CAA News Today
Arts in Turkey Tour for CAA Members
posted by Nia Page — Jan 17, 2014
Read Milton Moore’s tour diary from his trip to Turkey in October 2013, organized by Tutku Tours.
CAA has partnered with Tutku Tours to provide an exclusive offer for its members to spend two weeks exploring the ancient and contemporary sides of Turkey, from May 27 to June 10, 2014. Highlights of the Arts in Turkey Tour: Yesterday and Today trip include stops in Istanbul, Iznik, Canakkale, Troy, Assos, Ayvalik, Izmir, Pergamum, Ephesus, Kusadasi, Pamukkale, Catalhoyuk, Konya, Cappadocia, and Ankara. This tour is a one-of-a-kind experience that takes visitors on a spectacular journey through ancient and modern Turkey. Visit the workshops of local artists, learn about techniques of ancient art, and take in galleries and museums in some of the world’s oldest cities.
The tour begins with three days in Istanbul—the city on seven hills and the capital of two former empires—where travelers will visit the major attractions, including the Hippodrome, Blue Mosque, and Hagia Sophia, and also get to know the city’s vibrant street life and local art scene. The tour will then visit the Iznick Foundation’s tile factory, the archaeological site of ancient Troy, and the Pergamum acropolis. The city of Izmir, which boasts numerous museums and art galleries, comes next, and later the port city of Ephesus and Pamukkale, near the ancient city of Herapolis. A handful of other exciting stops will happen in the several days before the return flight from Ankara.
In addition to access to cultural and historic sites, the Art of Turkey Tour will provide CAA members with time for rest and relaxation. The group will stop at a carpet school in Ephesus, along with an overnight stay at a spa hotel at the Pamukkale hot springs. The end of the trip includes a stop in Cappadocia, where travelers can explore the Göreme Open-Air Museum, a vast collection of painted cave-churches dating from 1000 AD, and also watch a whirling dervishes ceremony. At the final destination, Ankara, the tour will visit the famed Museum of Anatolian Civilizations.
Getting There: Turkish Airlines provides nonstop, direct flights from the United States and Canada from the following cities: New York, Los Angeles, Washington, DC, Chicago, Houston, and Toronto.
Land and Air Rates: $3,990 per person for a double room; $4,780 per person for a single room.
The Arts in Turkey Tour features include:
- International flight from the US via Turkish Airlines
- Thirteen nights in superior hotels
- Comprehensive sightseeing as specified in the program
- Meals (thirteen dinners, four lunches, daily breakfasts)
- An official, licensed English-speaking guide throughout the tour
- Visits to art galleries
- Transportation in air-conditioned vehicles
- All entry fees to sites and museums
- A hot-air balloon flight in Cappadocia
- Local taxes and service charges
For a detailed, day-by-day tour itinerary, please download and review the Arts in Turkey Tour brochure.
caa.reviews Now Publishing as an Open-Access Journal
posted by Christopher Howard — Jan 16, 2014
CAA and Routledge are pleased to announce that caa.reviews, an online journal of book and exhibition reviews in the visual arts, is now open access. Born digital in 1998, caa.reviews fosters intellectual and creative engagement with critical issues in art history, museum scholarship, curatorial studies, and studio practice. Published on a continual basis, the content of caa.reviews—assessing scholarly books and catalogues, art exhibitions in museums and galleries around the world, academic conference and symposia, thematic essays, and more—is now freely available to all interested readers worldwide.
Becoming an open-access journal greatly enhances the reach and impact of caa.reviews, which averages approximately 150 texts a year covering all areas and periods of art history and visual studies. Readers will also be able to access several thousand reviews published since the journal’s inception. caa.reviews also publishes a list of recently published books in the arts and a compilation of dissertation titles—both completed and in progress—from graduate programs in the United States, Canada, and Great Britain.
“By offering an open-access caa.reviews, CAA can now share the expertise of its authors across a broad international spectrum of readers. Because the publication provides critical analyses of recent scholarly publications and exhibitions, caa.reviews can introduce the world to a broad range of scholarly, artistic, and curatorial projects,” said Anne Collins Goodyear, president of the CAA Board of Directors.
Earlier this year, Routledge and CAA began a new copublishing partnership. Routledge will now publish and distribute CAA’s journals, The Art Bulletin and Art Journal—both in print and online—and provide a platform for the online journal, caa.reviews. Start exploring caa.reviews today by visiting www.caareviews.org.
About Taylor & Francis Group
Taylor & Francis Group partners with researchers, scholarly societies, universities, and libraries worldwide to bring knowledge to life. As one of the world’s leading publishers of scholarly journals, books, ebooks, and reference works, Taylor & Francis offers content that spans all areas of Humanities, Social Sciences, Behavioural Sciences, Science, Technology, and Medicine.
From a network of offices in Oxford, New York, Philadelphia, Boca Raton, Boston, Melbourne, Singapore, Beijing, Tokyo, Stockholm, New Delhi, and Johannesburg, Taylor & Francis staff members provide local expertise and support to our editors, societies and authors and tailored, efficient customer service to our library colleagues.
For more information, please contact Tara Golebiewski, journals marketing associate for Taylor & Francis Group.
News from the Art and Academic Worlds
posted by Christopher Howard — Jan 15, 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.
$330 Million Pledged to Save Pensions, DIA Artwork from Detroit Bankruptcy
The mediator in Detroit’s federal bankruptcy case has announced that local and national foundations have pledged $330 million toward an effort to shore up Detroit’s ailing pensions funds and to protect artwork in the Detroit Institute of Arts. US Chief District Judge Gerald Rosen’s statement made clear that the pledges do not by themselves mean that pensions and DIA art are now beyond the reach of creditors. (Read more from the Detroit Free Press.)
Architecting Identity: What the Lobby Says about the Art Museum
As the doors to Mario Botta’s stalwart brick San Francisco Museum of Modern Art opened in 1995, its central atrium greeted visitors with the Swiss architect’s formidable grand staircase, three stories of floating granite framed by white columns and spotlighted by the serene white glow of the oculus overhead. Architecture critics deemed the stairs a monumental centerpiece reminiscent of Frank Lloyd Wright’s iconic Guggenheim ramp or the bell tower that rises above an Italian piazza. It’s gone now. SFMOMA, currently closed for construction, demolished Botta’s icon last year to make way for the museum’s forthcoming 235,000-square-foot expansion. (Read more from Blouin Artinfo.)
How Should Graduate School Change?
I recently conducted an email interview with a dean who works with graduate education in the arts and sciences at a well-endowed private institution—let’s call it Very Good University. He’s a full professor who came up through the faculty ranks and was named a dean less than a decade ago. Because I’ve shielded his identity here, he was able to offer some bracing observations about graduate school and sound prescriptions for how they might change. (Read more from the Chronicle of Higher Education.)
