in the margins of the most well-known artistic movements, or overlooked signs of dissidence lurking into known works of art, including manifestos within manifestos and singular heterotopias within larger isotopias, the exhibition illuminates the “multiple origins of modernity in unexplored areas of ephemeral action” as well as the affinities amidst a great assortment of female artists who “lived their avant-garde experiments as a response to deep forces rooted in the psychology of desire and the reconstruction of a myth of the feminine” that subverted its previous subservience and sought their political empowerment. A great example of the many brought to light in this exhibition is “the manifesto of lust” by Valentine de Saint Poine—the first and only woman to be part of the executive board of the Futurist movement—whose promulgation of “feminine action” barely fit the traditional art categories (poetry, painting, sculpture, and music) of the male protagonists of Futurism. Advocating that “we must turn lust into a work of art” since “the flesh creates as the spirit creates,” Feminine Futures stands for an artistic and political attitude of greater impact than the production of objects, distinguishing itself from the feminism of the times by “introducing an emancipated equivalent in the artistic arena where highly visible strategies of provocation and paradigm shifts are required.”
Artists in the exhibition include: Loïe Fuller (1862–1928), Isadora Duncan (1877–1927), Anna Duncan (Anna Dentzler, 1894–1980), Valentine de Saint-Point (1875–1953), Ruth St. Denis (1878–1968), Gertrude Hoffman (1871–1966), Anna Pavlova (1881–1931), Vera Petrovna Fokina (1886–1958), Ida Rubinstein (1888–1960), Désirée Lubowska, Milada Mladova (b. 1921), Roshanara (Olive Craddock) 1894–1926), Jia Ruskaja (Evgenija Borisenko) (1902–1970), Giannina Censi (1913–1995), Evan Burrows Fontaine (1898–1984), Mary Wigman (1886–1973), Gret Palucca (1902–1993), Grete Wiesenthal (1885–1970), Hedwig Hagemann (Valeska Gert) (1892–1978), Vera Skoronel (1906–1932), Clotilde von Derp (1892–1974), Niddy Impekoven (1904–2002), Gisa Geert (1900–1991), Sent M’Ahesa (Else von Carlberg) 1883–1970), Katherine Cornell (1893–1974), Leni Riefenstahl (1902–2003), Tashamira (Vera Milcinovic) (1904–1995), Tilly Losch (1903–1975), Margaret Morris (1891–1980), Nini Theilade (b. 1915), Yvonne Georgi (1903–1975), Maja Lex (1906–1986), Martha Graham (1894–1991), Doris Humphrey (1895–1958), Hanya Holm (1893–1992), Ruth Page (1899–1991), Myra Kinch (1904–1981), Gertrude Lippincott (1913–1996), and others.
Recent Deaths in the Arts
posted by CAA — Jul 25, 2014
In its periodic list of obituaries, CAA recognizes the lives and achievements of the following artists, historians, teachers, curators, dealers, philanthropists, and others whose work has significantly influenced the visual arts. Of special note is a text on a distinguished scholar of nineteenth- and early-twentieth-century Russian art, Grigorii Iurevich Sternin.
- Roger Ackling, a British sculptor who was a contemporary of Richard Long, Hamish Fulton, and other artists who graduated from Saint Martins School of Art in the 1960s, died on June 5, 2014. He was 66 years old
- Jack Agüeros, a writer, activist, and the former director of El Museo del Barrio in New York, died on May 4, 2014. He was 79
- Eppie Archuleta, a New Mexican weaver who worked in fiber and fabric, passed away on April 11, 2014, age 92. In 1985 she received a National Heritage Fellowship from the National Endowment for the Arts, the nation’s highest honor in the folk and traditional arts
- Gordon Bennett, a pioneering Australian artist whose work challenged race, power, history, and social conventions, died on June 3, 2014. He was 58 years old
- Tito Enrique Canepa Jiménez, a Dominican painter who lived and worked in New York after immigrating there in the 1930s, died on February 11, 2014. He was 97
- Lynne Cohen, an award-winning Canadian photographer who had taught at the University of Ottawa from 1974 to 2005, passed away on May 12, 2014. She was 69
- Deborah Deery, an art educator and academic administrator at Moore College of Art and Design, died on August 19, 2013. She was 49 years old
- Joseph Doyle, an artist and teacher based in Houston, Texas, died on July 9, 2014, at age 54
- Lee MacCormick Edwards, a philanthropist as well as a lecturer in art history, a photographer, and an author, passed away on April 19, 2014. She was 76
- John Clovis Fontaine, chairman emeritus for both the Samuel H. Kress Foundation and the National Gallery of Art in Washington, DC, died on September 23, 2013. He was 81 years old
- Edythe Goodridge, a curator and the former director of visual arts for the Canada Council, died on June 4, 2014. She was 77
- Cornelius Gurlitt, the son of a Nazi art dealer who secretly hoarded millions of dollars’ worth of modern art for decades, died on May 6, 2014. He was 81
- Anne Hollander, a celebrated author and a historian of fashion and costume, died on July 6, 2014. She was 83 years old
- Hans Hollein, an Austrian architect and educator who won the Pritzker Prize in 1985, passed away on April 24, 2014. He was 80
- On Kawara, a Conceptual artist and painter whose work addressed the passage of time, died in late June 2014. He was 81 years old
- Maria Lassnig, an Austrian figurative painter whose retrospective is on view at MoMA PS1, died on May 6, 2014, age 94
- Stanley Marsh, an eccentric Texan millionare who commissioned the Cadillac Ranch outside Amarillo, died on June 17, 2014. He was 76
- Cynthia Mills, the executive editor of the Smithsonian Institution’s journal American Art, died on May 1, 2014. She was 67 years old
- Robert Olsen, a Los Angeles–based painter of outdoor urban scenes, died on April 14, 2014. He was 44.
