CAA News Today
News from the Art and Academic Worlds
posted by CAA — Mar 13, 2019
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She Built NYC Announces Statues Honoring Four More Trailblazing Women
In addition to a previously announced monument for Rep. Shirley Chisholm, New York City will honor these four trailblazers. (She Built NYC)
Trump Sets Workforce Training, Student Loan Overhaul as Budget Priorities
Trump’s fiscal year 2020 budget proposal was released this week. Here are the implications for higher ed. (Education Dive)
Finding the Right Training and Career Development Opportunities for Your Organization
Where to begin? Start by identifying the goals you want to achieve. (Scholarly Kitchen)
Governor Dunleavy’s Budget Plan Would ‘Gut’ University of Alaska System
CAA has signed a letter along with 27 other professional societies urging reconsideration of this plan. The university stands to lose 40% of its total budget. (Anchorage Daily News)
The Power of a Paid Internship: Creating Pathways to Careers in Museums
A helpful case study from The Phillips Collection. (AAM)
Why Is Work by Female Artists Still Valued Less Than Work by Male Artists?
A look at the numbers with sociologist Taylor Whitten Brown. (Artsy)
Apply to Join the CAA Council of Readers
posted by CAA — Mar 12, 2019
Beginning this year, we are pleased to announce a new opportunity to help shape Annual Conference session content. In preparation for the 2020 Annual Conference in Chicago, the Annual Conference Committee will appoint a Council of Readers to read proposals submitted by CAA members and serve a crucial role in the review process.
The Council will be tasked with reading proposals with a focus on their specialty and will provide the knowledge and expertise of their fields to help shape the conference.
Pleas email Mira Friedlaender, Manager of Annual Conference, mfriedlaender@collegeart.org, or Tiffany Dugan, Director of Programs and Publications, tdugan@collegeart.org, with any questions.
CWA Picks for March 2019
posted by CAA — Mar 11, 2019
CAA’s Committee on Women in the Arts selects the best in feminist art and scholarship to share with CAA members on a monthly basis. See the picks for March below.
Judith Godwin: An Act of Freedom
February 14 – March 16, 2019
Berry Campbell Gallery, New York
Judith Godwin: An Act of Freedom contributes to the important revisionist history on the women of Abstract Expressionism with the presentation of twenty-three gestural canvases produced from 1954 through 2007. A native of Suffolk, Virginia, Godwin (b. 1930) attended Mary Baldwin College in Staunton (1948-50) and completed her undergraduate degree in 1952 at Richmond Professional Institute of the College of William and Mary (now Virginia Commonwealth University). She moved to New York in 1953, where she was invited to attend frequent dance classes and performances by Martha Graham, with whom she established a lifelong friendship. She also studied briefly with Will Barnet and Vaclav Vytlacil at the Art Students League, followed by classes with Hans Hofmann in Provincetown, MA, and in the fall 1954 at 52 West Eighth Street. Inspired by Hofmann’s color principles, Godwin’s emerging abstractions in the mid-1950s, many on view here, display a tightly structured organization of planar elements that develop into expansive and sweeping arcs, angles, and spatial breaks across the painterly surface. An interesting comparison is Japanese painter Kenzo Okada (1902-82), another formative association for Godwin encouraging her investigations in Zen Buddhism. Godwin’s paintings were included in the important traveling exhibition, Women of Abstract Expressionism that originated at the Denver Art Museum in 2016.
VIJA CELMINS: TO FIX THE IMAGE IN MEMORY
December 15, 2018 – March 31, 2019
San Francisco Museum of Modern Art
The first retrospective of Vija Clemins in North American in more than 25 years, this exhibition presents over 140 small scale, exquisitely detailed paintings, drawings, and sculptures of the physical world by the American-Latvian artist. Living and working in New York since 1981, Celmins’ early work was inspired by Pop Art, painting realistic depictions of everyday objects, followed by drawings and paintings of newspaper photographs. Her Untitled (Big Sea) series in the 1970s, depicting the ocean texture completely filling the picture plane, unbroken by any horizon or secondary life or object, brought her acclaim as she developed her meticulously thorough technique. Her intention more about the process than the photographic reflection or landscape aesthetic, the works’ texture and character present a fascinating distraction, opposing romantic cliché.
ROSE ENGLISH. FORM, FEMINISMS, FEMININITIES
March 1 – April 13, 2019
Richard Saltoun Gallery, London
Since March 2019 Richard Saltoun Gallery in London is dedicating its annual programme to women, as part of their mission to support female artists who are under-recognized and under-represented. This inaugural exhibition celebrating the Gallery’s commitment to protest gender inequality in the art world, showcases Rose English’s works from the earlier stages of her career. The exhibition includes a range of artworks from 1970s and early 1980s demonstrating the richness of English’s unique artistic vocabulary, her curiosity and willingness to experiment with processes and materials, and her versatility as an artist eager to engage with photography, ceramics, collage, film, installation and performance. Her interest in politics, social issues, aesthetics, philosophy and popular culture can be traced in her early works. What is particularly interesting, is the artist’s subversive understanding of feminism and femininity which she explores through challenging and interweaving diverse forms, their conventions and histories. Plato’s Chair (1983) exhibited in the final room of the gallery is one of her most important early monologue performances staged at the Western Front in Vancouver, Canada in 1983.