Using Craft Art To Explore Contemporary LGBTQ Culture
Felt paintings, yarn drawings, quilted tapestries, and crocheted sculptures—these are the types of masterpieces that exist in the craft world, marked by either their decorative, DIY, or traditional flair. Made of everything from macramé to needlepoint, these handmade objets d’art are not exactly the first things that pop into one’s mind when discussing the complex and varied realm of contemporary LGBTQ issues in art. Yet they are the subject of Queer Threads: Crafting Identity and Community, a new exhibition at the Leslie-Lohman Museum of Gay and Lesbian Art. (Read more from the Huffington Post.)
Judge Orders Renoir Painting Returned to Museum
The story began with one of those improbable tales of an artistic masterpiece uncovered at a flea market. It concluded last week, the painting still a masterpiece but the story about the flea market all the more improbable. A federal judge awarded ownership of a disputed Renoir painting to a Baltimore museum, citing “overwhelming evidence” that the painting had been stolen from the museum more than sixty years ago. The judge’s decision rejected the claims of a woman who maintained that she bought the painting at a flea market for $7. (Read more from ABC News.)
Sexism in Architecture: On the Rise
Sixty-six percent of female architects have experienced some form of sexism over their career, claims a survey from Architects’ Journal, with 31 percent reporting monthly or quarterly occurrences. This is a rise from 58 percent when the survey first launched in 2011. On top of this, 88 percent of women respondents felt that having children would hold them back in their career and 62 percent thought that the building industry still doesn’t accept the authority of female architects. Former RIBA president Angela Brady called the results “shocking” and said women needed to be particularly firm around the issue of equal pay. (Read more from the Guardian.)
How Is Nazi-Looted Art Returned?
In November German authorities revealed that more than 1,400 valuable works of art had been confiscated from the Munich flat of Cornelius Gurlitt, a reclusive octogenarian. The trove is full of the kind of avant-garde “degenerate” art the Nazis removed from Germany’s state museums, such as works by Picasso, Chagall, Matisse, and Beckmann, as well as older gems, such as an engraving by Albrecht Dürer. Some of it may have come from Jews who were forced to flee or were sent to concentration camps. Surviving heirs and museums have been coming forward as the rightful owners. How is Nazi-looted artwork returned? (Read more from the Economist.)
Twelve Trends Defining This Season’s Art-Museum Shows
The 2014 season has begun. While popular shows of artists like Magritte, Hopper, and Carrie Mae Weems continue their travels, dozens of new exhibitions devoted to modern and contemporary art are opening across the country. The season starts with a bang at the Guggenheim, where Italian Futurism, 1909–1944 tells the fast-paced story of the brash Italian vanguard. Cubism is in the spotlight at the MFA Houston, the only US stop for a huge Braque survey. Meanwhile, the Baltimore Museum of Art showcases the revolutionary spirit of German Expressionism, MoMA unveils Gauguin’s rare prints and transfer drawings, and Matisse is at San Francisco’s Legion of Honor. (Read more from ARTnews.)
Recipients of the 2014 Awards for Distinction
posted by Christopher Howard — Jan 13, 2014
CAA has announced the recipients of the 2014 Awards for Distinction, which honor the outstanding achievements and accomplishments of individual artists, art historians, authors, conservators, curators, and critics whose efforts transcend their individual disciplines and contribute to the profession as a whole and to the world at large.
CAA will formally recognize the honorees at a special awards ceremony to be held during Convocation at the 102nd Annual Conference in Chicago, on Wednesday evening, February 12, 2014, 5:30–7:00 PM. Led by Anne Collins Goodyear, president of the CAA Board of Directors, the awards ceremony will take place in the Hilton Chicago’s Grand Ballroom. Convocation and the awards ceremony are free and open to the public. The Hilton Chicago is located at 720 South Michigan Avenue, Chicago, IL 60605.
The 2014 Annual Conference—presenting scholarly sessions, panel discussions, career-development workshops, art exhibitions, a Book and Trade Fair, and more—is the largest gathering of artists, scholars, students, and arts professionals in the United States.
Yvonne Rainer, Distinguished Artist Award for Lifetime Achievement
Yvonne Rainer has been instrumental in the movement to merge the visual arts with dance, performance, and filmmaking. As a founder of the Judson Dance Theater (1962) and of the improvisational group Grand Union (1970), Rainer choreographed major dance works for many decades. She has also produced films that have been hailed globally, and her videos have dissolved the barriers between art forms and revealed a new unified vision of the arts. The author of four books and recipient of prestigious fellowships, Rainer was a longtime professor at the University of California, Irvine, where her prodigious talent and innovation has greatly influenced numerous generations of creative people.
John Berger, Distinguished Lifetime Achievement Award for Writing on Art
Over a career spanning some sixty years, John Berger has considered the visual image from the point of view of a painter, an art critic, a filmmaker, a novelist, a poet, and a human being, with the act of writing as central and significant to his many endeavors. His interdisciplinary approach has allowed him to expand exposition and argument into a more episodic, often lyrical form of writing that juxtaposes imagery—both photographic and drawn—with language that is clear, rooted in acute observation, and personal and passionate. Throughout his career Berger has invested himself in the idea of looking, of seeing past convention and rhetoric, to find a truth that resonates both historically and in the present, and to find words that in their analytical and storytelling cogency refuse subservience to the power of images. Radical in his politics, he has always stressed that art and writing are about relationships, that in their workings they illuminate how we connect with one another and with the world.
Kay Rosen, Artist Award for Distinguished Body of Work
Kay Rosen uses words and letters to examine the ways in which language structures knowledge—particularly an awareness of self and place. She first gained prominence in the 1980s alongside more pointedly feminist artists such as Nancy Dwyer, Jenny Holzer, and Barbara Kruger, all of whom used language to address issues of gender and power. Rosen’s art, however, is less concerned with enlisting words as a tool for political messaging than with demonstrating what language can do on its own, through its structure and letters, which the artist thinks of as “body parts.” For Rosen, language can subvert verbal systems of power and offer alternative ways of reading and constructing meaning without being filtered through the intentional voice of the artist. In her work, as seen in her recent exhibition Kay Rosen at Contemporary Art Gallery in Vancouver, British Columbia (June 28–November 3, 2013), viewers encounter language as an object to be seen as well as a text to be read—at once, a page, a sign, an object, and a painting.