- Jennifer Wynne Reeves, an abstract painter based in New York, passed away on June 22, 2014. She was 51
- Nan Rosenthal, a curator for the National Gallery of Art and the Metropolitan Museum of Art, died on April 27, 2014, at the age of 76
- Jerry Rothman, a Los Angeles–based sculptor who was a member of a ceramics movement called Otis Clay, died on June 5, 2014, at age 80
- Frederic Schwartz, an architect, city planner, and the designer of several memorials for September 11, died on April 28, 2014. He was 63
- Claude Simard, a cofounder and director of Jack Shainman Gallery in New York, died on June 24, 2014, at the age of 57. Simard was also an artist and performer
- Grigorii Iurevich Sternin, a distinguished scholar of nineteenth- and early-twentieth-century Russian art, died on November 23, 2013, age 86. CAA has published a special text on Sternin
- Massimi Vignelli, an Italian-born graphic designer who created the 1970s map for New York’s subway system, died on May 27, 2014. He was 83
- Ultra Violet, an artist, actor, author, and Andy Warhol superstar, passed away on June 14, 2014. She was 78
- Melvin J. Wachowiak Jr., a senior conservator for the Smithsonian Institution’s Museum Conservation Institute, died on May 28, 2014. He was 56
- Khin Maung Yin, an influential modernist Burmese artist who painted colorful portraits, passed away on June 10, 2014, age 76
Read all past obituaries in the arts in CAA News, which include special texts written for CAA. Please send links to published obituaries, or your completed texts, to Christopher Howard, CAA managing editor, for the next list.
2015 Awards for Distinction Nominations
posted by Emmanuel Lemakis — Jul 21, 2014
CAA has begun accepting nominations for the 2015 Awards for Distinction, which will be announced in January and presented at the 103rd Annual Conference, taking place February 11–14, 2015, in New York. Please review the guidelines below to familiarize yourself with the nomination process and to download, complete, and submit the requested materials. Deadline: July 31, 2014, for the Charles Rufus Morey Book Award and the Alfred H. Barr Jr. Awards; August 31, 2014, for all others.
General Guidelines
In your letter, state who you are; how you know (of) the nominee; how the nominee and/or his or her work or publication has affected your practice or studies and the pursuit of your career; and why you think this person (or, in a collaboration, these people) deserves to be recognized. We also urge you to contact up to five colleagues, students, peers, collaborators, and/or coworkers of the nominee to write letters; no more than five letters are considered. Letters of support are important for reference, but the awards decisions are the responsibilities of the juries based on their expert assessment of the qualifications of the nominees.
Nominations for book and exhibition awards should be for authors of books published or works exhibited or staged between September 1, 2013, and August 31, 2014. Books published posthumously are not eligible. Letters of support are not required for the Morey and Barr awards. All submissions must include a completed 2015 nomination form and one copy of the nominee’s CV (limit: two pages); book-award nominations do not require a CV (see below for the appropriate forms for the Morey and Barr awards and the Porter Prize).
Charles Rufus Morey Book Award
To give the jury full opportunity to evaluate each submission fairly, submit materials well before the deadline. Please review the following nomination guidelines:
- A publisher may submit no more than five titles. In addition, CAA accepts nominations from its membership, jury members, reviews editors for The Art Bulletin and Art Journal, and field editors from caa.reviews
- Publishers may not submit the same title for the Morey and Barr awards. The Morey jury does not accept exhibition catalogues
- Eligible books must have been published between September 1, 2013, and August 31, 2014
- Books published posthumously are not eligible
- CAA and each jury member must receive a copy of the nominated book. A total of six copies of the book must be sent. To receive the mailing addresses for the jury, please contact Lauren Stark, CAA manager of programs
- Complete and submit the Morey nominaton form
- Letters of support are not required
Alfred H. Barr Jr. Award
To give the jury full opportunity to evaluate each submission fairly, submit materials well before the deadline. Please review the following nomination guidelines:
- A publisher may submit no more than five titles. In addition, CAA accepts nominations from its membership, jury members, reviews editors for The Art Bulletin and Art Journal, and field editors from caa.reviews
- Publishers may not submit the same title for the Morey and Barr awards. The Morey jury does not accept exhibition catalogues
- Eligible books must have been published between September 1, 2013, and August 31, 2014
- Books published posthumously are not eligible
- CAA and each jury member must receive a copy of the nominated book. A total of six copies of the book must be sent. To receive the mailing addresses for the jury, please contact Lauren Stark, CAA manager of programs
- Complete and submit the Barr nomination form
- Letters of support are not required
Arthur Kingsley Porter Prize
To determine eligibility, authors of articles in The Art Bulletin must complete the Porter nomination form.
