CAA News Today
Exhibitions Curated by CAA Members
posted by CAA — Feb 15, 2011
Check out details on recent shows organized by CAA members who are also curators.
Exhibitions Curated by CAA Members 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 2011
Jean François Millet, Dandelions, 1867–68, pastel on tan wove paper, 16 x 19¾ in. Museum of Fine Arts, Boston. Gift of Quincy Adams Shaw through Quincy Adams Shaw, Jr., and Mrs. Marian Shaw Haughton (artwork in the public domain; photograph © Museum of Fine Arts, Boston)Helen Burnham. Millet and Rural France. Museum of Fine Arts, Boston, September 4, 2010–May 30, 2011.
Jill Moser, And Aenigma Was His Name, O!, page from The Introvert, 2010, I/XII, unique hand-painted collaborative artist’s book on BFK Rives paper, 13 x 19½ in. (open dimension). Poetry by Charles Bernstein and drawing by Jill Moser. Gervais Jassaud of Collectif Generation, Paris (photograph by Mary Benyo and provided by the artist)Judith Tolnick Champa. Extravagant Drawing. Dorsky Gallery Curatorial Programs, Long Island City, New York, February 6–April 10, 2011.
Vincent Raymond de Lodève, Initial ‘O’ with St. Clement I Pope and Martyr from Sistine Chapel Antiphonary, 1539, tempera and gold on parchment, 148 x 145 mm. Chazen Museum of Art, Richard R. and Jean D. McKenzie Endowment Fund purchase, 2001.30 (artwork in the public domain)Maria Saffiotti Dale. Hidden Treasures: Illuminated Manuscripts from Midwestern Collections. Chazen Museum of Art, Madison, Wisconsin, December 18, 2010–February 27, 2011.
Lucy Farley, nine-in-one sampler rug, 1980, 66 x 65 in. Work pledged to the Heard Museum (artwork © Lucy Farley; photograph provided by the Santa Fe Collection)Ann Lane Hedlund. A Turning Point: Navajo Weaving in the Late Twentieth Century. Heard Museum, Phoenix, Arizona, February 5–May 22, 2011.
Judith Keller with the assistance of Alana West. Photography from New China. J. Paul Getty Museum, Los Angeles, California, December 7, 2010–April 24, 2011.
Michele White. Vija Celmins: Television and Disaster, 1964–1966. Menil Collection, Houston, Texas, November 19, 2010–February 20, 2011.
Art Journal Seeks Editor-in-Chief and Two Editorial-Board Members
posted by CAA — Feb 01, 2011
Art Journal, issued quarterly by CAA, publishes informed discussion about issues across disciplines in twentieth- and twenty-first-century art, nationally and internationally.
Art Journal Editor-in-Chief
CAA invites nominations and self-nominations for the next editor-in-chief of Art Journal, to serve a three-year term: July 1, 2012–June 30, 2015, with service on the Art Journal Editorial Board in 2011–12 as editor designate and in 2015–16 as past editor. A candidate may be an artist, art historian, art critic, art educator, curator, or other art professional; institutional affiliation is not required.
Working with the editorial board, the editor-in-chief is responsible for the content and character of the journal. He or she solicits content, reads all submitted manuscripts, sends submissions to peer reviewers, and provides guidance to authors concerning the form and content of submissions. The editor-in-chief also develops projects, makes final decisions regarding content, and may support fundraising efforts on the journal’s behalf. He or she works closely with CAA’s staff in New York.
The editor-in-chief attends the three annual meetings of the Art Journal Editorial Board—held twice in New York in the spring and fall and once at the Annual Conference in February—and submits an annual report to CAA’s Publications Committee. CAA reimburses the editor for travel and lodging expenses for the two New York meetings in accordance with its travel policy, but the editor pays his or her own expenses for the Annual Conference.
The position usually requires one-half of a person’s working time. CAA provides financial compensation for course release, usually to an editor’s employer.