Margaretta M. Lovell and W. J. T. Mitchell, Distinguished Teaching of Art History Award
Margaretta M. Lovell is the Jay D. McEvoy Professor of the History of Art at the University of California, Berkeley, where she has worked since 1981. In addition to her great accomplishments as a scholar of American art, Lovell has taught and mentored generations of students who are full of praise for her extraordinary selflessness, generosity, and dedication. Her creativity and imagination as a teacher and scholar are well matched by her open-minded approach to intellectual and professional issues, free of the binding orthodoxies of theory and political cant, which is regarded as a most welcome breath of fresh air. Lovell deals with students and colleagues with a sense of humanity and idealism, but her approach to mentoring is guided equally by firm grasp of the realities that young people face when moving forward in the field, which she has addressed through myriad imaginative solutions, including an innovative pedagogy seminar that has become her trademark.
W. J. T. Mitchell is not only a distinguished voice in contemporary discourse on the history and theory of art, but he is also a beloved teacher at the University of Chicago, where he is Gaylord Donnelley Distinguished Service Professor of English and Art History. His students praise him for the openness of intellectual inquiry that he nurtures both in and outside the classroom. Many speak of the lasting impact that a simple teaching device of his had on them, called a “show and tell” (a short critical analysis of a manmade object from our daily life), in which the forms of critical thinking come alive as exploratory and experimental process. Mitchell’s classes transcend disciplinary singularity, shining forth with an ecumenical approach to learning that makes the study of images accessible to students in many fields. Unpretentious and deeply humane, Mitchell has carried forward his genuine and inspirational spirit of inquiry and love of knowledge to his students across the spectrum of art history and visual culture.
Reni Gower, Distinguished Teaching of Art Award
Reni Gower is a professor of art at Virginia Commonwealth University in Richmond, where she has taught since 1981. Her dedicated instruction in painting includes complex material processes and innovative approaches and safe practices with encaustic that are widely disseminated through her instructional website and videos. Gower has also been a sought-after leader and national authority in professional practices; her Senior Seminar course has been widely modeled at other institutions. In addition, Gower has maintained a rich art career and developed an extensive body of work with an exemplary exhibition record of sustained quality. Her students and colleagues speak highly and enthusiastically of her influence in the classroom, where she challenges her students to push beyond familiar solutions and be open to experimenting with new technologies and formats.
Lorraine O’Grady, Distinguished Feminist Award
CAA recognizes Lorraine O’Grady for her considerable and important service to the feminist art community, especially in her determined efforts to underscore discrimination and bias through her performance art, photo-based work, writing, teaching, and activism. O’Grady has worked to expand the political content of art, persistently returning to a complicated place that she describes as “where the personal intersects with the historic and cultural.” As part of a small group of women of color in the Women’s Action Coalition, she has used this platform to accentuate the involvement of black women artists in contemporary culture and the perpetual disregard for their contributions. Essays such as “Olympia’s Maid: Reclaiming Black Female Subjectivity” (1992) demonstrate her powerful voice in robustly considering the disinterest in the black female. In the 1990s O’Grady turned to the visual investigations of miscegenation, and in the last decade her art has continued to challenge the marginalization of racially and socioeconomically hybridized artists.
Yukio Lippit, Charles Rufus Morey Book Award
In Painting of the Realm: The Kano House of Painters in 17th-Century Japan (Seattle: University of Washington Press, 2012), Yukio Lippit pursues three questions: What is the nature of artistic production before the advent of the category of art? What was the status of the artist as a social entity and discursive category prior to the transplantation of the European concept of the artist in the late nineteenth century? And what constitutes the “Japaneseness” of painting prior to the consolidation of the nation-state? Focusing on the Kano House of painters over the course of the seventeenth century, Lippit develops answers to these questions by eschewing more conventional methodological approaches and exploring instead a sequence of strategies employed by artists within the Kano House, or operating in tension with it, that helped to formalize a canon for painting conceived as a discrete field of practice with an identifiable national character.
Jeff L. Rosenheim, Alfred H. Barr Jr. Award
Jeff L. Rosenheim’s catalogue for the exhibition Photography and the American Civil War (New York: Metropolitan Museum of Art, 2013) is not only a major contribution to American art history, but also an equally important addition to Civil War studies and to the historiography of the United States in general. While Rosenheim clearly explains the technical aspects of photographic processes and convincingly addresses the formal and aesthetic contributions of photography to art history, he also tells a fascinating story about how photography developed as a viable art form in this country. Matching the breadth and quality of the magisterial exhibition, the catalogue masterfully chronicles the Civil War itself, seen, literally, through the eyes of the photographers and presented in the guise of the people who experienced it directly, including those who did not survive it.
Peter C. Sturman and Susan S. Tai, Alfred H. Barr Jr. Award for Smaller Museums, Libraries, Collections, and Exhibitions
Peter C. Sturman and Susan S. Tai’s exhibition catalogue The Artful Recluse: Painting, Poetry, and Politics in Seventeenth-Century China (Santa Barbara, CA: Santa Barbara Museum of Art; New York: Delmonico/Prestel, 2012) presents a probing study of how the painting, calligraphy, and poetry of the “artist recluse” intersected during the Ming-Qing Cataclysm. Entering the seemingly inaccessible physical and mental worlds of the mountain hermit and mist-covered huts of the recluse, The Artful Recluse dispels the notion that such material is inherently obscure and impenetrable to all but the learned scholar. Sturman, Tai, and other contributing authors step beyond well-worn notions of the timeless qualities of this figure in Chinese art and press deep into the tumultuous social, historic, and political context of the Ming-Qing era, revealing in particular the contradictions of artists who disengage from a world that they recognized was in rapid change while engaging it directly with their art and inviting others of a similar reclusive mindset to respond and engage.
Sascha Scott, Arthur Kingsley Porter Prize
Sascha Scott’s article “Awa Tsireh and the Art of Subtle Resistance,” published in the December 2013 issue of The Art Bulletin, ambitiously walks a fine line between the demands of scholarship and the ethics of exploitation. Using the example of Awa Tsireh’s work from the early twentieth century, Scott shows that Pueblo paintings promoted and displayed by Anglos as authentically Native American in fact withheld cultural knowledge, while also offering a new framework for the study of modern Pueblo paintings that restores agency to the artists who made them. In addition, the author elucidates the balance Awa Tsireh found between two philosophical systems of knowledge—an Anglo one that seeks to share knowledge versus a Native American one that aims to control it—and convincingly identifies the artistic methods of evasion, misdirection, coding, and masking as subtly resisting Anglo regimes.