Erika Verzutti: Mutations / Creations 3
February 20 – April 15, 2019
Centre Pompidou, Paris
Mutations is the first monographic exhibition in Europe of Erika Verzutti, the Brazilian artist (b. 1971, São Paulo) known for her vital exploration of the materialization and facture of sculptural forms in bronze, ceramic, cement and papier-mâché. Occupying the entirety of Gallery 3, Verzutti’s provocative sculptures and reliefs, often animalistic, vegetal, and botanical abstractions, are here conceived as “families” or generative groupings and “conversations,” such as Tarsila, an homage to the brilliant painter and “mother” of Brazilian modernism, Tarsila do Amaral, or The Brasilia Family, a title conjuring the extraordinary industrialization of the new capital city in postwar Brazil. A central object embodying a massive swan’s shapely form evokes matrilineal sources and tribal connectivity. In relationship to the rational, geometric panels of Brazilian Concretism in the 1950s or the gestalt ideals of Neo-Concretist “non-objects,” Verzutti’s playful, sardonic and feminist gestures invite new and welcome readings on texture, materiality, and opticality.
DINOSAUR IN THE DOLLHOUSE
January 31 – April 19, 2019
Carlow University Art Gallery, Pittsburgh
This process and collaborative oriented exhibit includes paintings by artists Sarah Jacobs, Kristen Letts Kovak, and Katherine Tzu-Lan Mann around legacy, possibility and evolving context. One individually completed painting by each artist is complemented by another that was influenced by the paintings by the other two artists. Moreover, the trio will create a collaborative painting in the gallery during the exhibition’s run that will be finished by the end. Katherine Tzu-Mann’s expansive, expressive colorful paintings explore how painting can “capture flux, abundance, waste, fertility, and the collision and collusion of diverse forms” from material, to process to their animated result of shapes, moving lines and colors. Also rich in movement and hue, Kristen Letts Kovak’s paintings seem to take more botanical form, if imagined, as the artist explains her more intuitive approach, her paintings are “both records of my perceptions, and independent objects for observation.” Sarah Jacobs’ process is pattern-driven, meticulously hand-painted, bright and complex work that relates to human vulnerability. The artists share a mentor, who provided impetus for the title reflecting artists’ perhaps seemingly random yet purposely juxtaposed choices.
She Persists: A Century of Women Artists in New York, 1919-2019
January 22 – December 19, 2019
Gracie Mansion, New York
What does it mean to make a difference while residing in “The People’s House?” First Lady of New York City Chirlane McCray embodies strident activism in her support of this important exhibition at Grace Mansion, the official residence of the Mayor and his family. This smart installation of 44 modern and contemporary women artists marks a century of persistence since suffrage and shows 60 artworks by women who represent diverse origins and cultural positions intersecting life and culture in New York City. Curator Jessica Bell Brown brings together photographs, objects, archival materials, and artworks documenting diverse forms of political resistance and power struggles (LGBTQ and AIDS awareness, for example) and art historical and proto-feminist interventions in the twentieth-century canon (Abstract Expressionist modern women, for instance), all of which thematically explore ideas contending with “complicated histories, the body as battleground, picturing people, and expanding abstraction.” She Persists presents an extraordinary range of artists: early modernists and social realists Florine Stettheimer, Isabel Bishop, and Theresa Bernstein; photographers Berenice Abbott, Ruth Orkin, Perla de Leon and Consuelo Kanaga; video and performance artists Mierle Laderman Ukeles, Martha Rosler and Ana Mendieta; and postwar abstractionists Betty Parsons, Helen Frankenthaler, Grace Hartigan, Lee Krasner, and Carmen Herrera. Kara Walker, Simone Leigh, Elizabeth Catlett, Augusta Savage, and Faith Ringgold represent broad proposals on African-American narratives. Shirley Chisholm, the Brooklyn-born Congresswoman, summarizes the rallying cries for women’s rights in her 1974 speech: “Forget traditions! Forget conventionalisms! Forget what the world will say whether you’re in your place or out of your place Stand up and be counted.”
Mitchell Blessing and Kristi Oliver
posted by CAA — Mar 11, 2019
The weekly CAA Conversations Podcast continues the vibrant discussions initiated at our Annual Conference. Listen in each week as educators explore arts and pedagogy, tackling everything from the day-to-day grind to the big, universal questions of the field.
