CAA News Today
Institutional News
posted by CAA — Feb 17, 2012
Read about the latest news from institutional members.
Institutional News is published every two months: in February, April, June, August, October, and December. To learn more about submitting a listing, please follow the instructions on the main Member News page.
February 2012
Website of the School of Art and Design at Alfred UniversityAlfred University in Alfred, New York, has been awarded a $15,000 grant from the National Endowment for the Arts in support of the Institute for Electronic Arts’ Experimental Projects Residency. The School of Art and Design in the New York State College of Ceramics will use the grant to fully fund eight artists chosen for one- to two-week residencies.
Website of the American Academy in RomeThe American Academy in Rome in Italy has received a $50,000 grant from the National Endowment for the Arts to help fund its yearlong residency program for American artists.
Website of Anderson Ranch Art CenterThe Anderson Ranch Art Center in Snowmass Village, Colorado, has accepted a $10,000 grant from the National Endowment for the Arts for its residency program for emerging and established artists.
The Bard Graduate Center: Decorative Arts, Design History, Material Culture in New York has been awarded a 2011 Hurricane Recovery Grant in support of American Christmas Cards 1900–1960, an exhibition that was held September 21–December 31, 2011. The $3,000 grant came from the New York Council for the Humanities and is intended to aid cultural institutions affected in the wake of Hurricane Irene and Tropical Storm Lee.
California Institute of the Arts in Valencia has been awarded a $70,000 grant from the National Endowment for the Arts in aid of the CalArts Community Partnership Summer Arts Program, a three-week initiative for high school students to learn from professional artists and to participate in a choice of five workshops: visual art, dance, music, film/video, and writing.
Frederic S. Remington, A Dash for the Timber, 1889, oil on canvas, 48¼ x 84⅛ in. Amon Carter Museum, Fort Worth, Texas (artwork in the public domain)The Amon Carter Museum of American Art in Fort Worth, Texas, has been awarded a grant of $68,000 from the National Endowment for the Arts. The museum will apply the funds to Color!, an exhibition of fine-art color photography and its accompanying catalogue.
The Cooper Union for the Advancement of Science and Art in New York has received a National Endowment for the Arts grant of $15,000. The school will use the funds for Ruptures, an exhibition of commissioned artworks that address public space, the role of the artist, and social justice. Featured artists will include Sharon Hayes, Rirkrit Tiravanija, and Nancy Davenport.
DePaul University in Chicago, Illinois, has earned a $39,000 grant from the National Endowment for the Arts to help support the DePaul Art Museum’s exhibition War Baby/Love Child: Mixed Race Asian American Art, scheduled for spring 2013.
Electronic Arts Intermix in New York has been awarded a $45,000 grant from the National Endowment for the Arts for its Artists’ Media Distribution Service, a program founded in 1973 that offers an archive and lending library of more than 3,500 titles of video and media art.
The Getty Research Institute in Los Angeles, California, has acquired an important Man Ray archive. Among the highlights of the collection, which includes photographs, ephemera, and correspondences with other artists, are agendas the artist kept that document twenty-seven years of his career.
Édouard Manet, Before the Mirror (Devant la glace), 1876, oil on canvas, 92.1 x 71.4 cm. Solomon R. Guggenheim Museum, New York. Thannhauser Collection (artwork in the public domain)The Solomon R. Guggenheim Museum in New York has been awarded $30,000 from the National Endowment for the Arts for stillspotting nyc, a two-year multidisciplinary collaboration with the New York City Department of Transportation and the Graduate School of Architecture, Planning, and Preservation at Columbia University.
The Mildred Lane Kemper Art Museum, part of Washington University in Saint Louis, Missouri, has earned a $34,000 grant from the National Endowment for the Arts for an upcoming exhibition, Georges Braque and the Cubist Still Life 1928–1944, which will feature more than forty paintings and be accompanied by a catalogue.
Maryland Institute College of Art in Baltimore has received a $25,000 grant from the National Endowment for the Arts. The grant will support the school’s Ceramic and New Technology Research Initiative, a three-week residency program that explores connections between ceramics and digital technology. The college has also launched a new online publication, Community Arts Journal, which describes the school’s relationship to the arts and activism communities in Baltimore and beyond.
Alfred Boisseau, Louisiana Indians Walking along a Bayou, 1847, oil on canvas, 28⅜ x 44½ x 2 in. New Orleans Museum of Art, Louisiana (artwork in the public domain)The New Orleans Museum of Art in Louisiana has been awarded a National Endowment for the Arts grant of $20,000 in support of Inspired by New Orleans, a project comprising artist lectures, an original sound piece by Dario Robleto, and a Mississippi-based project designed by the architects David Adjaye and Michael Maltzan.
Cover of a catalogue for the American Water Color SocietyThe New York Art Resource Consortium has completed a new digital collection, made in partnership with the Frick Art Reference Library, the Brooklyn Museum Libraries and Archives, and the Museum of Modern Art Library. The collection, called Documenting the Gilded Age: New York City Exhibitions at the Turn of the 20th Century, features materials from the city’s art galleries, associations, and clubs and is available to researchers as full-text digital facsimiles.
The Pennsylvania Academy of the Fine Arts in Philadelphia has been awarded a $34,000 grant from the National Endowment for the Arts to help produce a museum exhibition, Peter Blume: Nature and Metamorphosis, which will present paintings, drawings, sketchbooks, and archival material.
Vincent van Gogh, Sunflowers, 1887, oil on canvas, 17 x 24 in. Metropolitan Museum of Art, New York (artwork in the public domain)The Philadelphia Museum of Art in Pennsylvania has earned a $61,000 grant from the National Endowment for the Arts in support of the exhibition Van Gogh Up Close, on view February 1–May 6, 2012.
The Picker Art Gallery and the Clifford Art Gallery at Colgate University in Hamilton, New York, have received a $20,000 grant from the National Endowment for the Arts to support the exhibition Recto/Verso: Video by Ann Hamilton, a survey of the video art by Ann Hamilton, on view February 3–April 6, 2012.
Pratt Institute in Brooklyn, New York, has accepted a $20,000 grant from the National Endowment for the Arts to help fund the Pratt Center for Community Development, an outreach program connecting the school to its neighborhood through community events and collaborative projects.
Rineke Dijkstra, Self-Portrait, Marnixbad, Amsterdam, the Netherlands, June 19, 1991, 1991, chromogenic print, 24 7/16 x 20½ in. (artwork © Rineke Dijkstra; photograph provided by the artist, Marian Goodman Gallery, New York and Paris, and the San Francisco Museum of Modern Art)The San Francisco Museum of Modern Art in California has received a $34,000 grant from the National Endowment for the Arts in support of a retrospective of the Dutch artist Rineke Dijkstra. The exhibition will feature seventy large-scale color photographs and five video installations and be on view February 18–May 28, 2012.
The Skowhegan School of Painting and Sculpture in Skowhegan, Maine, has earned a $27,000 grant from the National Endowment for the Arts to support its nine-week residency program for emerging artists.
The Smithsonian Institution in Washington, DC, has received a $5 million endowment from the New York philanthropist Dame Jillian Sackler for the Freer Gallery of Art and the Arthur M. Sackler Gallery. The gift is in honor of the twenty-fifth anniversary of the naming of the Sackler Gallery.
Tulane University in New Orleans, Louisiana, has been awarded a $34,000 grant to support the Newcomb Art Gallery’s exhibition Women, Art, and Social Change: The Newcomb Pottery Enterprise, which will open in October 2013.
The University of California, Berkeley, has received a $15 million gift from David Woo to support the relocation of the Berkeley Art Museum and Pacific Film Archive. Woo is a 1967 graduate of Berkeley’s College of Environmental Design and was active in the planning of the original museum and archive.
The University of Oregon in Eugene has received a $1.2 million endowment gift from the estate of Ann Swindell to sustain faculty development and help expand the art curriculum in the School of Architecture and Allied Arts.
Utagawa Kunisada, Kabuki, no date, color woodcut, 13⅝ x 9⅞ in. University of Wyoming Art Museum, Laramie (artwork in the public domain)The University of Wyoming Art Museum in Laramie has been awarded a $25,000 grant from the National Endowment for the Arts. The museum will use the funds to support an exhibition devoted to the work of the American artist Ralston Crawford (1906–1978).