T. J. Demos, Frank Jewett Mather Award
T. J. Demos’s The Migrant Image: The Art and Politics of Documentary during Global Crisis (Durham, NC: Duke University Press, 2013) eloquently analyzes contemporary art that engages the current political reality of continual humanitarian crises while maintaining an open-ended appeal to the imagination. Writing politically and polemically, he offers well-articulated studies of works by artists such as Ursula Biemann, Emily Jacir, Lamia Joreige, Steve McQueen, the Otolith Group, Ahlam Shibli, and Hito Steyerl that take us deep into a South African gold mine, Palestinian refugee camps, Guantanamo Bay, Beirut, Baghdad, Gujarat, and the Sahara, and along other political, economic, and artistic borders. Through a series of incisive readings Demos builds a compelling case for the significance of current artistic practices that employ nontraditional documentary strategies (for which he identifies appropriate precedents) to “construct imaginative possibilities that await potential realization … to mobilize energy that will help bring about reinvented possibilities.”
Glenn Wharton, CAA/Heritage Preservation Award for Distinction in Scholarship and Conservation
The work of Glenn Wharton, an outstanding archaeological conservator, a sensitive conservator of outdoor sculpture, and a leader in the conservation of contemporary art and time-based art, has brought about a major shift in the ethics and approaches to his discipline. After serving as editor of the journal Field Notes: Practical Guides for Archaeological Conservation and Site Preservation, he devoted almost three years of research for the conservation of the monumental painted brass statue of King Kamehameha I in Honolulu, conducting the treatment as a public event in which community input influenced technical decisions. The project became the subject of Wharton’s PhD dissertation and a well-received monograph, and his subsequent publications and lectures on the treatment of the Kamehameha monument have changed the way conservators preserve sensitive cultural objects. In 2006, he took up two positions: one as conservator for time-based art at the Museum of Modern Art in New York; and the second as a faculty member in New York University’s museum-studies program. In that same year he founded the International Network for the Conservation of Contemporary Art – North America and served as its executive director until 2010. Wharton’s career has been distinguished by unceasing growth and commitment to thoroughness, as demonstrated in his rigorous publications, in the dissemination of his work, and, perhaps most important, in his exceptional generosity and dedication to teaching.
Art Journal Award
Jeanne Dunning’s “Tom Thumb, the New Oedipus,” published in the Winter 2013 issue of Art Journal, creatively and cleverly melds aspects of narrative storytelling, visual research, and textual analysis to cast new light on the enduring value of psychoanalytic models through a close reading of the folk-tale character Tom Thumb. It does so with humor and clarity, and is at once a pleasure to read and a careful prod to the imagination. The pairing of the text with the veritable archive of Tom Thumb imagery supports and illustrates the artist’s thesis; it also encourages the reader to creatively speculate about the place and importance of the visual details within these images. In this, the piece provides an excellent model of the best artist projects imaginable for a print publication.
Morey and Barr Award Finalists
CAA recognizes the 2014 finalists for the Charles Rufus Morey Book Award and the Alfred H. Barr Jr. Award for their distinctive achievements:
Morey Finalists
- Jacqueline E. Jung, The Gothic Screen: Space, Sculpture, and Community in the Cathedrals of France and Germany, ca. 1200–1400 (New York: Cambridge University Press, 2013)
- Joan Kee, Contemporary Korean Art: Tansaekhwa and the Urgency of Method (Minneapolis: University of Minnesota Press, 2013)
- Cynthia Robinson, Imagining the Passion in a Multiconfessional Castile: The Virgin, Christ, Devotions, and Images in the Fourteenth and Fifteenth Centuries (University Park: Pennsylvania State University Press, 2013)
Barr Finalist
- Jean-Louis Cohen, Le Corbusier: An Atlas of Modern Landscapes (New York: Museum of Modern Art, 2013)
Barr Award for Smaller Museums, Libraries, Collections, and Exhibitions
- Colin G. Calloway, ed., Ledger Narratives: The Plains Indian Drawings of the Lansburgh Collection at Dartmouth College (Norman: University of Oklahoma Press, in cooperation with the Hood Museum of Art, Dartmouth College, 2012)
Contact
For more information on the 2014 Awards for Distinction, please contact Emmanuel Lemakis, CAA director of programs. Visit the Awards section of the CAA website to read about past recipients.
Affiliated Society News for January 2014
posted by CAA — Jan 09, 2014
American Institute for Conservation of Historic and Artistic Works
The American Institute for Conservation of Historic and Artistic Works (AIC) has recently published Ethics and Critical Thinking in Conservation, a collection of essays that brings into focus a moment in the evolution of the complex decision-making processes required when conservators consider the treatment of cultural-heritage materials. The papers presented are drawn from two consecutive years of presentations during general sessions at the AIC annual meeting. These were “Ethos Logos Pathos: Ethical Principles and Critical Thinking in Conservation” (2011) and “The Conservation Continuum: Examining the Past, Envisioning the Future” (2010). The book is available in two formats: a full-color hardcover for $30 and a black-and-white paperback for $15. The hardcover features nearly fifty full-color figures and illustrations throughout the text. Copies can be ordered at www.conservation-us.org/shop.
Art Historians of Southern California
The Art Historians of Southern California (AHSC) will host a roundtable on “The Coalition of the Art Association: California Public Education and the Promise of the Humanities,” chaired by Jane Chin Davidson of California State University, San Bernardino, at CAA’s Annual Conference in Chicago. The event will take place on Thursday, February 13, 2014, 12:30–2:00 PM in Boulevard C, 2nd Floor, Hilton Chicago. The discussion will include professors of art history, visual studies, and the humanities who have represented the California system—California Community Colleges, the California State Universities (CSUs), and the Universities of California (UCs)—such as Amelia Jones, Catherine Cole, Jennifer Doyle, Jennifer Gonzalez, and Sandra Esslinger. This roundtable will address issues of legislation, labor, and class within the academy while finding ways to acknowledge the value of the humanities in university education. Through their membership in CAA, visual art and humanities professors have long been the organizing principle of our potential solidarity. The perpetual decline of art history and visual studies has recently led to public scrutiny of CAA’s centralized leadership (see “An Open Letter to Victoria H. F. Scott Regarding the CAA,” February 8, 2013). In light of the continuing need for political advocacy, the leadership of CAA could provide a means for organizing coalition and for affecting the status of the humanities by bringing greater representation and awareness to both academic and public spheres.
Art Libraries Society of North America
The Art Libraries Society of North America (ARLIS/NA) is pleased to announce the election of new executive board members: Kristen Regina of the Hillwood Estate, Museum, and Gardens is vice president and president elect; Mark Pompelia of the Rhode Island School of Design is treasurer; Sylvia Roberts of Simon Fraser University in Canadian member-at-large; and Holly Hatheway of Yale University is communications and publications liaison.
ARLIS/NA recently created the post of Multimedia and Technology Reviews. The first reviews will be posted on the ARLIS website in early 2014.
Save the date for the ARLIS/NA 2014 annual conference, which will be held May 1–5, 2014, in Washington, DC. For more information, please visit the conference website.