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 at least one letter of recommendation to: Art Journal Editor-in-Chief Search, College Art Association, 275 Seventh Avenue, 18th Floor, New York, NY 10001; or email the documents to Alex Gershuny, CAA editorial associate. Deadline: March 25, 2011; finalists will be interviewed on Thursday, April 28, 2011, in New York.
Art Journal Editorial Board
CAA invites nominations and self-nominations for two individuals to serve on the Art Journal Editorial Board for a four-year term: July 1, 2011–June 30, 2015. Candidates are individuals with a broad knowledge of modern and contemporary art; institutional affiliation is not required.
The editorial board advises the editor-in-chief of Art Journal 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 reviews 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 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 their own expenses for the conference.
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 letter describing your interest in and qualifications for appointment, a CV, and your contact information to: Chair, Art Journal Editorial Board, College Art Association, 275 Seventh Avenue, 18th Floor, New York, NY 10001; or email the documents to Alex Gershuny, CAA editorial associate. Deadline: April 15, 2011.
Updated on February 24 and March 30, 2011.
WILLIAM TABLER AND THE NEW YORK HILTON
posted by Christopher Howard — Jan 18, 2011
The following text by Benjamin Lima, assistant professor of art history at the University of Texas at Arlington, was originally published on February 13, 2007, as part of the CAA Conference Blog. At the time of writing, Lima was a PhD candidate in the history of art at Yale University in New Haven, Connecticut.
The Hilton New York in 2011 (photograph by Christopher Howard)
For as long as I’ve known, when CAA meets in New York, it meets at the Hilton. In spite of its familiarity, however, the hotel itself has been something of a mystery to me. In honor of the 2007 Conference Blog, I wanted to find out what the internet could disclose about the Annual Conference’s triennial home.
The 1963 hotel was designed by William Tabler (1914–2004), a highly prolific midcentury hotel designer, who nonetheless doesn’t make it into most capsule histories of the period. The AIA New York guide credits Tabler with a few entries, not including the Hilton. Neither Kerr Houston’s review of Annabel Jane Wharton’s book on Hilton International hotels and modern architecture, nor Wharton’s article on Hilton in the New Statesman, mention Tabler, although his firm seems to have done a lot of international work.
The firm’s website has a period press photograph [no longer extant] of the New York Hilton, with the building’s base looking a lot cleaner than it does today. (It’s hard to tell if that’s an artifact of the photograph). At the online City Review, Carter B. Horsley calls the low-rise base “not at all attractive,” although he praises the tower.
Great Gridlock reports on works by three artists which have adorned the hotel: Philip Pavia’s bronze sculpture Ides of March in the driveway (although the work hasn’t been there since 1988); Ibram Lassaw’s fifteen-foot Elysian Fields in the promenade; and James Metcalf’s sculpture in the lobby. This is a reminder of upper midtown’s heyday as a gallery district; around this time, Lassaw showed at Kootz, and Metcalf at Loeb.
James Metcalf sculpture in the Hilton lobby (photograph by Christopher Howard)
The free archives of Time Inc. reveal some striking period touches in similar hotels. For instance, at Tabler’s San Francisco Hilton, guests would enter via the garage, “get their room keys by pneumatic tube from the main lobby, zoom up the spiral ramp, and start looking for their room number when the floor beneath the car matches the color of the key tab.” In New York, Tabler “fitted out a service elevator as a speedy, efficient pantry for Continental breakfasts: one man, instead of the usual three, takes an order on the telephone, warms rolls and pours coffee while the elevator moves, then delivers it to the proper floor.” (The same article notes that “Few Tabler hotels win design prizes….”)