Frank Jewett Mather Award
Please submit copies of critical writings, which may be website links and printouts, photocopies or scanned pages of newspapers or magazines, and more. If the writing is contained in a single volume (such as a book), please provide the publication information.
Distinguished Teaching of Art and Art History Awards
Letters for these two awards are particularly important for the juries because of the personal contact involved in successful teaching.
Contact
Please write to Lauren Stark, CAA manager of programs, for more information about the nomination process. Visit the Awards section of the CAA website to learn more about the individual awards.
June 2014 Issue of The Art Bulletin
posted by Christopher Howard — Jul 18, 2014
The June 2014 issue of The Art Bulletin, the leading publication of international art-historical scholarship, leads off with an essay by Parul Dave Mukherji, who explores the promise of postethnic art history in “Whither Art History in a Globalizing World.”
Also in the June issue, Hallie Franks investigates domestic mosaics in ancient Greece through travel metaphors associated with the symposium. In “Casts, Imprints, and the Deathliness of Things,” Marcia Pointon examines the materiality of death masks produced in eighteenth- and nineteenth-century Europe to excavate their meanings, past and present. Next, Sugata Ray analyzes the architecture of the 1887 Jaipur Economic and Industrial Museum as destabilizing the imperial aspirations of colonial museology. Finally, Joseph Siry considers how Frank Lloyd Wright’s Kalita Humphreys Theater in Dallas realized the architect’s ambition to rethink the ideal building form for drama.
In the Reviews section, Wei-Cheng Lin considers Megan E. O’Neil’s book Engaging Ancient Maya Sculpture at Piedras Negras, Guatemala, Paul Barolsky reviews Michael W. Cole’s study Ambitious Forms: Giambologna, Ammanati, and Danti in Florence, and Joanne Rappaport examines Daniela Bleichmar’s Visible Empire: Botanical Expeditions and Visual Culture in the Hispanic Enlightenment.
CAA sends The Art Bulletin to all institutional members and to those individuals who choose to receive the journal as a benefit of their membership. The digital version at Taylor & Francis Online is currently available to all CAA individual members.
The next issue of the quarterly publication, to appear in September 2014, will feature a third “Whither Art History?” piece, by Claudia Valladão de Mattos, and essays on the memorializing function of Jan van Eyck’s van der Paele Virgin, the moral and phenomenological implications of a monstrous visage in Hans Burgkmair’s Crucifixion, modern interiority in Watteau’s fêtes galantes, and several exhibitions associated with the Festival of India in the United States. The issue will also include reviews on painting in early modern Japan, photography in nineteenth-century India, and the politics and power of Mughal architecture.
Chair a 2016 Annual Conference Session in Washington, DC
posted by Emmanuel Lemakis — Jul 17, 2014
The CAA 104th Annual Conference will take place February 3–6, 2016, in Washington, DC. The Annual Conference Committee invites session proposals that cover the breadth of current thought and research in art, art and architectural history, theory and criticism, pedagogical issues, museum and curatorial practice, conservation, and developments in technology. Deadline: Friday, September 12, 2014.
In order to submit a proposal, you must be a current CAA member. For full details on the submission process for the conference, please review the information published below.
Open Formats
This category encourages experimental and alternative formats that transcend the traditional panel, with presentations whose content extends to serve the areas of contemporary issues, studio art, historical studies, and educational and professional practices. Proposals may experiment with session hierarchies, length, technology, and modes of participation. Open Formats are the only sessions that may be preformed, with participants chosen in advance by session chairs. These sessions require advance planning by the chair.
Historical Studies
This category broadly embraces all art-historical proposals up to the third quarter of the twentieth century. Historical Studies session proposals may not be submitted as preformed panels with a list of speakers.
Contemporary Issues/Studio Art
This category is intended for studio-art proposals, as well as those concerned with contemporary art and theory, criticism, and visual culture. Contemporary Issues/Studio Art session proposals may not be submitted as preformed panels with a list of speakers.
Educational and Professional Practices
This category pertains to session proposals that develop along more practical lines and address the educational and professional concerns of CAA members as teachers, practicing artists and critics, or museum curators. Educational and Professional Practices session proposals may not be submitted as preformed panels with a list of speakers.
Affiliated Societies
Each CAA affiliated society may submit one proposal that follows the guidelines outlined b elow. A letter of support from the society or committee must accompany the submission. The Annual Conference Committee considers it, along with the other submissions, on the basis of merit.
Committees
Each CAA committee may submit one proposal that follows the guidelines outlined below. A letter of support from the society or committee must accompany the submission. The Annual Conference Committee considers it, along with the other submissions, on the basis of merit.