Community College Professors of Arts and Art History
The Community College Professors of Arts and Art History (CCPAAH) will hold two events at this year’s CAA Annual Conference: a business meeting on Friday, February 14, from 7:30 to 9:00 AM in the Williford C Room on the 3rd Floor of the Hilton Chicago; and the session “Starting the Conversation: Engaging Students in the Studio and Art History” at 12:30 PM in the same space. Interested in participating or any questions? Contact Susan Altman.
Historians of Islamic Art Association
The Historians of Islamic Art Association (HIAA) is pleased to announce the election of two new members to its executive board. Sussan Babaie has been elected president-elect, and Abigail Balbale is secretary. Each will serve a three-year term beginning in January 2014; both will be officially welcomed to the board at its 2014 members and business meeting on February 14, 2014, in conjunction with the CAA Annual Conference in Chicago. At that time, Sheila Canby will succeed Marianna Shreve Simpson as president. Preparations also continue for HIAA’s fourth biennial symposium, which will be hosted by the new Aga Khan Museum in Toronto, Ontario, in October 2014.
Historians of Netherlandish Art
The Historians of Netherlandish Art (HNA) will hold its quadrennial conference in Boston, Massachusetts, from June 5 to 7, 2014, in cooperation with the American Association for Netherlandic Studies. Please refer to the HNA website for further information. Additionally, HNA is pleased to announce the publication of the Summer 2013 issue of the open-access, refereed ejournal Journal of Historians of Netherlandish Art (JHNA). This special issue of the journal is dedicated to Egbert Haverkamp-Begemann. In addition to excerpts from an interview with Begemann discussing his life as a scholar, curator, and teacher, the issue includes essays by his former students. The next formal deadline for submissions to JHNA is March 1, 2014; please send correspondence to the editor in chief, Alison Kettering.
International Sculpture Center
Each year the International Sculpture Center (ISC) presents an award competition to its member colleges and universities as a means of supporting, encouraging, and recognizing the work of young sculptors and their supporting schools’ faculty and art program. The Student Award winners participate in an exhibition at Grounds for Sculpture, as well as a traveling exhibition hosted by arts organizations across the country. Winners’ work is also featured in Sculpture magazine. Each winner receives a one-year ISC membership; all winners are eligible to apply for a fully sponsored residency to study in Switzerland. To nominate students for this competition, the nominees’ university must first be an ISC university-level member. University membership costs $200 for universities in the United States, Canada, and Mexico ($220 for international universities) and includes a number of benefits. Students who are interested should talk to their professors about getting involved. To find out more about the program, please visit www.sculpture.org/StudentAwards/2014 or email studentawards@sculpture.org. Nominations open: January 1, 2014; University membership registration: March 17, 2014; online student nomination form: March 24, 2014; online student submission form: April 14, 2014.
Italian Art Society
The Italian Art Society (IAS) invites members attending the CAA Annual Conference in Chicago to its first session “Periodization Anxiety in Italian Art: Renaissance, Baroque, or Early Modern” at 9:30 AM on February 13, 2014; IAS’s business meeting at 7:30 AM on February 14; and its second session “‘Futuro Anteriore’: Cultural Self-Appropriation as Catalyst in the Art of Italy” at 12:30 PM on February 14.
The society’s website details the five IAS sessions at the Renaissance Society of America meeting (New York, March 27–29, 2014) and includes a call for submissions to IAS-sponsored sessions at the Sixteenth Century Society and Conference (New Orleans, October 2014; deadline to IAS: March 1, 2014).
Launched in July 2013, the IAS-initiated IASblog offers news and notes on Italian art and architecture as a complement to its main website. IASblog, edited by the IAS webmaster, Anne Leader, now has over nine hundred followers and two thousand unique visitors. IASblog welcomes submissions from members via the Submit button or by email.
National Art Education Association
Register now for the national convention of the National Art Education Association (NAEA), taking place March 29–31, 2014, in San Diego, California. We are visual arts educators. We are artists. We are creative leaders. Lead your professional learning experience at the 2014 NAEA national convention. Choose from more than one thousand sessions, workshops, tours, and events. Fuse creative thinking with art knowledge, skills, emerging technology, and new research to create powerful opportunities for your classroom, career, and beyond. Connect with thousands of colleagues from around the globe for the largest gathering of visual arts education in the world. Join a professional learning community and spend four art-filled days in Washington, DC, exploring permanent collections, current exhibitions, and the museum itself as a work of art.
NAEA SummerVision DC, now in its fifth year, is an annual NAEA event that partners with Washington, DC–area art museums to showcase best practices in critical response to art while enhancing creativity through visual journaling and by using a balanced, interdisciplinary “Form + Theme + Context (FTC) Palette for Museums and Works of Art” to enhance visual learning. Participating museums include the National Gallery of Art and Sculpture Garden, the Freer Gallery of Art and Arthur M. Sackler Gallery, the National Museum of African Art, the National Museum of Women in the Arts, the Phillips Collection, the National Building Museum, the Corcoran Gallery of Art, the Smithsonian American Art Museum, and the National Portrait Gallery. Registration is limited to twenty-five participants per session. Choose from two sessions: July 8–11 or July 22–25, 2014.
New NAEA publications include Michelle Kraft and Karen Keifer-Boyd’s Including Difference: A Communitarian Approach to Art Education in the Least Restrictive Environment(no. 322); and The Learner-Directed Classroom: Developing Creative Thinking Skills through Art (no. 326), edited by Diane B. Jaquith and Nan E. Hathaway.
National Council of Arts Administrators
The National Council of Arts Administrators (NCAA), a community of current and future arts administrators in higher education, announces two events for CAA’s 2014 Annual Conference in Chicago: NCAA MIXER—You’re all invited, administrators or not, grab a friend and bring ‘em along; Thursday, February 13, 5:00–8:00 PM, Hilton Chicago (room TBA); and the session “Hot Problems/Cool Solutions in Arts Leadership,” which is a fast-paced series of five-minute presentations on leadership occurring on Friday, February 14, 5:30–7:00 PM in Williford C, 3rd Floor, Hilton Chicago. NCAA members hope to see you at both events in which attendees will share conviviality and ideas.