Thomas Cole, Scene from “The Last of the Mohicans,” Cora Kneeling at the Feet of Tamenund, 1827, oil on canvas, 25⅜ x 35 1/16 in. Wadsworth Atheneum Museum of Art, Hartford, Connecticut (artwork in the public domain)The Wadsworth Atheneum Museum of Art, in Hartford, Connecticut, has accepted a $21,000 grant from the National Endowment for the Arts in support of MATRIX, a dynamic exhibition series founded in 1974 that features emerging artists.
The Whitney Museum of American Art in New York has received a $61,000 grant from the National Endowment for the Arts to help fund the museum’s upcoming retrospective for Jay DeFeo, scheduled for February 28–June 2, 2013.
Website of the Yale University Art GalleryThe Yale University Art Gallery in New Haven, Connecticut, has accepted a $68,000 grant from the National Endowment for the Arts for an upcoming exhibition, Coney Island: Visions of an American Dreamland 1861–2008. With more than one hundred artifacts—paintings, drawings, films, and posters—the show will trace the appeal of Coney Island from its prehistory to the present.
Design-Related Sessions and Events at the Annual Conference
posted by Christopher Howard — Feb 13, 2012
Rosanne Gibel, a professor of graphic design at the Art Institute of Fort Lauderdale in Florida and chair of CAA’s Education Committee, has catalogued all design-related sessions and events taking place at next week’s 100th Annual Conference in Los Angeles. Below is a chronological list by day.
Wednesday, February 22
Deconstructing Costume Histories: Rereading Identities in Fashion Collections and Exhibitions
Wednesday, February 22, 9:30 AM–12:00 NOON
Concourse Meeting Room 409AB, Level 2, Los Angeles Convention Center
Chairs: Ian McDermott, ARTstor; Consuelo Gutierrez, independent scholar
ARTspace
Citizen Designer: Authoring a Definition
Wednesday, February 22, 9:30 AM–12:00 NOON
West Hall Meeting Room 515A, Level 2, Los Angeles Convention Center
Chairs: Gary Rozanc, Columbia College Chicago; Alyson Beaton, Columbia College Chicago
Design Studies Forum Business Meeting
Wednesday, February 22, 12:30–2:00 PM
West Hall Meeting Room 515B, Level 2, Los Angeles Convention Center
CAA Education Committee
Who Do We Teach? Challenges and Strategies in Recognizing Our Students, and Developing and Supporting Curriculum for Multiple Constituencies
Wednesday, February 22, 12:30–2:00 PM
Concourse Meeting Room 403A, Level 2, Los Angeles Convention Center
Chairs: Joan Giroux, Columbia College Chicago; Cindy Maguire, Adelphi University
Design, from “California Dreamin’” to “Designed in California,” ca. 1965–2012
Wednesday, February 22, 2:30–5:00 PM
Concourse Meeting Room 406AB, Level 2, Los Angeles Convention Center
Chairs: James Housefield, University of California, Davis; Stuart Kendall, California College of the Arts
Art History Open Session: Renaissance Art
Form and Function: Art and Design?
Wednesday, February 22, 2:30–5:00 PM
Concourse Meeting Room 405, Level 2, Los Angeles Convention Center
Chair: Antonia Madeleine Boström, J. Paul Getty Museum
Thursday, February 23
SPEAKOUT! CAA’s Strategic Plan for the Annual Conference and You
Thursday, February 23, 8:00–9:00 AM
Concourse Meeting Room 402AB, Level 2, Los Angeles Convention Center
Foundations in Art: Theory and Education
Foundations in Literature: Developing a Culture of Reading within the Art and Design Foundations Program
Thursday, February 23, 12:30–2:00 PM
Concourse Meeting Room 404A, Level 2, Los Angeles Convention Center
Chair: Sara Dismukes, Troy University
Critical Craft Forum
What Is Contemporary about Craft?
Thursday, February 23, 5:30–7:00 PM
Concourse Meeting Room 408A, Level 2, Los Angeles Convention Center
Chairs: Namita Gupta Wiggers, Museum of Contemporary Craft; Elizabeth Agro, Philadelphia Museum of Art
Friday, February 24
Design Education 2.0: Teaching in a Techno-Cultural Reality
Friday, February 24, 9:30 AM–12:00 NOON
Concourse Meeting Room 404A, Level 2, Los Angeles Convention Center
Chair: Ashley John Pigford, University of Delaware
Centennial Session
Yesterday, Today, and Tomorrow: CAA Town Hall Meeting
Friday, February 24, 9:30 AM–12:00 NOON
West Hall Meeting Room 515B, Level 2, Los Angeles Convention Center
Chair: Margaret Lazzari, University of Southern California
AIGA Business Meeting
Friday, February 24, 12:30–2:00 PM
West Hall Meeting Room 502A, Los Angeles Convention Center
Center for Craft, Creativity, and Design
Windgate Fellowship Program: A Case for Funding Professional Development Opportunities for Graduating Seniors
Friday, February 24, 12:30–2:00 PM
Concourse Meeting Room 408A, Level 2, Los Angeles Convention Center
Chair: Stephanie Moore, Center for Craft, Creativity, and Design, University of North Carolina, Asheville
Is It Time to Question the “Privileging” of Visual Art?
Friday, February 24, 2:30–5:00 PM
Concourse Meeting Room 409AB, Level 2, Los Angeles Convention Center
Chairs: Greta Berman, Juilliard School; Ellen K. Levy, independent artist, New York
Centennial Session
Connections: Architecture and Design in Los Angeles at Midcentury
Friday, February 24, 2:30–5:00 PM
Bing Theater, Plaza Level, Bing Center, Los Angeles Times Central Court entrance, Los Angeles County Museum of Art
Chair: Ruth Weisberg, University of Southern California
CAA Annual Members’ Business Meeting and Reception
Friday, February 24, 5:30–7:00 PM
West Hall Meeting Room 503, Level 2, Los Angeles Convention Center
Keynote address: April Greiman
New Media Caucus
Code as Craft: Programming in the Art and Design Curriculum
Friday, February 24, 5:30–7:00 PM
Concourse Meeting Room 402AB, Level 2, Los Angeles Convention Center
Chair: Michael Salmond, Florida Gulf Coast University
Saturday, February 25
Design Studies Forum
Design, Thing Theory, and the Lives of Objects
Saturday, February 25, 12:30–2:00 PM
West Hall Meeting Room 503, Level 2, Los Angeles Convention Center
Chair: Leslie Atzmon, Eastern Michigan University
CAA Committee on Intellectual Property
Give and Take: Copyright’s Balancing Act
Saturday, February 25, 12:30–2:00 PM
West Hall Meeting Room 515B, Level 2, Los Angeles Convention Center
Chairs: Christine L. Sundt, Visual Resources; Doralynn Pines, Metropolitan Museum of Art, emerita
Committee on Women in the Arts Picks for February 2012
posted by CAA — Feb 10, 2012
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.
February 2012
Alina Szapocznikow, Petit Dessert I (Small Dessert I), 1970–71, colored polyester resin and glass, 3 3/16 x 4 5/16 x 5⅛ in. Kravis Collection (artwork © Estate of Alina Szapocznikow/Piotr Stanislawski/ADAGP, Paris; photograph by Thomas Mueller and provided by Broadway 1602, New York, and Galerie Gisela Capitain, Cologne)
Alina Szapocznikow: Sculpture Undone, 1955–1972
Hammer Museum
University of California, Los Angeles, 10899 Wilshire Boulevard, Los Angeles, CA 90024
February 5–April 29, 2012
Alina Szapocznikow: Sculpture Undone, 1955–1972 is the inaugural United States museum survey for this underrepresented Polish artist. A Holocaust survivor who died in 1973 at the age of forty-seven, Szapocznikow is widely acknowledged by her artist peers as one of the most significant sculptors of the twentieth century. She pioneered the use of unconventional sculptural materials, such as polyester and polyurethane, and constructed a visual language that addressed the body’s pain and regeneration. The exhibition includes approximately sixty sculptures, fifty works on paper, and numerous photographic works, demonstrating the tremendous range of Szapocznikow’s vision and continuing influence on twentieth- and twenty-first-century artists.
Maya Lin
Heinz Architectural Center
Carnegie Museum of Art, 4400 Forbes Avenue, Pittsburgh, PA 15213
February 11–May 13, 2012
An exhibition of work by Maya Lin explores her diverse career as architect, artist, and dedicated environmentalist. The twenty-one sculptures and drawings on view range from room-sized installations evocative of geological topography to intricately designed wall installations. Lin has made one new work inspired by Pittsburgh’s three rivers, Pin River – Ohio (Allegheny & Monongahela), specifically for the Carnegie Museum, and her new memorial video project, What is Missing?, will be screened in the museum’s Scaife Lobby.