Proposal Submission Guidelines
All session proposals are completed and submitted online; paper forms and postal mailings are not required. Prospective chairs must include the following in their proposal:
- The Annual Conference Committee considers proposals from individual CAA members only. Once selected, session chairs must remain current members through 2016. No one may chair a session more than once in a three-year period. (That is, individuals who chaired sessions in 2014 or 2015 may not chair a session in 2016.) The committee seeks topics that have not been addressed in recent conferences or areas that have traditionally been underrepresented as well as formats that explore new modes of dialogue
- A completed session proposal made through an online database
- If you have prior approval from a CAA affiliated society or committee to submit an application for a sponsored session, an official letter of support from the society or committee uploaded as a PDF or Word file. If you are not submitting an application for a sponsored session, please skip this step
- Your CV and, if applicable, the CV of your cochair; no more than two pages in length each, uploaded as a PDF or Word file (both CVs in one document)
The committee makes its selection solely on the basis of merit. Where proposals overlap, CAA reserves the right to select the most considered version or, in some cases, to suggest a fusion of two or more versions from among the proposals submitted. The submission process must be completed online. Deadline: Friday, September 12, 2014.
General Proposal Information
The process of fashioning the conference is a delicate balancing act. The 2016 program is shaped by four broad submission categories: Open Formats, Historical Studies, Contemporary Issues/Studio Art, and Educational and Professional Practices. Also included in the mix are sessions by CAA’s affiliated societies and committees.
The Annual Conference Committee welcomes session proposals from established artists and scholars, along with those from younger scholars, emerging and midcareer artists, and graduate students. Particularly welcome are proposals that highlight interdisciplinary work. Artists are especially encouraged to propose sessions appropriate to dialogue and information exchange relevant to artists.
Sessions selected by the Annual Conference Committee for the 2016 conference are considered regular program sessions; that is, they are 2½-hours long, are scheduled during the eight regular program time slots during the four days of the conference, and require a conference badge for admission. With the exception of the Open Formats category, CAA session proposals may not be submitted as preformed panels with a list of speakers. Proposals for papers for the 2016 conference are solicited through the 2016 Call for Participation, to be published in March 2015.
Contact
For more information about session proposals for the 2016 Annual Conference in Washington, DC, please contact Lauren Stark, CAA manager of programs, at 212-392-4405.
Grigorii Iurevich Sternin: In Memoriam
posted by CAA — Jul 11, 2014
Alison Hilton is Wright Family Professor of Art History and director of the MA program in art and museum studies at Georgetown University in Washington, DC, and Irina Karasik works at the State Russian Museum.
Grigorii Iurevich Sternin, a distinguished scholar of Russian nineteenth and early twentieth century art, chief scientific officer and senior researcher at the Institute of Art History of the Ministry of Culture, corresponding member of the Russian Academy of Sciences, and an honorary member of the Russian Academy of Arts, died in Moscow on November 23, 2013. He was 86.
Sternin was among the most influential art historians of his generation, those who began their academic careers just after World War II, during the Cold War. Born in 1927, Sternin studied art history at Moscow State University, graduating in 1950, and continued his postgraduate work in the Department of Russian Art under the eminent professor A. A. Fedorov-Davydov. After defending his candidate’s dissertation on Russian book illustration of the 1840s in 1953, Sternin worked at one of Moscow’s leading art-history publishing houses, Iskusstvo (Art). He became a member of the Union of Artists of the USSR in 1957.
Sternin’s career is most closely connected with the Institute of Art History of the Ministry of Culture in Moscow, where he worked until the end of his life. He served as research scholar and head of the Sector on Fine Arts and Architecture of the Peoples of the USSR between 1962 and 1975, a difficult period marked by signs of liberalization that were not sustained, when artists, writers, and administrators of arts institutions faced obstacles that are hard to appreciate today. Perhaps as a way of finding a perspective on his own times, Sternin became interested in what made artistic innovation happen in the nineteenth and early twentieth centuries, and this was the subject of his doctoral dissertation. “Artistic Life in Russia at the turn of the 19th and 20th centuries” explored the many elements, some crucial and some tangential, that made up “artistic culture” in a period of complex political and social change. Sternin earned his doctorate in 1973 (in Russia this signifies substantial scholarly achievement beyond the first, candidate’s degree; it is roughly equivalent to full professorship).
Much of Sternin’s research continued to probe the interrelationships among the arts and other aspects of Russian culture. His publications, more than two hundred books and articles, are noted for their breadth of conception and their scrupulous attention to detail; many include chronicles of events with citations from artists’ writings and contemporary periodicals. Among his major works are: Khudozhestvennaia Zhizn’ Rossii na rubezhe XIX – XX vekov (Artistic Life in Russia at the Turn of the 19th and 20th centuries, 1970); Khudozhestvennaia zhizn’ Rossii nachala XX veka (Artistic Life in Russia at the beginning of the 20th century, 1976); Vzaimosviaz’ iskusstv v khudozhestvennom razvitii vtoroi poloviny XIX veka; ideinye printsipy, strukturnye osobennosti (Interconnections of the arts in the artistic evolution of the second half of the 19th century; conceptual principles, structural peculiarities, edited volume, 1982); Russkaia khudozhestvennaia kul’tura vtoroi poloviny XIX – nachala XX veka (Russian Artistic Culture of the second half of the 19th and beginning of the 20th centuries, 1984); Ilia Repin (with Elena Kirillina and others, 1985, 2011); Russkii modern (Russian Art Nouveau, with Elena Borisova, 1988); Khudozestvennaia Zhizn’ Rossii 1900-1910-kh godov (Artistic Life in Russia 1900–1910s, 1991); Khudozhestvennaia Zhizn’ Rossii vtoroi poloviny XIХ veka, 70-80-e gody (Artistic life in Russia in the second half of the 19th century: the 1870s-80s, 1997); Obrazy i liudi Serebrianogo veka (Images and People of the Silver Age, coauthored with L. S. Aleshina, 2002); Khudozhestvennaia Zhizn Rossii 30-40-kh godov 19-ogo veka (Artistic Life in Russia in the 1830s–40s, 2005), Dva veka: Ocherki russkoi khudozhestvennoi kul’tury (Two Centuries: Sketches of Russian Artistic Culture, 2007), Ot Repina do Grigor’eva (From Repin to Grigoriev, 2009). Sternin was an author and editor of the authoritative Istoriia Russkogo Iskusstva (History of Russian Art published by the Academy of Sciences, 1952–1964), specifically volume 10 on the late nineteenth and early twentieth centuries; he was closely involved in the conception, editing, and writing of a new History of Russian Art (22 volumes planned) and was the editor of volume 14 on the first third of the nineteenth century, published in 2011.