Public Art Dialogue
Jack Becker, the 2014 recipient of Public Art Dialogue’s annual award, will make a presentation at the CAA Annual Conference in Chicago on Friday, February 14, 5:30–7:00 PM. A conference on “Monument/Anti-Monument” will be held in St. Louis in April. Stay tuned for details. There have been several changes in PAD personnel. Sarah Schrank has stepped down as cochair, and Kelly Pajek will complete her term. Sierra Rooney is now both PAD secretary and treasurer. The Fall 2013 issue of Public Art Dialogue, edited by Eli Robb, considers “Perspectives on Relational Art.” Six articles explore practices based on human interactions: Caroline Peters and Ben Bloch, “To the Quick with Paul Crik: The World’s First E-Motivator Kills It with Public Art Dialogue; Cara Jordan, “The Evolution of Social Sculpture in the United States: Joseph Beuys and the Work of Suzanne Lacy and Rick Lowe”; John Tain, “Peace Tower as Commonplace: Relational Aesthetics’ Lieux de mémoire”; Lauren Rotenberg, “The Prospects of “Freed” Time: Pierre Huyghe and L’Association des Temps Libérés”; Gediminas Gasparavičius, “How the East Saw East in 1992: NSK Embassy Moscow and Relationality in Eastern Europe”; and Dee Hibbert-Jones, “A New Band-Aid for Social Ailments? Raising Questions on Social Practice and Social Responsibilities.”
Society for Photographic Education
Registration is open for the fifty-first annual national conference of the Society for Photographic Education (SPE), titled “Collaborative Exchanges: Photography in Dialogue.” In an age of interconnectedness, photographers are no longer solitary practitioners peering at the world through the singular eye of the viewfinder. Rather, photography is positioned at the heart of the discourse on contemporary art, establishing relationships with a broad array of ideas and media. This conference illuminates this new paradigm and celebrates the spirit of cooperation and social linkages. Join 1,600 artists, educators, and photographic professionals from March 6 to 9, 2014, for programming and dialogue in Baltimore, Maryland, that will fuel your creativity. The event will be a celebration of the power of community and social exchange to propel new thinking in photographic practice. Explore SPE’s exhibits fair showing the latest equipment, processes, publications, and schools with photo-related programs. Participate in one-on-one portfolio critiques and informal portfolio sharing and take advantage of student volunteer opportunities for reduced admission. Other conference highlights include a print raffle, silent auction, photo scavenger hunt, film screenings, exhibitions, tours, receptions, a dance party and more! Keynote Speakers: Joan Fontcuberta, Nicholas Kahn and Richard Selesnick, Taryn Simon, and Catherine Lord. Preview the conference schedule and register online.
Society of Historians of East European, Eurasian, and Russian Art and Architecture
The Society of Historians of East European, Eurasian, and Russian Art and Architecture (SHERA) will sponsor a session at the 2014 CAA annual conference in Chicago titled “Decentering Art of the Former East,” chaired by Kristen Romberg and Masha Chlenova. SHERA will also hold a business meeting that is open to both current and prospective members. In addition, the organization is pleased to welcome CAA International Travel Grant recipients from Eastern Europe and Russia to its events at the conference. Please visit the News section of the SHERA website for details as the conference approaches.
The annual conference of the Association of Slavic, East European, and Eurasian Studies (ASEEES), held in Boston, Massachusetts, in November 2013, showed a surge in activity from SHERA members, who presented their work on fourteen panels and in roundtable discussions ranging from the imperial era to the present day. The SHERA business meeting attracted over forty people, including many new members. Ballot proposals for electronic voting in January 2014 would amend SHERA’s bylaws to include the listserv administrator on the list of officers and would also replace the position of webmaster with a web news editor. Balloting will also elect a new slate of members-at-large. SHERA members will receive voting information by email in early January.
News from the Art and Academic Worlds
posted by Christopher Howard — Jan 08, 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.
Conventional Wisdom
Thousands of literature scholars will emerge from their research cocoons, don their finest black duds, and descend upon Chicago for this year’s convention of the Modern Language Association. They’ll all be there: muckety-mucks whose rings ache for kissing; frazzled early-career professors angling for tenure; and, of course, hordes of desperate graduate students and barely employed PhDs, hoping to break into what everyone actually calls “the profession.” (Read more from Slate.)
How the Humanities Compute in the Classroom
Computer-assisted scholarship in the humanities dates back decades. In the past five years, though, the kinds of work collectively known as the digital humanities have taken on fresh luster. Observers have called this technology-inflected research “the next big thing.” Beyond the headlines and hoopla, digital scholarship has begun to work its way into the academic ecosystem. In the following collection of articles, read more about how the digital humanities play now in the undergraduate classroom, whether they pay off in tenure and promotion, and what it takes to create a work of digital scholarship that will last. (Read more from the Chronicle of Higher Education.)
Garage Sale Renoir Painting Sparks Legal Battle with Museum
A one-of-a-kind Renoir painting the size of a napkin is at the center of an intense legal battle between a museum that claims it was stolen and a Virginia woman who claims she bought it for $7. The tiny work of art is an 1879 landscape by the Impressionist painter titled Paysage Bords de Seine. In court papers filed this week, the Baltimore Museum of Art claims the painting was stolen in 1951. As evidence, the museum provided a sixty-year-old police report, old museum catalogues, and a receipt showing that a patron bequeathed the painting to the museum. (Read more from ABC News.)
Conserving Priceless Chinese Paintings Is an Art All Its Own
Outside China and Taiwan, American museums hold the world’s best collection of Chinese paintings. It’s worth billions of dollars, but it’s also fragile: over time, these paintings fall apart. In the US, only four master conservators know how to take care of them, and they’re all approaching retirement. The Freer and Sackler Galleries—one of the huge, stone Smithsonian buildings on the National Mall in Washington, DC—employ one of those masters. (Read more from National Public Radio.)
Technology in Museums: Less Is More!
The experience of going to a museum often feels a little engineered. A heavy curatorial hand leads you through an exhibition, making it hard to resist reading the panels of information contextualizing and explaining the art or artifacts on display rather than come to your own appreciation of them. Audio guides offer to fill in gaps in your knowledge and give you expert insights. Sometimes glistening screens nearby beckon you to see more. (Read more from Spiked.)
Let’s Change the World for Art Students in 2014
Funding cuts and a move to banish art lessons from schools made 2013 a sad year for creative education. But art students and their staff are regrouping for a fight they believe is there to be won. The number of students applying to study creative arts in British universities is on the decline. According to the latest available data from UCAS, the number of applications fell 17 percent from 2011 to 2012. (Read more from the Guardian.)
Mock, Phone, Video Interviews
Participating in a mock interview my first time on the job market was the most embarrassing moment of my academic career. I dressed in as close to a suit as I owned at the time and walked into the large classroom we had scheduled, where the seven faculty members sat in a semicircle. They were all specialists in their fields, so their questions probed my ability to be conversant in each field, whereas my specialty was about combining the fields. Yet I wasn’t able to articulate how or why I did that. Realizing that I really couldn’t answer their questions was incredibly humbling. (Read more from Inside Higher Ed.)
Ten Tips for Tweeting at Conferences
Tweeting at conferences is a great way to share what you’re learning in a session with your followers and the wider world. It’s also a great way to be in two places at once, as you can read tweets from other sessions that you weren’t able to attend. You can read those tweets as they come in or—if you’d rather not fracture your attention—read them after the fact using a Twitter search. (Read more from ProfHacker.)