Shares and Stakeholders: The Feminist Art Project Day of Panels
Abramson Auditorium
Museum of Contemporary Art, Los Angeles, 250 South Grand Avenue, Los Angeles, CA 90012
February 25, 2012
This year’s Feminist Art Project Day of Panels, organized by the artists Audrey Chan and Elana Mann and held in conjunction with the CAA Annual Conference, asks the question: What are the stakes—and who are the stakeholders—of the feminist future? The conversations will address the greater inclusivity of a contemporary feminist art that embraces a multiplicity of identities and philosophies. Topics of discussion will include: feminist art educational models, the roles of men in feminist art, interventionist art strategies, radical queer art making, and feminism as a daily humanist practice. This event is free and open to the public.
Katharine Pyle, “He knocked against a tin pan that clattered down with a tremendous din,” from Three Little Kittens by Katharine Pyle (New York: Dodd, Mead and Company, 1920), 1920, graphite, ink, and gouache on illustration board, 7⅞ x 6⅜ in. Lent by David and Sarah Wyeth (photograph provided by the Delaware Art Museum)
Tales of Folk and Fairies: The Life and Work of Katharine Pyle
Delaware Art Museum
2301 Kentmare Parkway, Wilmington, DE 19806
February 18–September 9, 2012
This exhibition presents seventy-one works by the celebrated children’s book author and illustrator Katharine Pyle (1863–1938). A native of Wilmington, Katherine Pyle was encouraged from a young age to pursue poetry and illustration by her older brother, the famed illustrator Howard Pyle. She studied at the Philadelphia School of Design for Women and at the Drexel Institute of Art and Science, also in Philadelphia. Her work was stylistically aligned with her brother, and also with Beatrix Potter, Walter Crane, and Aubrey Beardsley. Pyle’s subjects were taken from Norse and Greek mythology, fairy tales, and animal stories, and her 1923 illustrations for Anna Sewell’s novel Black Beauty are among her best-known work.
A Complex Weave: Women and Identity in Contemporary Art
Perlman Teaching Museum
Weitz Center for Creativity, Carleton College, 320 Third Street East, Northfield, MN 55057
January 13–March 11, 2012
This exhibition, curated by Martin Rosenberg and J. Susan Isaacs, looks at the current state of feminist art practices and the range of materials and theories used by contemporary artists. Personal and political identity is explored in painting, drawing, sculpture, photography, and needlework. The roster of artists include: Blanka Amezkua, Sarah Amos, Helene Aylon, Siona Benjamin, Zoe Charlton, Sonya Clark, Annet Couwenberg, Lalla A. Essaydi, Judy Gelles, Sharon Harper, Julie Harris, Fujiko Isomura, Tatiana Parcero, Philemona Williamson, April Wood, and Flo Oy Wong.
Kathryn Spence, Short sharp notes, a long whistled trill on one pitch, clear phrases (detail), 2010–11 (artwork © Kathryn Spence; photograph by Rick Schwab and provided by Stephen Wirtz Gallery, San Francisco)
Kathryn Spence: Dirty and Clean
Aldrich Contemporary Art Museum
258 Main Street, Ridgefield, CT 06877
January 29, 2011–June 10, 2012
The German-born, San Francisco-based artist Kathryn Spence uses found, dirty, and discarded materials to explore the complexities of humanity’s relationship to garbage and its place in our ecosystem. Spence, an avid bird-watcher and nature enthusiast, creates life-sized animal models from scraps of paper, fabric, string, and wire. Her work plays with the idea of dirt and dirtiness as both a purifying source and as a by-product of human waste and greed.
Sheryl Oring’s 100 Possibilities at the Los Angeles Conference
posted by Christopher Howard — Feb 10, 2012
In honor of CAA’s Centennial, the artist Sheryl Oring will ask 2012 Annual Conference attendees a single question: What is the role of the artist? Over the course of a two-day performance in Los Angeles, Oring will pose the question to her visitors and transcribe their answers verbatim onto note cards using a manual typewriter, with a goal of collecting one hundred answers. Hence the title of her work, 100 Possibilities. Collectively, these answers will paint a portrait of academic views about the role of the artist as CAA enters its second century as a professional organization. After the performance, Oring will collect and organize the cards into an archive that may be used to create an artist’s book and an exhibition. In addition, digital scans of the cards may eventually be published on the CAA website.
Oring’s performance will take place 1:00–5:00 PM on Wednesday, February 22, and Thursday, February 23, 2012—or until she receives her one hundred answers. CAA will set up a table for the artist in the registration area, located in Concourse Foyer, Level 1, Los Angeles Convention Center.
Oring is an interdisciplinary artist whose work explores technology and its role in society through projects that incorporate both old and new media to tell stories, examine public opinion, and foster open exchange. She received a CAA Professional-Development Fellowship in the Visual Arts in 2010–11 as she completed her MFA at the University of California, San Diego.
Join the Editorial Boards for The Art Bulletin, Art Journal, and caa.reviews
posted by Alyssa Pavley — Feb 07, 2012
Art Bulletin Editorial Board Seeks One Member
CAA invites nominations and self-nominations for one individual to serve on the Art Bulletin Editorial Board for a four-year term, July 1, 2012–June 30, 2016. The ideal candidate has published substantially in the field and may be an academic, museum-based, or independent scholar; institutional affiliation is not required. The Art Bulletin features leading scholarship in the English language in all aspects of art history as practiced in the academy, museums, and other institutions.
The editorial board advises the Art Bulletin editor-in-chief and assists him or her to seek authors, articles, and other content for the journal; guides its editorial program and may propose new initiatives for it; performs peer review and recommends peer reviewers; and may support fundraising efforts on the journal’s behalf. Members also assist the editor-in-chief to keep abreast of trends and issues in the field by attending and reporting on sessions at the CAA Annual Conference and other academic conferences, symposia, and other events in their fields.
The Art Bulletin Editorial Board meets three times a year: twice in New York in the spring and fall and once at the CAA Annual Conference in February. CAA reimburses members for travel and lodging expenses for the two New York meetings in accordance with its travel policy, but members pay these expenses to attend the conference. Members of all editorial boards volunteer their services to CAA without compensation.
Candidates must be current CAA members and should not be serving on the editorial board of a competitive journal or on another CAA editorial board or committee. Members may not publish their own work in the journal during the term of service. Nominators should ascertain their nominee’s willingness to serve before submitting a name; self-nominations are also welcome. Please send a statement describing your interest in and qualifications for appointment, a CV, and your contact information to: Chair, Art Bulletin Editorial Board, College Art Association, 50 Broadway, 21st Floor, New York, NY 10004; or email the documents to Alyssa Pavley, CAA editorial assistant. Deadline: April 16, 2012.
Art Journal Editorial Board Seeks Two Members
CAA invites nominations and self-nominations for two individuals to serve on the Art Journal Editorial Board for a four-year term: July 1, 2012–June 30, 2016. A candidate may be an artist, art historian, art critic, art educator, curator, or other art professional; institutional affiliation is not required. Art Journal, published quarterly by CAA, is devoted to twentieth- and twenty-first-century art and visual culture.
The editorial board advises the Art Journal editor-in-chief and assists him or her to seek authors, articles, artist’s projects, and other content for the journal; guides its editorial program and may propose new initiatives for it; performs peer review and recommends peer reviewers; and may support fundraising efforts on the journal’s behalf. Members also assist the editor-in-chief to keep abreast of trends and issues in the field by attending and reporting on sessions at the CAA Annual Conference and other academic conferences, symposia, and other events in their fields.
The Art Journal Editorial Board meets three times a year: twice in New York in the spring and fall and once at the CAA Annual Conference in February. CAA reimburses members for travel and lodging expenses for the two New York meetings in accordance with its travel policy, but members pay these expenses to attend the conference. Members of all editorial boards volunteer their services to CAA without compensation.