In keeping with the no-nonsense persona that emerges from the limited number of sources examined so far, the only Time article written by Tabler himself is entitled “Why U.S. Housing Costs Too Much,” and a short profile of the “balding, cherubic” Tabler is called “Hotels: With a View of the Dollar,” which vividly relates Tabler’s genius for parsimony. This inspired a Swiftian letter from S. W. Burnett of Chicago, who began: “Hotel Designer William Benjamin Tabler and his moneysaving ideas [Aug. 6] intrigued me. Permit me to suggest a few more such economies. Instead of a bed, supply a cot 3 ft. by 6 ft. suspended from the wall. The room need then be only one foot wider and longer than the cot….”
In conclusion, nominations are invited for the most appropriate actor to play William Tabler, who surely deserves at least a small part in the epic film version of CAA’s history.
Affiliated Society News for January 2011
posted by CAA — Jan 09, 2011
American Institute for Conservation of Historic and Artistic Works
The American Institute for Conservation of Historic and Artistic Works (AIC) has appointed two new members to its board of directors. Beginning three-years terms are Ingrid Bogel, executive director of the Conservation Center for Art and Historic Artifacts in Philadelphia, Pennsylvania, and Jeanne Drewes, chief of binding and collections care in the Preservation Directorate at the Library of Congress in Washington, DC. Bogel and Drewes will help the board to implement a new three-year strategic plan that includes expanding and strengthening the organization’s core educational purposes, building awareness and advancing support of the conservation profession, and strengthening AIC’s organization and structure.
Art Historians Interested in Pedagogy and Technology
Art Historians Interested in Pedagogy and Technology (AHPT) has announced two new officers: Marjorie Och, professor of art history at the University of Mary Washington in Fredericksburg, Virginia, has become president; and Sarah Scott, assistant professor of art history at Wagner College in Staten Island, New York, is secretary.
The AHPT business meeting will take place at the CAA Annual Conference on Wednesday, February 9, 7:30–9:00 AM in Gibson Room, 2nd Floor, Hilton New York. Immediately following the meeting is the AHPT-sponsored session, “Technology and Collaboration in the Art History Classroom,” chaired by Och and featuring Susan Healy, Frances Altvater, Janice Lynn Robertson, and Eva J. Allen.
AHPT has recently become an affiliated society of the Southeastern College Art Conference and plans to sponsor sessions at that organization’s annual meeting in addition to those at the CAA conference.
Arts Council of the African Studies Association
Trevor H. J. Marchand’s The Masons of Djenné won the Herskovits Award from the African Studies Association
A book on African expressive culture, Trevor H. J. Marchand’s The Masons of Djenné (Bloomington: Indiana University Press, 2009), shared the 2010 Melville J. Herskovits Award, given by the African Studies Association for an outstanding original scholarly work on Africa. A member of the Arts Council of the African Studies Association (ACASA), Marchand is senior lecturer in social anthropology at the School of Oriental and African Studies, University of London. (The cowinner is Adeline Masquelier, Women and Islamic Revival in a West African Town.) Last year’s Herskovits Award was given to Sylvester Okwunodu Ogbechie for Ben Enwonwu: The Making of an African Modernist (Rochester, NY: University of Rochester Press, 2008).
Association for Textual Scholarship in Art History
The Association for Textual Scholarship in Art History (ATSAH) will sponsor a session, called “Symbolism, Its Origins, and Its Consequences II,” at CAA’s upcoming Annual Conference and under the umbrella of Art, Literature, and Music in Symbolism and Decadence, a newly formed society. Taking place on Thursday, February 10, 12:30–2:00 PM, in Sutton Parlor North, Hilton New York, the session seeks to foster a dialogue among scholars on the origins and consequences of the Symbolist movement in art, literature, and music following an international conference, “The Symbolist Movement: Its Origins and Its Consequences,” held at the University of Illinois’ Allerton Park and Retreat Center in Monticello in April 2009. The CAA papers address topics that span the fifteenth through the twentieth century and cross a number of disciplines such as the visual arts, music, literature, and philosophy, with a particular focus on the different ways in which artists associated with Symbolism have engaged with artistic tradition and referred to other forms of expression in their quest to develop new forms and to illuminate the many facets of aesthetic experience. Chaired by Rosina Neginsky and Deborah H. Cibelli, the session features papers by Brendan Cole, Cassandra Sciortino, Leslie Steward Curtis, and Davide Lacagnina. Please see the Conference Program for full details.