CAA podcasts are on iTunes. Click here to subscribe.
This week, Mitchell Blessing and Kristi Oliver discuss technology in art programs.
Mitchell Blessing is an assistant professor in the Department of Technology, Art, and Design at Bemedji State University.
Kristi Oliver is an assistant professor of art education at the University of Massachussetts – Dartmouth.
New in caa.reviews
posted by CAA — Mar 08, 2019
Camilla Murgia reviews Picturing War in France: 1792–1856 by Katie Hornstein. Read the full review at caa.reviews.
Drew Sawyer discusses Paradise of Exiles: Early Photography in Italy at the Metropolitan Museum of Art. Read the full review at caa.reviews.
Patricia Jane Graham explores JapanAmerica: Points of Contact, 1876–1970, edited by Nancy E. Green and Christopher Reed. Read the full review at caa.reviews.
News from the Art and Academic Worlds
posted by CAA — Mar 06, 2019
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Artists and Activists Prepare Political Responses to Whitney Biennial
On February 25, the Whitney Museum announced the artists who will be participating in the 2019 biennial. In the days following, artists and activists responded. (Hyperallergic)
A Totally Inclusive Museum
“At the conclusion of a long and productive workshop about inclusion, a museum employee asked: ‘How will we know when we have reached our goal of being fully inclusive?’ It was a great question, but I’m not sure anyone liked the answer.” (AAM)
Listen: Adjuncts Weigh Costs of $7,000 or Strike!
The union of the faculty and staff at CUNY is currently bargaining a flagship demand of $7,000 per course for adjunct faculty. (Interference Archive Podcast)
SFMoMA to Sell 1960 Rothko to Help Diversify its Holdings
The museum has announced plans to sell the artwork to “address art historical gaps.” (New York Times)
Jason Grunebaum and Sarita Heer
posted by CAA — Mar 04, 2019
The weekly CAA Conversations Podcast continues the vibrant discussions initiated at our Annual Conference. Listen in each week as educators explore arts and pedagogy, tackling everything from the day-to-day grind to the big, universal questions of the field.
CAA podcasts are on iTunes. Click here to subscribe.
This week, Jason Grunebaum and Sarita Heer discuss contingent faculty unions behind the scenes.
Jason Grunebaum is a lecturer in Hindi in the Department of South Asian Languages and Civilizations at the University of Chicago.
Dr. Sarita Heer is an instructor of Art History in the Fine and Performing Arts Department at Loyola University Chicago.
New in caa.reviews
posted by CAA — Mar 01, 2019
Katherine Field reviews Race, Representation & Photography in 19th-Century Memphis: From Slavery to Jim Crow by Earnestine Lovelle Jenkins. Read the full review at caa.reviews.
CAA 2020 Submissions Portal Now Open
posted by CAA — Mar 01, 2019
The submissions portal for the 2020 CAA Annual Conference in Chicago, February 12-15 is now open.
CAA invites proposals for sessions, lightning rounds, poster sessions, and workshops from visual arts professionals working across the field in all disciplines.
The CAA Annual Conference is the largest gathering of art historians, artists, designers, curators, arts administrators, museum professionals, and others in the visual arts.
Proposals must be submitted by April 30, 2019.
Please note, this year individuals will have the opportunity to submit proposals for several types of opportunities at the Annual Conference before the April 30 deadline. Please review the full proposals page to decide which type of submission best fits your needs.
The Annual Conference Committee members reviewed over 1,000 submissions for the 2019 Annual Conference. They take into account subject areas and themes that arise from accepted proposals to present as a broad and diverse a program as possible. Last year the committee selected roughly 300 sessions and it must, at times, make difficult decisions on submissions of high merit.
Please contact Member Services at membership@collegeart.org or at 212-691-1051, ext. 1 with any questions.
News from the Art and Academic Worlds
posted by CAA — Feb 27, 2019
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Met Museum to Return Prize Artifact Because It Was Stolen
The museum has stated it will “review and revise” its acquisitions process. (New York Times)
Five First Steps for Making Your Events More Accessible
Evergreen resources to make your events more accessible. (NYFA)
It Keeps You Nice and Disposable’: The Plight of Adjunct Professors
Part-time adjunct instructors represent two-fifths of all faculty at US colleges and universities. (Washington Post)
On What It Takes to Sustain a Creative Life Financially
“I knew plenty of others had figured out how to do it before me, but regrettably, I had no window into their process. This essay is an attempt to share what it took.” (The Creative Independent)
Dear Faculty: You Matter More Than You Know
True mentorship is about more than making students feel cared about and supported. It involves making them work hard, too. (Inside Higher Ed)
Art Museums Need to Address Colonialist Theft—Not Diversity
MoMA announced it will close this summer to include more works from artists of color, but activists say this does little to reconcile centuries of exploitation. (Broadly)