Candidates must be current CAA members and should not be serving on the editorial board of a competitive journal or on another CAA editorial board or committee. Members may not publish their own work in the journal during the term of service. Nominators should ascertain their nominee’s willingness to serve before submitting a name; self-nominations are also welcome. Please send a statement describing your interest in and qualifications for appointment, a CV, and your contact information to: Chair, Art Journal Editorial Board, College Art Association, 50 Broadway, 21st Floor, New York, NY 10004; or email the documents to Alyssa Pavley, CAA editorial assistant. Deadline: April 16, 2012.
caa.reviews Editorial Board Seeks One Member
CAA invites nominations and self-nominations for one individual to serve on the caa.reviews Editorial Board for a four-year term, July 1, 2012–June 30, 2016. Candidates may be artists, art historians, art critics, art educators, curators, or other art professionals with stature in the field and experience in writing or editing book and/or exhibition reviews; institutional affiliation is not required. The journal also seeks candidates with a strong record of scholarship and at least one published book or the equivalent who is committed to the imaginative development of caa.reviews. An online journal, caa.reviews is devoted to the peer review of new books, museum exhibitions, and projects relevant to the fields of art history, visual studies, and the arts.
The editorial board advises the editor-in-chief of and field editors for caa.reviews and helps them to identify books and exhibitions for review and to solicit reviewers, articles, and other content for the journal; guides its editorial program and may propose new initiatives for it; and may support fundraising efforts on the journal’s behalf. Members also assist the editor-in-chief to keep abreast of trends and issues in the field by attending and reporting on sessions at the CAA Annual Conference and other academic conferences, symposia, and other events in their fields.
The caa.reviews Editorial Board meets three times a year: twice in New York in the spring and fall and once at the CAA Annual Conference in February. CAA reimburses members for travel and lodging expenses for the two New York meetings in accordance with its travel policy, but members pay these expenses to attend the conference. Members of all editorial boards volunteer their services to CAA without compensation.
Candidates must be current CAA members and should not be serving on the editorial board of a competitive journal or on another CAA editorial board or committee. Nominators should ascertain their nominee’s willingness to serve before submitting a name; self-nominations are also welcome. Please send a statement describing your interest in and qualifications for appointment, a CV, and your contact information to: caa.reviews Editorial Board, College Art Association, 50 Broadway, 21st Floor, New York, NY 10004; or email the documents to Alyssa Pavley, CAA editorial assistant. Deadline: April 16, 2012.
Updated on March 6 and 13, 2012.
Art Journal Seeks Reviews Editor
posted by Joe Hannan — Jan 30, 2012
The Art Journal Editorial Board invites nominations and self-nominations for the position of reviews editor for a three-year term: July 1, 2013–June 30, 2016 (with service as incoming reviews editor designate, July 1, 2012–June 30, 2013). A candidate may be an artist, art historian, art critic, art educator, curator, or other art professional with stature in the field; institutional affiliation is not required. Art Journal, published quarterly by CAA, is devoted to twentieth- and twenty-first-century art and visual culture.
Working with the editorial board, the reviews editor is responsible for commissioning all book and exhibition reviews in Art Journal. He or she selects books and exhibitions for review, commissions reviewers, and determines the appropriate length and character of reviews. The reviews editor also works with authors and CAA’s manuscript editor in the development and preparation of review manuscripts for publication. He or she is expected to keep abreast of newly published and important books and recent exhibitions in twentieth-century and contemporary art, criticism, theory, and visual culture. The three-year term includes membership on the Art Journal Editorial Board and a small annual honorarium, paid quarterly.
The reviews editor attends the Art Journal Editorial Board’s three meetings each year—held twice in New York in the spring and fall and once at the CAA Annual Conference in February—and submits an annual report to CAA’s Board of Directors. CAA reimburses the reviews editor for travel and lodging expenses for the two New York meetings in accordance with its travel policy, but he or she pays these expenses to attend the conference topbankinfo.ru.
Candidates must be current CAA members and should not be serving on the editorial board of a competitive journal or on another CAA editorial board or committee. Members may not publish their own work in the journal during the term of service. Nominators should ascertain their nominee’s willingness to serve before submitting a name; self-nominations are also welcome. Please send a statement describing your interest in and qualifications for appointment, a CV, at least one letter of recommendation, and your contact information to: Art Journal Reviews Editor Search, College Art Association, 50 Broadway, 21st Floor, New York, NY 10004; or email the documents to Joe Hannan, CAA codirector of publications. Deadline: April 2, 2012; finalists will be interviewed in early May.
Recent Deaths in the Arts
posted by Christopher Howard — Jan 25, 2012
In its regular roundup of obituaries, CAA recognizes the lives and achievements of the following artists, designers, architects, photographers, dealers, filmmakers, and other men and women whose work has had a significant impact on the visual arts. Included this month are the major twentieth-century artists John Chamberlain and Helen Frankenthaler, who both died in December 2011.
- Eve Arnold, a photojournalist and writer who was the first woman to join the Magnum Photo agency, died on January 4, 2012, at age 99. Beginning her career in the late 1940s, Arnold photographed celebrities, documented the McCarthy hearings and the civil rights movement, and did extensive work in Britain, China, and Russia.
- John Buchanan, director of the Fine Arts Museums of San Francisco who brought in a string of successive hit shows, including Tutankhamun and the Golden Age of the Pharaohs and a survey of masterpieces by Pablo Picasso from the Musée National in Paris, died on December 30, 2011. He was 58 years old
- John Chamberlain, a sculptor of found metal whose work bridged Pop art, Abstract Expressionism, and Minimalism, passed away on December 21, 2011, at the age of 84. Chamberlain first used car parts and then pieces of raw galvanized steel to create his sculptures, whose form and colors offered a dystopian take on the automobile as American Dream
- Niles Ford, a New York–based dancer and choreographer whose work combined elements of ballet, jazz, and modern dance while embedding themes of political and social activism, died on January 14, 2012. He was 52.
- Helen Frankenthaler, an abstract painter whose stain technique led to the development of the Color Field movement, passed away on December 27, 2011, at age 83. Once married to Robert Motherwell, Frankenthaler was an active member of the downtown New York art community in the 1950s and 1960s and had major solo exhibitions at the Jewish Museum (1960), the Whitney Museum of American Art (1969), and the Solomon R. Guggenheim Museum (1998)
- Andrew Geller, a postwar architect of prefabricated homes who designed the room in which Nikita Kruschev and Richard Nixon had their famous Kitchen Debate, died on December 25, 2011. He was 87
- Iris Gill, a painter inspired by nature who was a member of the San Diego branch of the Women’s Caucus for Art, died on January 2, 2012. She was 41 years old
- Jan Groover, an American photographer who had lived in France since 1991 and who produced painterly still lifes with formalist concerns, died on January 1, 2012, at age 68. In 1987, Groover became one of the first women to have a solo exhibition at the Museum of Modern Art in New York
- John McWhinnie, a dealer and collector of rare twentieth-century books and ephemera and the director of Glenn Horowitz Bookseller in New York, died on January 6, 2012. He was 43
- Robert Nelson, an avant-garde filmmaker active in the San Francisco art scene of the 1950s and 1960s, died on January 9, 2012, at the age of 81. Known for the wit and playful energy he brought to the world of underground filmmaking, Nelson was the creator of Plastic Haircut (1963), Oh Dem Watermelons (1965), and Grateful Dead (1967–68)
- Bill Radawec, an eclectic multimedia artist based in Los Angeles and Cleveland whose recent work consisted of colorful paintings inspired by manufacturer house paint chips and the work of Ellsworth Kelly and Brice Marden, died on July 5, 2011, at age 59. Well-loved for his generosity and support of other artists, Radawec organized art shows in major museums and artist-run galleries
- James Rizzi, a New York–based Pop artist known for his three-dimensional graphic constructions, died on December 26, 2011, at age 61. Playful, colorful, and full of childlike energy, Rizzi’s work included designs for tourist guides and German postage stamps, as well as the cover artwork for Tom Tom Club’s first album in 1980 and two music videos for the band
- Garrison Roots, a public artist, sculptor, and chair of the Department of Art and Art History at the University of Colorado in Boulder, where he had taught since 1982, died on December 21, 2011. He was 59 years old
- Anne Tyng, a pioneering female architect and architectural theorist who had a professional and personal relationship with Louis Kahn, died on December 27, 2011, at age 91. Born in Jiangxi, China, Tyng was one of the first women to graduate from Harvard’s architecture school, in 1944
- Haydee Venegas, an art critic and educator who served as vice president of the International Association of Art Critics, died on December 31, 2011. She was 61
- John C. Wessel, a New York–based art dealer who championed gay artists in the 1980s and 1990s, passed away on December 9, 2011. Born in 1941, Wessel also served as regional representative for the National Endowment for the Arts from 1977 to 1984
- Eva Zeisel, a renowned ceramic tableware artist and designer, died on December 30, 2011, at the age of 105. After emigrated to the United States from Vienna in 1938, Zeisel began a celebrated teaching career at Pratt Institute in Brooklyn, New York
Read all past obituaries in the arts in CAA News, which include special texts written for CAA. Please send links to published obituaries to Christopher Howard, CAA managing editor, for the February/March listing.