The Russian scholarly community recognized Sternin’s contributions. He was named an Honored Artist of Russia in 1994, elected a corresponding member of the Russian Academy of Sciences in 1997, and designated a Laureate of the State Prize of the Russian Federation in 2004. At the memorial service at the Institute of Art History in November 2013, colleagues and former students recalled his constant attention to human relationships, both as part of his approach to art history and in his daily life as a teacher and mentor. Generous in providing books, articles, and advice to his students and even to visiting researchers, he was also an astute critic. He could identify problems of interpretation and actively seek ways of finding solutions, without ever dictating or imposing his views. Sternin’s empathetic responsiveness to colleagues and students will be missed as much as his brilliance as a scholar.
He is survived by his wife, the art historian Liliia Stepanovna Aleshina.
Committee on Women in the Arts Picks for July 2014
posted by CAA — Jul 10, 2014
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.
July 2014
Vlasta Delimar: This Is I
Museum of Contemporary Art
Avenija Dubrovnik 17,
10 000, Zagreb, Croatia
May 15–August 24, 2014
The Museum of Contemporary Art in Zagreb presents the first retrospective exhibition of Vlasta Delimar, one of the most significant multimedia and performance Croatian artists to have emerged from the postconceptualist scene in former Yugoslavia and Croatia in the 1970s. Controversial for her nudity—the excessiveness of the female body in a patriarchal society like Croatia rather than the shock of her nakedness in and of itself—Delimar has systematically and consistently used her body since the 1970s, along with artists such as Tomislav Gotovac and Antonio Lauer, as a radical means to extend the limits of visual art and freedom, and to express herself. “The complexity of a personality cannot be expressed without the physical, nor without the spiritual. Giving oneself means that there is no holding back,” says the artist, who denies that her work is underpinned by femaleness or feminist politics, part and parcel with her polemic disassociation from any ideology. Delimar, however, has used her body in performances to examine the status of woman as a social and creative being, often in her multiple roles as housewife, mother, artist, lover, and aging woman, while in performances with other artists, including her ex-partner Zelijko Herman, she has examined the relationship between male and female.
Along with works that span the past thirty-five years of her career, the artist is taking part in the exhibition with two performances: Invitation to Socialize and My Temporary Home. The latter originates from a 1980s series of works called “communications,” in which the artist turned her attention to her audience and its emotions. As a continuation of this practice and presented on a mobile stage, and on a different location each day, Invitation to Socialize has the artist, accompanied by her guests, talking about her art and the development of the artist-audience relationship over the last thirty years. Evoking the diaristic aspect of her work, My Temporary Home is a work in progress, the construction of the artist’s temporary working and living space within the museum for the duration of the exhibition as a personal space exposed and shared with the audience.
Marisol: Sculptures and Works on Paper
Memphis Brooks Museum of Art
1934 Poplar Avenue, Memphis, TN 38104
June 14–September 7, 2014
Memphis Brooks Museum of Art presents a much-awaited survey of the life and work of Marisol, one of the rare female stars of the sixties art scene in New York—the first girl with glamor, as once called by Andy Warhol, whose 1964 exhibition at Stable Gallery drew more than two thousand visitors per day. Best known for her stints of silence, or silent masquerades at the Club with which, as Carolee Schneemann remembers, she castigated the masculinism of the Abstract Expressionist world, and for her obsessive use of casts of her face and other body parts in sculptures that articulate feminist masquerades of femininity, Marisol is indeed one of the most important yet still understudied sculptors to emerge in late 1950s New York as much for the innovativeness of her multimedia assemblage sculptures (that combined painting, drawing, collage, traditional sculpting techniques, and found objects) as for the broad spectrum of her personal and political concerns that underpin her thematography, including its humor.
Born Maria Sol Escobar to Venezuelan parents in Paris, Marisol took her first art lessons in Los Angeles, where she had moved with her father when she was sixteen years old, upon the death of her mother in 1941. In 1949 she moved to Paris to study art at the École des Beaux-Arts. Disappointed by the institution’s conservatism, Marisol moved to New York in 1950 to study painting at the Art Students League, becoming a student of Hans Hoffmann and a member of the Abstract Expressionist and Beat circles before she decidedly turned to sculpture, or better yet its idiosyncratic reinvention that she begun in 1953.