News from the Art and Academic Worlds
posted by Christopher Howard — Dec 25, 2013
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.
The World’s Most Famous Missing Painting
Vincenzo Peruggia was not the kind of criminal mastermind that makes up the majority of art thieves in Hollywood films. He was not a genius cat burglar. He managed to walk into the Louvre in Paris and walk out with the Leonardo painting after minimal preparation. But his theft created a sensation. (Read more from BBC News.)
Understanding Wood Supports for Art: A Brief History
Historically, wood panels were used for paintings long before the adoption of flexible fabric supports. Most of the earliest icons still intact from the second and third century as well as a large portion of the Renaissance paintings were created on solid wood panels. Many of Raphael’s paintings, for example, are painted on primed wood panels. The method for preparing the panels was laborious as the solid wood was first dried well and sanded very smooth. It was then covered with layers of ground made by mixing gypsum (pounded into powder) with hide glue made from animal skins. The panel was then sanded and burnished until it was smooth and ready for painting. (Read more from Just Paint.)
Academic Freedom and Electronic Communications
This report brings up to date and expands upon the association’s 2004 report, Academic Freedom and Electronic Communications. It reaffirms that report’s overriding principle: “Academic freedom, free inquiry, and freedom of expression within the academic community may be limited to no greater extent in electronic format than they are in print, save for the most unusual situation where the very nature of the medium itself might warrant unusual restrictions.” (Read more from the American Association of University Professors.)
The British Library Puts One Million Images into the Public Domain, Making Them Free to Reuse and Remix
Earlier this week, Oxford’s Bodleian Library announced that it had digitized a 550-year old copy of the Gutenberg Bible along with a number of other ancient bibles, some of them quite beautiful. Not to be outdone, the British Library came out with its own announcement on Thursday: “We have released over a million images onto Flickr Commons for anyone to use, remix and repurpose. These images were taken from the pages of 17th, 18th and 19th century books digitised by Microsoft who then generously gifted the scanned images to us, allowing us to release them back into the Public Domain.” (Read more from Open Culture.)
Fakers, Fakes, and Fake Fakers
Many years ago, I interviewed a forger named David Stein. He had been arrested for faking hundreds of drawings, gouaches, and watercolors by Matisse, Chagall, Picasso, Cézanne, Degas, Miró, and many others. One day, while he was out on bail, I asked him how an art forger creates works by well-known artists whose styles are so different. “The first thing you have to do is know intimately the artist you are imitating, not only to know him but also to like him, to love his art,” Stein said. (Read more from ARTnews.)
Job Placement Confusion
With tuition prices continuing to rise and greater numbers of graduates struggling in the job market, families, students and policy makers—most visibly President Obama—are increasingly questioning the “value” that colleges are providing. In response to that mounting pressure, more colleges and universities are turning to alumni outcome surveys. (Read more from Inside Higher Ed.)
How to Score That Elusive Spousal Hire
The spousal/couple/dual-career search is, hands down, the most stressful kind of academic job search there is. And I know this viscerally, because I had an ex-husband with a PhD—in a different humanities field, but still—and can still remember the sick feeling in my stomach, the cold sweats late at night, the gut-wrenching anxiety as I contemplated just how in god’s name we were going to get both of us gainfully employed on the tenure track. (Read more from Vitae.)
Need for Leaders at DC Arts Institutions Could Be a Golden Opportunity or a Squandered One
The Kennedy Center recently announced that Deborah Rutter of the Chicago Symphony Orchestra Association will become its new president, but many high-profile Washington cultural and arts institutions are still searching for new leaders to fill their top posts. The Smithsonian Institution announced in October that its secretary, Wayne Clough, would be stepping down next year, and Richard Koshalek, the former director of the Hirshhorn Museum and Sculpture Garden, resigned in May after the demise of his seasonal inflatable structure project. (Read more from the Washington Post.)
LACMA Resurrects Art and Technology Program, Teams with Google
More than forty-five years ago, the Los Angeles County Museum of Art created an experimental program to bring artists and technology companies together in the hopes of inspiring innovative thinking in the visual arts. Earlier this month museum announced that it is resurrecting the program in the form of a laboratory and has partnered with companies including Google and SpaceX. (Read more from the Los Angeles Times.)
News from the Art and Academic Worlds
posted by Christopher Howard — Dec 18, 2013
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.
Delusions in Detroit
Since last spring, when Detroit’s emergency manager, Kevyn Orr, said that he might have to sell art from the city-owned collection of the Detroit Institute of Arts to help pay off the city’s $18 billion in debt, the museum has been operating in a state of unreality. Less than a year after voters in three nearby counties approved a property tax to fund the DIA for ten years, the museum’s survival was again endangered. (Read more from the Wall Street Journal.)
DIA Joins Deal in Works with Mediators That Would Protect Art and Pensions
A potential grand bargain that could shield the Detroit Institute of Arts from the reach of creditors in the city’s bankruptcy while bolstering at-risk city pensions took a key step forward. The museum embraced publicly, for the first time, the broad outline of a federally mediated deal that would protect its art from sale and spin off the museum from city ownership into an independent nonprofit. The deal would raise roughly $500 million from a consortium of national and local charitable foundations and funnel the money into retiree pensions on behalf of the value of DIA’s art. (Read more from the Detroit Free Press.)
JSTOR’s Hidden Power
Training students to be attentive and discriminating in their use of sources is difficult and time consuming. It is enormously tempting to say “just use Project Muse and JSTOR articles” and be done with it. (Read more from the Atlantic.)
Rays of Light and Menacing Shadows
It’s hard to say whether 2013 was a lucky or unlucky year for the art world, but it was definitely packed with exhibitions and events that inspired or dismayed, sometimes in related clusters. The Metropolitan Museum of Art mostly shone this year, especially with the unveiling of its enlarged and rearranged European Painting Galleries, which start to give this splendid collection the space it deserves. (Read more from the New York Times.)
Michelangelo Was in a Class of His Own
Lorenzo de’ Medici, ruler of the Florentine Republic, was so taken by a statue carved by an adolescent that he proposed to make the sculptor a member of his household. The boy’s father was not impressed. He told Lorenzo that his family would be demeaned if his son were to become a stonemason. But the youth believed that he had been born to carve stone, and so the father relented. (Read more from the Economist.)
Taking a Magnifying Glass to the Brown Faces in Medieval Art
This Tumblr sounds a bit like a college course: People of Color in European Art History. And its goal is pretty ambitious. The blog’s author, Malisha Dewalt, says that she wants to challenge the common perception that pre-Enlightenment Europe was all white, which she argues is a much more recent and deliberate invention. Her blog, she writes, “is here to emphasize the modern racism that retroactively erases gigantic swaths of truth and beauty.” (Read more from National Public Radio.)