CAA Names the Recipients of the Getty-Funded International Travel Grants
posted by Christopher Howard — Jan 23, 2012
CAA has awarded travel grants to twenty art historians and artists from around the world who will convene in Los Angeles to attend and participate in the 100th Annual Conference, taking place February 22–25, 2012. The CAA International Travel Grant Program was made possible by a generous grant from the Getty Foundation.
At the conference, the twenty recipients will participate in mentoring activities and other events planned in connection with the grant. Members of CAA’s International Committee have agreed to host the participants, and the National Committee for the History of Art will also lend support to the program.
This travel-grant program is intended to familiarize international professionals with the Annual Conference program, including the session participation process. CAA accepted applications from art historians, artists who teach art history, and art historians who are museum curators; those from developing countries or from nations not well represented in CAA’s membership were especially encouraged to apply. In late 2011, a jury of CAA members selected the final twenty awardees, whose names, home institutions, and primary areas of scholarly and professional interest are as follows:
- Salam Atta Sabri, Director, National Museum of Modern Art, Baghdad, Iraq. Atta Sabri conducts research on missing works of art from Iraq and is also a ceramic artist
- Parul Pandya Dhar, Associate Professor, Department of History, University of Delhi, Delhi, India. Dhar focuses on the history of Indian art and architecture to 1300 CE, cultural interactions in South and Southeast Asia, the visual arts and visual archives as sources of history, performing arts, and the historiography of Indian art
- Federico Freschi, Associate Professor, History of Art, Wits School of Arts, University of Witwatersrand, Johannesburg, South Africa. Freschi’s work explores South African modern art and architecture and postcolonial identity politics
- Rosa Gabriella de Castro Gonçalves, Professor of Art Theory and Aesthetics, Universidade Federal da Bahia, Salvador, Brazil. Gonçalves is interested in the role of modernism in recent debates in art theory
- Angela Harutyunyan, Assistant Professor, Department of Fine Arts and Art History, American University of Beirut, Beirut, Lebanon. Harutyunyan is interested in methodologies of reading and historicizing contemporary art and studies the political aesthetics of the Armenian avant-garde
- Gyöngyvér Horváth, Assistant Professor of Art History, Moholy-Nagy University of Art and Design, Budapest, Hungary. Horváth studies the historiography of narrative painting
- Didier Houenoude, Assistant Professor, Université d’Abomey-Calavi, Cotonou, Benin. Houenoude teaches art history and drawing and closely follows contemporary art in Benin
- Nadhra Shahbaz Naeem Khan, Visiting Faculty, Department of Humanities and Social Sciences, Lahore University of Management Sciences, Lahore, Pakistan. Khan’s work focuses on Sikh art and architecture
- Irena Kossowska, Professor of Art History, Nicolaus Copernicus University, Toruń, Poland. Kossowska works on national identity in Central Europe as reflected in the visual arts and also researches nineteenth- and twentieth-century European art
- Jean Celestin Ky, Professor of Art History, University of Ouagadougou, Ouagadougou, Burkina Faso. Celestin researches African art and works with the National Museum of Burkina Faso in conserving and promoting contemporary art
- Pavlína Morganová, Researcher and Professor, Academy of Fine Arts, Prague, Czech Republic. Morganová works on contemporary art
- Cristian Nae, PhD Lecturer, Department of Art History and Theory, Faculty of Fine Arts, George Enescu University of Arts, Iaşi, Romania. Nae examines post–World War II art history, critical theory, hermeneutics, and cultural studies
- Judy Peter, Lecturer, Faculty of Art, Design, and Architecture, and Head, Department of Jewellery Design and Manufacture, University of Johannesburg, Johannesburg, South Africa. Peter works in art history, theory, cultural and postcolonial studies, the history of jewellery. She is also interested in curriculum development in the context of a neoliberal South Africa
- Daniel Premerl, Research Associate, Institute of Art History, Zagreb, Croatia. Premerl is interested in Renaissance and Baroque art and art-historical methodology
- Malvina Rousseva, Professor, Institute of Art Studies, Bulgarian Academy of Sciences, Sofia, Bulgaria. Rousseva pursues research in archaeology, Thracian tombs and temples, interdisciplinary studies, architectural history, cultural and visual studies, and philosophy
- Ganna Rudyk, Deputy Director General of Research, Bohdan and Varvara Khanenko Museum of Arts, Kyiv, Ukraine. Rudyk is a specialist in Islamic art who presents Islamic and generally non-Western art to broad publics
- Dóra Sallay, Curator of Italian Painting, Museum of Fine Arts, Budapest, Hungary. Sallay works with thirteenth- to sixteenth-century Italian art, in particular Sienese painting, the history of collecting and museums, and the history of the reception of Gothic and Renaissance painting
- Olabisi Silva, Director, Centre for Contemporary Art, Lagos, Nigeria. Silva is working on the first roaming African art academy, placing equal emphasis on artistic practice, art history, critical thinking, and curatorial practice
- Shao-Chien Tseng, Associate Professor of Art History, Graduate Institute of Art Studies, National Central University, Jhongli City, Taiwan. A specialist in nineteenth-century French art, Tseng is interested in modern art and natural history, landscape painting and photography, and postcolonialism and Taiwanese art
- Jagath Weerasinghe, Director and Professor, Postgraduate Institute of Archaeology, Colombo, Sri Lanka. Trained in fine arts, archeology, and conservation, Weerasinghe recently established his country’s first graduate program in art history, which will offer postgraduate diplomas and master of arts degrees in art history, focusing primarily on Asian art
CAA hopes that this travel grant will not only increase international participation in the organization’s activities, but will also expand international networking and the exchange of ideas. The Getty Foundation grant allows CAA to expand greatly the participation of international colleagues beyond its regular program of Annual Conference Travel Grants for graduate students and international artists and scholars.
Recipients of the 2012 Awards for Distinction
posted by Christopher Howard — Jan 18, 2012
CAA has announced the recipients of the 2012 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 recipients at a special awards ceremony during the 100th Annual Conference in Los Angeles, on Thursday afternoon, February 23, 2012, 12:30–2:00 PM, at the Los Angeles Convention Center. Led by Barbara Nesin, president of the CAA Board of Directors, the awards ceremony will take place in West Hall Meeting Room 502AB, Level 2; it is free and open to the public. The Los Angeles Convention Center is located downtown, at 1201 South Figueroa Street adjacent to the Staples Center.
The 2012 Annual Conference—presenting scholarly sessions, panel discussions, professional-development workshops, a Book and Trade Fair, and more—is the largest gathering of artists, art historians, students, and arts professionals in the United States.
David Hammons, Distinguished Artist Award for Lifetime Achievement
The innovative, far-ranging work of David Hammons is central to the history of postwar art in all its complexities. For the past five decades, Hammons has ingeniously blurred boundaries separating sculpture, Conceptual art, performance, and installation. Through a restless hybridization of practices, he has explored many timely and urgent contemporary issues, commenting on the civil rights movement, racial stereotyping, institutional exclusion, and the commodification of artistic identity. Hammons is not only one of the great political artists of our time, but also a crafter of careful assemblage and canny composition, creating irreverent, sometimes scathing works that are as formally riveting as they are incisive.
Adrian Piper, Artist Award for Distinguished Body of Work
Since the late 1960s, the provocative and often challenging work of Adrian Piper has profoundly influenced the language and form of Conceptual art. Her 2010 exhibition Past Time: Selected Works 1973–1995, presented at Elizabeth Dee Gallery in New York, showcased several bodies of work that dealt with dissent in varying forms and represented a period of time widely considered as her most influential. Piper’s artistic practice flirts with the syntax of Minimalism and infuses it with explicitly political content, addressing issues of race, gender, and identity politics. Additionally, her work has been shaped by studies in philosophy, a subject on which she has lectured since earning a doctorate in the discipline thirty years ago. A keen interlocutor of mass culture, Piper has produced art and writing that makes us question our constantly shifting contemporary social landscape.