Inspired by Marisol’s mixed-media sculpture The Family, which was commissioned by the Brooks Museum in 1969, and in hopes of reestablishing Marisol as a major figure in postwar American art, the exhibition brings together diverse works that range in date from 1955 to 1998 and elucidate Marisol’s artistic evolution, both in terms of subject matter and materials by including examples of the various media Marisol used (bronze casting, wood carving, assemblage, plaster casts, terracotta, drawing, and printmaking) as well as the many themes and subjects she considered. Among the themes explored in the exhibition and the accompanying catalogue are Marisol’s diverse influences (Neo-Dada, Surrealism, American and Latin American folk art, Precolumbian art, etc.); her relationship to postwar art and cultural movements (Pop, Minimalism, and feminism); her experimentation with materials; her extensive use of portraiture; her politically charged sculptures; and her identity as a female artist who was born in Paris of Venezuelan parents and lived most of her life in New York City.
After Our Bodies Meet: From Resistance to Potentiality
Leslie Lohman Museum of Gay and Lesbian Art
26 Wooster Street, New York, NY 10013
June 5–August 3, 2014
Part of the All Out Arts Fresh Fruit Festival and curated by Alexis Heller, the exhibition After Our Bodies Meet: From Resistance to Potentiality surveys the legacy of feminist art on the diverse ways contemporary transcultural queer artists represent the body to challenge past and present forms of oppression and envision a queer future. Bridging these historic and contemporary endeavors the exhibition honors the pioneers of gender-conscious art and highlights the evolution and plurality of feminist art in light of representations of queer bodies that subvert any binary understanding of gender. Featuring works that unsettle the mythologies and ideals surrounding lesbian and transgender bodies and foreground queer bodies obscured by invisibility by Laura Aguilar, Cathy Cade, Heather Cassils, Tee A. Corinne, Chitra Ganesh, Allyson Mitchell, Zanele Muholi, Catherine Opie, Sophia Wallace, and Chris E. Vargas, After Our Bodies Meet demonstrates how feminist artists have repositioned the political potential of activism into art, allowing critiques of the past to provide space for imagining new queer possibilities, while showcasing a diversity of practices and concerns.
Seeking to document and empower the burgeoning lesbian feminist community, for instance, works by Corinne and Cade emphasize the female body’s capacity for love, agency, and pleasure outside the heterosexual imagination. The South African artist and “visual activist” Muholi also preserves marginalized histories, bringing attention to underrepresented populations of black lesbian and transgender individuals, as well as the targeted violence that threatens their existence. For her ongoing series Faces and Phases, Muholi’s photographic portraits archive the diversity and resilience of her black queer community in South Africa and abroad, while Isilumo siyaluma (2006–11), a series of kaleidoscopic digital collages of menstrual blood stains, memorializes the rape and murder of black lesbians in South Africa. Cassils’s performance Becoming an Image (2012) also evokes the brutalization of queer bodies, as the artist’s mixed-martial-arts blows are imprinted onto a 1,500-pound block of clay. Wallace’s ongoing mixed-media project CLITERACY exposes the irony of society’s obsession with and ignorance of female sexuality. Inspired by Indian comic books, Hindu mythology, and American science fiction, Ganesh makes digital collages that draw from disparate materials and cultural sources to offer alternate narratives of female sexuality and power.
Teresa Margolles: La búsqueda
Migros Museum für Gegenwartskunst
Limmatstrasse 270, CH-8005, Zürich, Switzerland
May 24–August 17, 2014
The Migros Museum of Zurich presents La Busqueda, a display of work by the Mexican artist Teresa Margolles. This exhibition is the first institutional solo exhibition in Switzerland by the 2012 Prince Claus Laureate. Dealing with themes such as social exclusion, violence, and death, Margolles (b. 1963, Culiacán) addresses Ciudad Juárez as a place of crime. The artist examines the extreme violence in this northern Mexican border city where a mysterious series of female homicides has been ongoing since the early 1990s. Through a minimalist approach, Margolles’s works focus on how traces of these brutal crimes shape people’s everyday lives.
Since the early 1990s, Margolles has worked in the forensic medicine department of an autopsy facility in Mexico City, to which anonymous victims of violent crime are brought on a daily basis. By translating such vestiges into an exhibition space, the artist develops interplay between charged architectural fragments and displaced sounds within a grim realism. The mostly sculptural exhibition, curated by Rafael Gygax, includes two powerful installations/interventions—La busqueda (The Search) from 2014 and Mesa y dos bancos (Table and Two Benches) from 2013—that bring into this exhibition space sound, materials, and tragic remains from the Mexican border of Ciudad Juarez. Through her works, Margolles investigate how current events affect individual lives, evidencing the impermanence of things, humans and their relationships, while also suggests the urgency to develop new paths toward a concrete form of solidarity.
Chicago in L.A.: Judy Chicago’s Early Work, 1963–74
Brooklyn Museum
Elizabeth A. Sackler Center for Feminist Art, Herstory Gallery, 200 Eastern Parkway, Brooklyn, NY 11238-6052
April 4–September 28, 2014
Surrounding Judy Chicago’s iconic installation The Dinner Party at the Elizabeth A. Sackler Center for Feminist Art is the exhibition Chicago in L.A.: Judy Chicago’s Early Work, 1963–74, a comprehensive survey of the artist’s innovative explorations of painting, sculpture, and environmental performance that make up a less-familiar but highly significant body of early works.