Artist-Run Art Schools
Artists may be among the greatest individualists in any society, but some contemporary practitioners, anxious about the future of the culture, are piloting projects that aim to educate and sustain their younger peers. Chris Ofili, one of Britain’s top contemporary painters, puts the problem succinctly: if he had been born twenty years later, he says he might never have become an artist. (Read more from the Financial Times.)
How Museums Name Their Shows
Got a show to curate? Need a title for your exhibition? You might use Rebecca Uchill’s Random Exhibition Title Generator, which will give you such plausible-sounding banners as Breaking Dissent: A Remix of the Local and After Illusion: The Video Art of Urban Experience. Uchill, a former independent curator who is now a PhD candidate in architecture at MIT, cooked up the idea and worked with a programmer friend to launch the site in 2010, plugging in words and syntax that seemed to recur in her experiences with museum and gallery titles. (Read more from ARTnews.)
Jessica Stockholder Is CAA’s Convocation Speaker
posted by Christopher Howard — Dec 17, 2013
The artist Jessica Stockholder will deliver the keynote address during Convocation at the 2014 Annual Conference in Chicago. The event will take place on Wednesday evening, February 12 from 5:30 to 7:00 PM in Hilton Chicago’s Grand Ballroom.
Free and open to the public, Convocation will also include the presentation of CAA’s 2014 Awards for Distinction, overseen by Anne Collins Goodyear, codirector of the Bowdoin College Museum of Art and president of the CAA Board of Directors.
An internationally exhibiting artist whose work has transformed the traditional conception of sculpture, Stockholder creates genre-defying multimedia installation pieces composed of commercially produced objects and referencing the bold, vibrant colors of painting. She is also an educator who spent twelve years at Yale University’s School of Art in New Haven, Connecticut, most recently as director of graduate studies in sculpture. Stockholder joined the University of Chicago in 2011 as professor in the Department of Visual Arts, which she also leads as chair. Stockholder said the university’s lively intellectual atmosphere, as well as the building of the Reva and David Logan Center for the Arts, were key factors in her decision to join the faculty.
Stockholder works at the intersection of painting and sculpture, often incorporating the architecture in which her work has been conceived, blanketing the floor, scaling walls and ceiling, and spilling out of windows, through doors, and into the surrounding landscape. Her work is energetic, cacophonous, idiosyncratic, and formal—tempering chaos with control. She orchestrates an intersection of pictorial and physical experience, probing how meaning derives from physicality. Best known for her temporary site-specific installations, Stockholder has created work that has been discussed in relationship to the works of Robert Rauschenberg, Kurt Schwitters, Henri Matisse, and Paul Cézanne, as well as artists of the Cubist and Minimalist traditions.
Stockholder’s work has been shown in top museums, including the Dia Art Foundation, the Whitney Museum of American Art, the Aldrich Contemporary Art Museum, and the Weatherspoon Art Museum in the United States, and the Centre Georges Pompidou and the Museo Nacional Centro de Arte Reina Sofía in Europe. She has also participated in numerous important group exhibitions, such as SITE Santa Fe, the Whitney Biennial, and the Venice Biennale. The Renaissance Society at the University of Chicago exhibited her installation Skin Toned Garden Mapping in 1991. In North America, Stockholder is represented by Mitchell-Innes & Nash in New York, 1301PE Gallery in Los Angeles, California, and Barbara Edwards Contemporary in Toronto, Ontario, and Calgary, Alberta. Barbara Edwards is currently showing new sculpture and work on paper in the Calgary gallery, on view through February 1, 2014.
Stockholder studied art at the University of Victoria in British Columbia in 1982 and earned an MFA from Yale University in 1985. Both Emily Carr College of Art and Columbia College Chicago have awarded her honorary doctorate degrees, in 2010 and 2013 respectively. In 2007, she received the Lucelia Artist Award from the Smithsonian American Art Museum. Before that Stockholder won a National Endowment for the Arts grant for sculpture in 1988 and a John Simon Guggenheim Fellowship in 1996.
Watch
People in the News
posted by CAA — Dec 17, 2013
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.
December 2013
Academe
Anna Collette has been appointed assistant professor in photography by the Department of Art and Art History in the College of Fine Arts at the University of Texas at Austin.
Luba Freedman, a specialist of Italian Renaissance art and professor in history of art at the Hebrew University of Jerusalem in Israel, has been named Jack Cotton Professor in Architecture and Fine Arts at her school.
Carma Gorman has joined the Department of Art and Art History in the College of Fine Arts at the University of Texas at Austin as associate professor in design.
LaToya M. Hobbs has been appointed to teach foundations at Maryland Institute College of Art in Baltimore.
Museums and Galleries
Cathleen Chaffee, assistant curator of modern and contemporary art at the Yale University Art Gallery in New Haven, Connecticut, has joined the Albright-Knox Art Gallery in Buffalo, New York, as curator.
Amy Galpin, an associate curator for the San Diego Museum of Art in California, has become the new curator for the Cornell Fine Arts Museum at Rollins College in Winter Park, Florida.
Mazie McKenna Harris, a doctoral candidate in the history of photography at Brown University in Providence, Rhode Island, has been named Linda Wyatt Gruber ’66 Curatorial Fellow in Photography by the Davis Museum at Wellesley College in Wellesley, Massachusetts.
Ronda Kasl, formerly senior curator of painting and sculpture before 1800 at the Indianapolis Museum of Art in Indiana, has become a curator of colonial Latin American art at the Metropolitan Museum of Art in New York.
Karl Kusserow, curator of American art at the Princeton University Art Museum in Princeton, New Jersey, has been named the inaugural John Wilmerding Curator of American Art at his institution.
Michael W. Maizels, most recently a research assistant and predoctoral fellow at the Smithsonian Institution’s National Portrait Gallery in Washington, DC, has been appointed Mellon New Media Curator and Lecturer by the Davis Museum at Wellesley College in Wellesley, Massachusetts.
Joanne Pillsbury, an associate director of the Getty Research Institute, has been named Andrall E. Pearson Curator in the Department of the Arts of Africa, Oceania, and the Americas at the Metropolitan Museum of Art in New York.
Kelly Taxter, a cofounder of Taxter and Spengeman Gallery in New York and a curatorial consultant for the Aldrich Contemporary Art Museum in Ridgefield, Connecticut, has joined the Jewish Museum in New York as assistant curator.
Mary M. Tinti, formerly a curatorial fellow for the deCordova Sculpture Park and Museum in Lincoln, Massachusetts, has been appointed associate curator of the Fitchburg Art Museum in Fitchburg, Massachusetts.