Lucy R. Lippard, Distinguished Feminist Award
For more than five decades, the critic, activist, and curator Lucy R. Lippard has been a consistent, passionate, and influential advocate of feminist art. A prolific author first honored by CAA in 1975 with the Frank Jewett Mather Award, she is known for her concise, accessible, and lucid prose that brings feminist perspectives to bear on a wide scope of art and activism—from Eva Hesse (1976) to The Pink Glass Swan: Selected Essays on Feminist Art (1995). Lippard’s curatorial efforts—such as c. 7,500 (1973), the groundbreaking all-woman exhibition of Conceptual art—have also been vital to the feminist art movement and offered some of the earliest considerations of global feminisms. Throughout her life, she has modeled a complex, ever-changing point of view as it intersects with progressive notions of art and politics.
Allan Sekula, Distinguished Lifetime Achievement Award for Writing on Art
Allan Sekula has devoted his life as an artist to writing, photography, installation, and film. While his multidisciplinary approach to problems of representation and politics has earned him accolades as an artist, his writings have helped students, scholars, and the public to think critically about interventions in the political and social realities of our world. The essays collected in his first book, Photography against the Grain: Essays and Photo Works 1973–83 (1984), significantly altered the way in which the documentary function of photography was conceptualized. His more recent volumes—such as Fish Story (1995), Titanic’s Wake (2003), and Performance under Working Conditions (2003)—mobilize us through his vision and words to carefully consider the effects of capitalism, globalization, information formats, and the dematerialization of image and word.
David Antin, Frank Jewett Mather Award
David Antin has been a singular, combative voice in art criticism since the mid 1960s. His Radical Coherency: Selected Essays on Art and Literature 1966 to 2005 (Chicago: University of Chicago Press, 2011) demonstrates his sustained critical commitment, constant formal experimentation, and a style of thought and expression that is unique to both the visual arts and poetry. The essays and “talking poems” in Radical Coherency display a no-nonsense, skeptical intelligence squaring off firsthand with the work of artists—many of them his contemporaries—who were bent on radically transforming art, from Marcel Duchamp and Andy Warhol to the artists of the Los Angeles County Museum of Art’s 1971 exhibition Art and Technology.
Alexander Nagel, Charles Rufus Morey Book Award
Alexander Nagel’s The Controversy of Renaissance Art (Chicago: University of Chicago Press, 2011) is a compelling reexamination of the key paradoxes that define this era and the works associated with it. Guided in part by sixteenth-century religious history and the writings of historians of that era, Nagel positions sixteenth-century art making in the realm of the experimental, a vantage also in concert with the efforts of the religious reformers concerned with ritual and devotional practices usually associated with the Middle Ages. A breakthrough volume that makes significant contributions to scholarship on sixteenth-century Italian art, Nagel’s book compels art historians more generally to reconsider “standard” interpretations of many canonical monuments of the periods in which they are working.
Maryan W. Ainsworth, Stijn Alsteens, and Nadine M. Orenstein, Alfred H. Barr Jr. Award
Man, Myth, and Sensual Pleasures: Jan Gossart’s Renaissance (New York: Metropolitan Museum of Art, in association with Yale University Press, 2010) is a “summa” of Maryan Ainsworth’s decades-long exploration of the artistic legacy of this place and time. Using a variety of methods—technical analysis, connoisseurship, archival research, biography, iconography, and sustained attention to each object—she and the other authors place Gossart at the center of a rich world of intertwined relationships. Together they reveal the artist’s groundbreaking engagement with Rome and antiquity, his intent study of architecture and sculpture, his carefully crafted experimentation in a variety of media, and his amazing versatility as a painter of religious scenes, mythological subjects, and innovative portraits over a long career. The book is also significant for the insightful way in which it situates Gossart among his contemporaries, including the painters Albrecht Dürer and Lucas Cranach, the sculptor Conrad Meit, and the patron and connoisseur Philip of Burgundy.
Roy Flukinger, Alfred H. Barr Jr. Award for Smaller Museums, Libraries, Collections, and Exhibitions
With The Gernsheim Collection (Austin: Harry Ransom Center, University of Texas Press, 2010), Roy Flukinger has crafted an exceptional catalogue of the Helmut and Alison Gernsheim Collection, one of the earliest and most comprehensive collections of photography in the world. One hundred and twenty-six items are beautifully illustrated and analyzed in readable, absorbing prose that traces the story of the couple’s achievements as sleuths, gatherers, connoisseurs, photographers, devotees, and champions, while at the same time recognizing and examining their (sometimes controversial) role as architects of the study of photography. Contributions by Alison Nordstrom and Mark Haworth-Booth illuminate the role this collection has played in the history of photography as well as the Gernsheims’ commitment to the medium as a form of fine art. In this way, the book considers the process (in addition to the underlying principles, assumptions, and implications) of canon formulation in an emerging discipline.
Jacki Apple, Distinguished Teaching of Art Award
For the past twenty-eight years, Jacki Apple has provided students at the Art Center College of Design in Pasadena, California, with a dynamic, inspiring, and evolving model of the possibilities and rewards of an interdisciplinary practice. An artist, writer, and producer, she has produced work in multiple modes—performance, installation, drawing, book art, photography, film, radio, text, and audio—and presciently engages the opportunities afforded by new technologies. Praised by students and colleagues alike for her intelligence, generosity, enthusiasm, and critical discernment, Apple adeptly bridges various disciplines using a wide scope of knowledge about contemporary culture and technology and a depth of understanding about the history and practice of the visual and performing arts. A gifted communicator, Apple is exceptionally effective in encouraging students to think for themselves.
Gabriel P. Weisberg, Distinguished Teaching of Art History Award
Gabriel P. Weisberg’s distinguished teaching record—which includes faculty positions at the University of New Mexico, the University of Cincinnati, the University of Pittsburgh, Case Western Reserve University, and the University of Minnesota, where he is currently a professor in the Department of Art History—spans nearly half a century. His students, both graduate and undergraduate, praise his presentation of art as a dynamic interplay among culture, aesthetics, and human experience, revealed through direct examination of works of art in the context of primary historical documentation. Weisberg’s varied and distinguished background as a historian, curator, and administrator seamlessly integrates academic and museum realms, and his scholarship has shaped the discipline of nineteenth-century art history in a profound way.
Francesca G. Bewer, CAA/Heritage Preservation Award for Distinction in Scholarship and Conservation
Francesca G. Bewer, research curator in the Harvard Art Museums’ Straus Center for Conservation and Technical Studies, is an exemplary technical art historian. An expert in the materials and techniques of European Renaissance and Baroque bronze sculpture, she trained as both an art historian, at University College London, and as a conservator, at Palazzo Spinelli in Florence. A highly valued teacher and lecturer, Bewer has published a steady stream of superb texts in conservation and art-historical journals, exhibition catalogues, and monographs. She also recently authored a book on the history of conservation, A Laboratory for Art: Harvard’s Fogg Museum and the Emergence of Conservation in America, 1900–1950 (Cambridge, MA: Harvard Art Museum; New Haven: Yale University Press, 2010).
Rebecca Molholt, Arthur Kingsley Porter Prize
Rebecca Molholt’s article “Roman Labyrinth Mosaics and the Experience of Motion,” published in the September 2011 issue of The Art Bulletin, is an imaginative study of seven North African mosaics that were once floors in Roman bathhouses. She introduces a fresh methodology for their assessment, building on a distinction that Walter Benjamin drew between “vertical and horizontal forms of viewing.” Moholt argues that mosaics have long been read as if they were vertical easel paintings rather than understood as “materials underfoot,” which are experienced while kinetically moving over their horizontal surfaces. She uncovers a metaphoric reading of these mosaics that relates the labyrinths, their subject matter, and architectural context—the Roman bath—to athleticism and heroism.
Art Journal Award
An article by the online journal Triple Canopy, authored primarily by Colby Chamberlain of Columbia University, has won the 2012 Art Journal Award. The text, called “The Binder and the Server,” appears in the Winter 2011 issue.
Contact
For more information on the 2012 Awards for Distinction, please contact Lauren Stark, CAA manager of programs. Visit the Awards section of the CAA website to read about all past recipients.
CAA announced the shortlists for the 2012 Charles Rufus Morey Book Award and the two Alfred H. Barr Jr. Awards on December 2, 2011.
Affiliated Society News for January 2012
posted by CAA — Jan 09, 2012
American Council for Southern Asian Art
The American Council for Southern Asian Art (ACSAA) held its fifteenth biennial symposium from September 22 to 25, 2011, in Minneapolis, Minnesota. A report of the proceedings is available online.