When living in Los Angeles, Chicago was a participant in Finish Fetish. The growing industrialization of the West Coast influenced many artists to produce objects that were completely handcrafted and yet, with bright colors and high-gloss form of Minimalism, seemed to be machine-made. Chicago in L.A. includes approximately sixty paintings and sculptures made with sprayed acrylic lacquer, objects, drawings, prints, photographs, videos, and documentation of performances that span from 1963 to 1974, affirming the artist’s importance as a pioneer in the Californian art scene.
A series called The Rejection Quintet may serve as a meaningful introduction to The Dinner Party. In this series, Chicago exposes explicit vulvar drawings along an emotional handwritten journal of rejection and self-acceptance. Encouraged by her friend, the feminist art critic Lucy R. Lippard, Chicago dealt with her continuing frustration with trying to address female experience while seeking recognition and respect from male colleagues. Most significantly, The Rejection Quintet, within the rich and complex oeuvre of Chicago, invites viewers to reexamine The Dinner Party as a work that emerged from decades of artistic experimentation, not only technically and aesthetically, but also within the making and raising of a feminist community.
A Voice of One’s Own: On Women’s Fight for Suffrage and Human Recognition
Malmö Konstmuseum
Malmöhusvägen 6, 201 24, Malmö, Sweden
June 6–September 7, 2014
This summer, Malmö Konstmuseum and Moderna Museet Malmö have collaborated to present A Voice of One’s Own: On Women’s Fight for Suffrage and Human Recognition, a celebration of women’ fight and achievements for suffrage and a gender-equal society that was central to the women’s own manifestation at the Baltic Exhibition in Malmö a hundred years ago. In the summer of 1914, visitors came to see an art-and-industry fair that portrayed an upbeat view of future and progress. The fair also featured the Swedish Women’s Exhibition, where discussions were held not only about the situation of Swedish women, but also with the participation of several national women’s organizations. The term “feminist” came into use in Europe in the 1890s, as the women’s movement became more organized through discussion and debate clubs. Women artists’ work was exhibited, and women authors’ books were available in the library. Then, women’ voting was an urgent issue. Society was on the threshold of radical change and the Nordic countries were among the first to implement votes for women.
The exhibition includes the participation of Petra Bauer, Catti Brandelius, Kajsa Dahlberg, Nathalie Djurberg and Hans Berg, Roxy Farhat in collaboration with Shaza Albatal, and Grand Domestic Revolution Library/Casco. Some artists have looked back in history at the reform process that promoted women’s political, economic, and social rights since the local event in 1914, while others have focused in examining current issues relating the insertion for women in today’s society. Organized by Marika Reterswärd, Cecilia Widenheim, and Joa Ljungber, A Voice of One’s Own evidences current feminist discussions and is permeated by methods and strategies of organization that women communities have developed for a century toward a claim for their share of the public sphere.
News from the Art and Academic Worlds
posted by Christopher Howard — Jul 09, 2014
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.
Who Ought to Underwrite Publishing Scholars’ Books?
At almost any gathering of academic publishers or librarians, you’ll hear someone float the idea—sometimes phrased as a question—that the model for publishing scholarly monographs is broken. Two sets of ideas aired at the Association of American University Presses’ recent annual meeting don’t say the model is damaged beyond repair. But the proposals, both from groups outside the university-press community, suggest that it needs to be retrofitted, at the least. (Read more from the Chronicle of Higher Education.)
We Should Allow Failing Arts Organizations to Die
Arts organizations are already dying. In Detroit, in New York City, in the United Kingdom. From operas to art galleries. This is no longer an urban versus rural debate. A nonprofit versus for profit debate. A “one discipline is dying” but “others are inexplicably thriving” debate. This is a simple acknowledgement that the industry is in decline. And I think that not only should we allow it, we should encourage it. (Read more from Medium.)
Race, Gender, and Academic Jobs
I am currently the lowest-paid tenure-track faculty member in my department and was told by the man paid to manage me that if I wanted a raise I would probably need to get a new job or at least an offer that might prompt a counteroffer. So I went on the job market and was lucky enough to score a campus interview for an assistant professor position at a liberal arts college in an ideal location. Let’s just call this place Rich Liberal Arts College. (Read more from Inside Higher Ed.)
Does the Mojave Desert Need an Artist-Built Swimming Pool? Maybe
The art world loves a work of art that requires trekking to a remote location. There’s Spiral Jetty, one of the most iconic pieces of land art in existence, on the northern shores of the Great Salt Lake. New Mexico has Lightning Field, Walter de Maria’s installation of four hundred stainless-steel poles that serves as Minimal sculpture at most times and a veritable light show during lightning storms. These experiences are about long journeys, landscape, and meditation. Now there’s another piece to add to this list: Social Pool by the Austrian artist Alfredo Barsuglia, who was a resident at the MAK Center for Art and Architecture in Los Angeles. (Read more from the Los Angeles Times.)