Association of Academic Museums and Galleries
Registration has opened for the annual conference of the Association of Academic Museums and Galleries (AAMG), to be held April 28, 2012, at the Weisman Art Museum on the campus of the University of Minnesota. Titled “Tools of Engagement: Securing Commitment on Campus,” the event will focus on positive strategies for getting the buy-in needed from our faculty, academic administrators, presidents, and other campus stakeholders.
In addition, AAMG has recently been granted 501(c)(3) nonprofit status from the Internal Revenue Service. This status will allow the organization the opportunity to gain access to new funding sources in order to execute its mission to establish and support best practices, educational activities, and professional development, enabling member organizations to fulfill their educational missions.
Association of Historians of American Art
The Association of Historians of American Art (AHAA) is sponsoring two sessions at the 2012 CAA Annual Conference in Los Angeles. The professional session, “Ideology, Industry, and Instinct: The Art of Labor,” cochaired by Wendy Katz and Brandon Rudd, is scheduled for Friday, February 24, 2012, 12:30–2:00 PM, Concourse Meeting Room 402AB at the Los Angeles Convention Center. The scholarly session, “American Symbolism,” chaired by Erika Schneider, will take place on Saturday, February 25, 2012, 9:30 AM–NOON, West Hall Meeting Room 502A. Following this session, the AHAA business meeting will be held 12:30 PM–2:00 PM in the Concourse Meeting Room 408B. Light refreshments will be served. All members and other interested parties are invited to attend these events.
Save the date for the second AHAA symposium, “American Art: The Academy, Museums, and the Market,” to be held October 12–13, 2012, hosted by the Boston Athenaeum and Boston University in Massachusetts. For more information, contact the symposium cochairs: David Dearinger and Melissa Renn.
Association of Historians of Nineteenth-Century Art
The Association of Historians of Nineteenth-Century Art (AHNCA) will sponsor several activities at the 2012 CAA Annual Conference in Los Angeles. Scott Allan, assistant curator of paintings at the J. Paul Getty Museum, will moderate the annual “Future Directions” panel on Thursday, February 23, 12:30–2:00 PM in the Concourse Meeting Room 402AB at the Los Angeles Convention Center. David O’Brien of the University of Illinois will chair AHNCA’s main session, the two-part “Civilization and Its Others in Nineteenth-Century Art,” taking place on Thursday, February 23, and Saturday, February 25. Finally, AHNCA’s annual business meeting will take place on Thursday, February 23, at 5:30 PM in Concourse Meeting Room 402AB.
In addition, AHNCA invites its members to attend a free private tour of the Norton Simon Museum in Pasadena on Wednesday, February 22. The curator Leah Lehmbeck will present highlights and rarely exhibited holdings from the museum’s collection. The visit will conclude with a reception generously hosted by the Norton Simon. There is no cost for AHNCA members, but space is limited. To reserve your place, please contact Elizabeth Mansfield. Deadline: January 15, 2012
Foundations in Art: Theory and Education
Foundations in Art: Theory and Education (FATE) will hold a regional workshop, titled “Spicing It Up: Critique Strategies,” at Sam Houston State University in Huntsville, Texas, on January 28, 2012. FATE urges those who teach art foundation courses and are located in Texas, Oklahoma, or Louisiana to consider attending. The workshop, to be held 10:00 AM–3:00 PM, will focus on practical techniques and strategies for critiquing theme-based and idea-driven artwork created in foundation courses. If interested, please contact Valerie Powell at 936-294-4451. Deadline: January 15, 2012.
Please save the date for FATE’s next national conference, to be held during the spring of 2013. The Savannah College of Art and Design in beautiful Savannah, Georgia, will host the event.
For a limited time you can review past issues of FATE in Review online. You can also find FATE Newsletters and information about submitting a paper for inclusion in the next issue of FATE in Review.
Historians of Islamic Art Association
The Historians of Islamic Art Association (HIAA) has elected Ladan Akbarnia to the position of secretary for the next two years. Akbarnia previously served as interim secretary in 2011. HIAA also would like to draw attention to the recent establishment of the Oleg Grabar Memorial Fund to support the annual award of Grabar Grants and Fellowships. This new program, in honor of the late eminent historian of Islamic art and architecture, is intended to encourage and further the professional development of graduate students and recent postdoctoral scholars in all areas of the history of Islamic art, architecture, and archaeology. Contributions from CAA members are most welcome. Instructions for contributing to the Grabar Memorial Fund can be found online.
Historians of Netherlandish Art
The Journal of Historians of Netherlandish Art, a peer-reviewed, open-access ejournal published by the Historians of Netherlandish Art, has announced its next formal deadline for the submission of manuscripts for articles: March 1, 2012. Please consult the journal’s submission guidelines and contact Alison Kettering for additional information.
International Association of Art Critics
The International Association of Art Critics (AICA) has elected Marek Bartelik as its new president during its general assembly in Asunción, Paraguay, on October 20, 2011. Bartelik succeeds Yacouba Konaté from Ivory Coast, who had served as AICA’s president since October 2008. Originally from Poland, Bartelik is the association’s fifteenth president. Previous presidents include: James Johnson Sweeney (American, 1957–63), René Berger (Swiss, 1969–75), Jacques Leenhardt (French, 1990–96), and Henry Meyric Hughes (British, 2002–8).
International Sculpture Center
The International Sculpture Center (ISC) seeks papers for the twenty-third International Sculpture Conference, called “Process, Patron, and Public” and taking place October 4–6, 2012, in Chicago, Illinois. The conference will bring together artists, educators, art administrators, museum directors, collectors, patrons, students, and sculpture enthusiasts to explore how sculpture becomes part of contemporary culture. ISC invites individuals to submit proposals for papers and panel discussions that can provoke critical exchange and debate in relation to the broad thematic areas referred to in the conference title. Presenters are encouraged to support opportunities for interaction among participants and to enable conference attendees to engage a truly international exchange of ideas and viewpoints. For more information, please call 609-689-1051, ext. 302.
Italian Art Society
The Italian Art Society (IAS) will hold its business meeting at the 2012 CAA Annual Conference on Friday, February 24, 7:30–9:00 AM in Concourse Meeting Room 406AB of the Los Angeles Convention Center. Those interested in Italian art and architecture from the prehistoric period to the present are welcome to attend. IAS congratulates the recipients of its 2012 travel grants: Karen Lloyd will present “A New Samson: Scipione Borghese and the Representation of Nepotism in the Vatican Palace” at CAA, and Kristin Huffman Lanzoni will speak on “Ducal Fraternity and Family Glory: Girolamo and Lorenzo Priuli” at the annual meeting of the Renaissance Society of America. IAS welcomes exhibition reviews, short articles, and announcements related to Italian art and architecture for its winter newsletter. Please send your contributions to the newsletter editor. Deadline: January 15, 2012. Please like IAS on Facebook.
Leonardo Education and Art Forum
The Leonardo Education and Art Forum (LEAF) has recently sponsored several events. The LEAF chair Patricia Olynyk and the former chair Ellen Levy hosted a post-Thanksgiving NY LASER (Art/Sci Salon) on Sunday, December 11, at Levy’s studio. To encourage deeper discussion, the meeting focused on summarizing projects presented at NY LASER events throughout 2011.
Paul Thomas, an international LEAF affiliate, moderated LEAF Education Workshops in collaboration with the Australian Forum at the 2011 International Symposium on Electronic Art in Istanbul, Turkey, and at Rewire, the fourth International Conference on the Histories of Media Art, Science, and Technology in Liverpool, England. The workshops focused on transdisciplinary visual arts, science and technology renewal, and post–new media assimilation.
The LEAF business meeting will be held at the 2012 CAA Annual Conference in Los Angeles on Thursday, February 23. Other panels of potential interest to Leonardo members include: “Is It Time to Question the ‘Privileging’ of Visual Art?” on Friday, February 24, chaired by Levy and Greta Berman of Juilliard School; “Headlines! Environmental News, Artist Presenters, Audience Respondents,” on Wednesday, February 22, chaired by Linda Weintraub of Artnow Publications; “Sustainable Futures: New Cultural Movements in Art and Ecology,” on Saturday, February 25, chaired by Olynyk; and a LEAF Education Roundtable, “Education at the Intersections of Art, Science, and Technology,” on Thursday, February 23, led by Eddie Shanken.