At Mellon, Signs of Change
The Andrew W. Mellon Foundation has a reputation for moving in mysterious ways. For forty-five years, it has steadily handed out money—lots of it—to sustain the humanities and the performing arts. As times have gotten tougher, Mellon’s deep pockets have become increasingly important. The foundation tends to attract an unusual level of anxiety and interest, like a rich uncle whose quirks and whims keep poorer relations on their toes. (Read more from the Chronicle of Higher Education.)
When Copy and Paste Reigned in the Age of Scrapbooking
Cutting, pasting, collating—this feels like a new behavior, a desperate attempt to cope with a radical case of information overload. But it’s actually a quite venerable urge. Indeed, back in the nineteenth century we had a similarly intense media barrage, and we used a very similar technology to handle it: the scrapbook. (Read more from the Smithsonian.)
By Design
There are toxic words in every field and, when it comes to design, two of the most ominous are “sculptural” and “artistic.” Not that there is necessarily anything wrong with design projects exhibiting either quality, but those that are described as doing so seldom do. Instead, they are likely to be any or all of the following: bland, silly, blingy, pretentious, shoddy, derivative, ugly, ridiculous, or unjustifiably expensive. (Read more from Frieze.)
Make Sure the Artists Are on Board
The artist-trustees at the Museum of Contemporary Art in Los Angeles—John Baldessari, Catherine Opie, Barbara Kruger, and Ed Ruscha—went from filling what could have been seen as symbolic posts, demonstrating the museum’s commitment to living artists, to playing a critical role in the museum’s recent public-relations crisis and its recovery-in-progress. Other contemporary art museums are also making space for at least one artist on their boards. (Read more from the Art Newspaper.)
NEA Selects Wendy Clark as Director of Museums, Visual Arts, and Indemnity
posted by Christopher Howard — Jul 08, 2014
The National Endowment for the Arts is pleased to announce the appointment of Wendy Clark as director of Museums, Visual Arts, and Indemnity. Clark has served as acting director of Museums, Visual Arts, and Indemnity since November 2012 and will continue to manage the NEA’s grantmaking in this area, as well as the program’s special initiatives, such as Blue Star Museums.
NEA Deputy Chairman Patrice Walker Powell noted “Ms. Clark brings to this leadership position a wealth of knowledge and experience with the people and institutions that comprise the visual arts and museum field. She is an asset to our organization, an advocate for the field, and a long-term NEA leader.”
Clark has more than 20 years of experience managing various federal grant programs and special initiatives at the NEA in the fields of museums, visual arts, and design, including the Mayor’s Institute on City Design, Your Town, the American Masterpieces/Visual Arts Touring Program, the Rosa Parks Sculpture Competition for the Architect of the Capitol, and the Renna Scholarship Grants Program. Prior to her role as acting director, she was the museum specialist, working primarily on Art Works grants and special initiatives and advising hundreds of museums annually seeking funding for exhibitions, conservation, commissions, care of collections, educational outreach, and reinstallation projects. She has represented the agency annually at the American Alliance of Museums conference as both a presenter and exhibitor. Clark is a member of ArtTable, an organization dedicated to advancing women’s leadership in the visual arts field.
“I’m thrilled to help the nation’s museums and visual arts organizations—with their aligned missions and divergent needs—continue to present the work of excellent artists to the American people. To be part of this community is an honor,” said Clark. “Museums have a tall and challenging order, increasingly called upon to be civic anchor, community gathering place, and stewards of our most prized cultural heritage. I remain energized and fulfilled by public service.”
Prior to coming to the NEA, Clark held positions at the Illinois Arts Council in public affairs, visual arts, and design. There she worked on a traveling exhibition program initiative, and a cultural facilities planning and design grant program called Building by Design, which was awarded a Federal Design Achievement Award by the NEA’s Presidential Design Awards jury. She was an NEA Fellow in arts administration, and was the chairman of the Design Review Committee for the Civic Association of Hollin Hills, a mid-century modern residential development designed by architect Charles Goodman and landscape architect Dan Kiley.
Clark has a bachelor’s degree from the University of Michigan and studied Elizabethan history, art, and literature at New College, Oxford University. She is originally from Dayton, Ohio.
Juror Sought for the Millard Meiss Publication Fund
posted by CAA — Jun 30, 2014
CAA seeks nominations and self-nominations from an architectural historian or an art historian with a specialization in Islamic, East Asian, or contemporary art to serve on the jury for the Millard Meiss Publication Fund for a four-year term, ending on June 30, 2018. Candidates must be actively publishing scholars with demonstrated seniority and achievement; institutional affiliation is not required.
The Meiss jury awards subsidies to support the publication of book-length scholarly manuscripts in the history of art and related subjects. Members review manuscripts and grant applications twice a year and meet in New York in the spring and fall to select the awardees. CAA reimburses jury members for travel and lodging expenses in accordance with its travel policy.
Candidates must be current CAA members and should not be serving on another CAA editorial board or committee. Jury members may not themselves apply for a grant in this program during their term of service. Nominators should ascertain their nominee’s willingness to serve before submitting a name; self-nominations are also welcome. Please send a letter describing your interest in and qualifications for appointment, a CV, and contact information to: Millard Meiss Publication Fund Jury, College Art Association, 50 Broadway, 21st Floor, New York, NY 10004; or send all materials as email attachments to Alex Gershuny, CAA editorial manager. Deadline: July 22, 2014.