Mid-America College Art Association
The James Pearson Duffy Department of Art and Art History at Wayne State University will host the next Mid-America College Art Association (MACAA) conference, to be held October 3–6, 2012, in downtown Detroit, Michigan. Programming will include three featured speakers and numerous panels on art, design, art history, and visual resources, as well as studio workshops, MACAA member exhibitions, and museum visits. The conference will have two areas: “Meaning and Making” and “Community and Collaboration.” The call for session proposals, and for the MACAA membership exhibition, has been announced online.
National Council of Arts Administrators
The National Council of Arts Administrators (NCAA) held its 2011 annual meeting, called “Push/Pull: The Artistic Engine of Innovation,” from November 2–5, in Savannah, Georgia. The organization owes a debt of gratitude to the conference chair, Steve Bliss of the Savannah College of Art and Design, and to Carolyn Henne, NCAA’s executive director, for organizing a first-rate affair.
NCAA wishes to thank outgoing board members Cora Lynn Deibler of the University of Connecticut, Georgia Strange of the University of Georgia, and Carolyn Henne of Florida State University. Three new board members have been elected: Amy Hauft of Virginia Commonwealth University, Lydia Thompson of Mississippi State University, and Mel Ziegler of Vanderbilt University. Returning board members include: Andrea Eis of Oakland University, treasurer; Jim Hopfensperger of Western Michigan University, president; John Kissick of the University of Guelph; Sally McRorie of Florida State University; Kim Russo of the Ringling College of Art and Design, secretary; and Sergio Soave of Ohio State University.
Organizational activities at the 2012 CAA Annual Conference in Los Angeles include the annual NCAA reception, a lively forum for networking on issues related to arts leadership and management, to be held on Thursday, February 23, 5:30–7:30 PM. The session “Hot Problems/Cool Solutions in Arts Leadership” will be a series of five-minute presentations on problem solving and leadership, taking place on Friday, February 24, 12:30–2:00 PM. NCAA enthusiastically welcomes new members, current members, and all other interested parties to its events.
Society for Photographic Education
Registration is now open for the ninth annual conference of the Society for Photographic Education (SPE), called “Intimacy and Voyeurism: The Public/Private Divide in Photography” and taking place March 22–25, 2012, in San Francisco, California. Join over one thousand artists, educators, and photographic professionals for presentations, industry seminars, and critiques designed to stimulate and engage. Explore a fair of over seventy exhibitors showcasing the latest equipment, processes, publications, and schools with photo-related programs. Participate in one-on-one portfolio critiques or informal portfolio sharing. For reduced admission, take advantage of student volunteer opportunities. Other conference highlights include a print raffle, silent auction, film screenings, exhibitions, tours, receptions, and a dance party. Sally Mann will be the keynote speaker; other featured speakers include Sharon Olds and Trevor Paglen. Preview the conference schedule and register online.
Society for the Study of Early Modern Women
At its most recent annual meeting, held on October 20, 2011, the Society for the Study of Early Modern Women (SSEMW) formally announced the recipients of its awards for books, catalogues, articles and other scholarship published in 2010. The Book Award went to Margaret P. Hannay, Mary Sidney, Lady Wroth (Burlington, VT: Ashgate, 2010); Honorable mention was awarded to Marie-Louise Coolahan, Women, Writing and Language in Early Modern Ireland (New York: Oxford University Press, 2010). The Collaborative Project award went to Caroline Bicks and Jennifer Summit, eds., The History of British Women’s Writing, Volume 2: 1500–1610 (New York: Palgrave Macmillan, 2010). The Josephine A. Roberts Scholarly Edition was awarded to Michael G. Brennan, Noel J. Kinnamon, and Margaret P. Hannay, eds., The Correspondence (ca. 1626–1659) of Dorothy Percy Sidney, Countess of Leicester (Burlington, VT: Ashgate, 2010). The Translation or Teaching Edition award was given to Domna Stanton and Rebecca Wilkin, eds., for Gabrielle Suchon, A Woman Who Defends All the Persons of Her Sex: Selected Philosophical and Moral Writings (Chicago: University of Chicago Press, 2010); Honorable Mention went to David F. Hult, ed., for Chirstine de Pizan, Debate of the “Romance of the Rose” (Chicago: University of Chiciago Press, 2010). The award for Essay or Article went to Paula McQuade, “A Knowing People: Early Modern Motherhood, Female Authorship, and Working-Class Community in Dorothy Burch’s“A Catechism of the Several Heads of the Christian Religion,” Prose Studies 32, no. 3 (December 2010): 167–86; Honorable Mention went to Allyson M. Poska, “Babies on Board: Women, Children and Imperial Policy in the Spanish Empire,”Gender and History 22, vol. 2 (August 2010): 269–83. Finally, for Arts and Media, the award was given to the compact disc for La Donna Musicale, with Laury Gutierrez (director), Julianne Baird (soprano), and Renee Rapier (contralto), Anna Bon: La virtuosa di Venezia.
Society of Architectural Historians
Registration will open January 4, 2012, for the sixty-fifth annual meeting of the Society of Architectural Historians (SAH), to be held in Detroit, Michigan, April 18–22, 2012. The conference will present more than 140 scholarly papers and thirty-five special thematic sessions. The local committee has planned numerous tours of Detroit and cities in the surrounding region, including Cranbrook, Dearborn, and Ann Arbor. A daylong preservation seminar will examine the challenges of “right-sizing” this historic city in light of its current economic pressures and shrinking population. At the meeting, SAH will launch a revised edition of its award-winning book, Buildings of Michigan, as well as a new online encyclopedia of American architecture called SAH Archipedia. Developed in collaboration with the University of Virginia Press, SAH Archipedia is a richly illustrated database of all the building histories, illustrations, maps, sidebars, interpretive essays, glossaries, and bibliographies contained in fifteen authoritative books produced as part of SAH’s Buildings of the United States series. SAH Archipedia will be available to individual SAH members and to the public through library subscriptions. Concurrently, SAH will launch an open-access version of the database, SAH Archipedia Classic Buildings, which will contain a subset of one hundred of the most representative buildings from each state.
Visual Resources Association
The Visual Resources Association (VRA) will host the session “Paint, Prints and Pixels: Learning from the History of Teaching with Art” at the 2012 CAA Annual Conference in Los Angeles, Thursday, February 23, 12:30–2:00 PM. The session will explore how historic and current imaging paradigm shifts have informed twenty-first-century classroom teaching; the implications of increased access to digital images; intersections of photographic and scientific technologies; interdisciplinary uses of images for teaching and research; and recently developed visual literacy competency standards. The session will conclude with a question-and-answer session.
Online registration starts on December 7, 2011 for the thirtieth annual VRA conference, to be held in Albuquerque, New Mexico, April 18–21, 2011. Headquartered at the Hotel Albuquerque in historic Old Town, the conference is within easy walking distance to restaurants, museums, and notable landmarks. As part of the “Broadening Horizons” theme, the opening speaker will be Todd Martin, the founder of Tagasauris, an online image-tagging source. Amy Herman, who uses art to teach observation and communication skills, will deliver the closing talk at the conference.
Women’s Caucus for Art
This year marks the fortieth anniversary of the Women’s Caucus for Art (WCA), a momentous occasion not only for WCA but for all women. For forty years, WCA has fought to ensure the future of women in the arts. The 2012 WCA conference—a diverse celebration that will include panels, speakers, exhibitions, bus tours, workshops, awards, and a gala—will be held February 23–27, 2012, in Los Angeles, in conjunction with the 2012 CAA Annual Conference.
On Thursday, February 23, 7:30–10:00 PM, WCA will present its first Media Award to the filmmaker and feminist Lynn Hershman Leeson. The event will be held at the Democracy Center at the Japanese American National Museum and includes a presentation of the award, a viewing of her film !Women Art Revolution, and a dessert reception. This is a ticketed event. On Saturday, February 25, 6:00–7:30 PM at the Kyoto Hotel, the WCA Lifetime Achievement Awards and Gala will honor Whitney Chadwick, Suzanne Lacy, Ferris Olin, Trinh T. Minh-ha, and Bernice Steinbaum, as well as the recipients of the President’s Art and Activism Award: Karen Mary Davalos and Cathy Salser. The awards presentation is free and open to the public. The Momentum Gala will be held from 8:00 to 10:00 PM at Japanese American National Museum. The gala includes three food stations and an open bar, an opportunity to meet the awardees and to network, tours of the museum, and the kickoff of the Sylvia Sleigh Legacy campaign. This is a ticketed event.