Also at the CAA conference, ATSAH will hold its business meeting on Friday, February 11, 12:30–2:00 PM at the Hilton New York, Gramercy A, 2nd Floor. All members are welcome to attend the discussion.
Association of Historians of American Art
The Association of Historians of American Art (AHAA) has announced a new board cochair: Jenny Carson, assistant professor in the Department of Art History, Theory, and Criticism at Maryland Institute College of Art in Baltimore. She assumes the role at the upcoming CAA Annual Conference.
Jeffrey Weidman, senior librarian in the Spencer Art Reference Library at the Nelson-Atkins Museum of Art in Kansas City, Missouri, has provided a set of useful, extensive links, called Web Resources for American Art, which covers work up to 1945. In August, 2010, Choice magazine gave the compilation a three-star rating, highly recommending it.
AHAA is sponsoring two sessions at the CAA Annual Conference in New York. Chaired by Melanie Herzog and Frances Pohl, the first, “(Re)Collecting Memory: Oral History as Testimony of Lived Experience,” takes place on Thursday, February 10, 2011, 12:30–2:00 PM, Hilton New York, Gibson Room, 2nd Floor. Participants are Avis Berman, Theresa Leininger-Miller, Margo Machida, and Liza Kirwin. The second session, “Color and Nineteenth-Century American Painting,” chaired by Peter John Brownlee, is scheduled for Friday, February 11, 2011, 2:30–5:00 PM, Hilton New York, Madison Suite, 2nd Floor. Speakers are Lance Mayer, Gay Myers, Adrienne Baxter Bell, Michael Rossi, Matthew Bailey, and Maggie M. Cao; serving as the discussant is David Bjelajac.
Just before the second session is the AHAA business meeting, taking place on Friday, February 11, 2011, 12:30–2:00 PM, Hilton New York, Regent Parlor, 2nd Floor. Light refreshments will be served. All members and interested parties are invited to attend the meeting and two sessions.
Association of Historians of Nineteenth-Century Art
The annual business meeting for the Association of Historians of Nineteenth-Century Art (AHNCA) will take place at the CAA Annual Conference in New York on Thursday, February 10, 5:30–7:00 PM at the Hilton New York, Regent Parlor, 2nd Floor. Elections will be held for president, program coordinator, and members-at-large.
Also at the CAA conference, AHNCA members are also invited to take part in a private visit to the New York Public Library Prints and Photographs Study Room on Wednesday, February 9, 2011, 11:00 AM–12:30 PM. The curators Stephen Pinson and David Christie will introduce highlights and rarely exhibited holdings in the library’s extensive collection of prints and photographs. Among other things, Christie plans to show prints related to the 1853 World’s Fair in New York as well as works by both well-known and not-so-famous “heroes of print.” There is no cost for AHNCA members, but space is limited. Please contact Elizabeth Mansfield before January 15 to reserve your place.
AHNCA now publishes its membership directory online as a searchable PDF. The Newsletter is also sent electronically. Members who do not have email will continue to receive a hardcopy by post.
Foundations in Art: Theory and Education
Foundations in Art: Theory and Education (FATE) and the Mid-America College Art Association, another CAA affiliated society, will present a joint conference, called “ON STREAM,” at the Ball Park Hilton in St. Louis, Missouri. Taking place March 30–April 2, 2011, the conference will explore how artists and teachers develop and foster creativity in the second decade of the third millennium. For more details, visit the FATE website or contact Jeff Boshart, conference coordinator.
Historians of British Art
The Historians of British Art (HBA) will host a special panel of “Young Scholars, Works in Progress” during the HBA business meeting at the CAA Annual Conference on Friday, February 11, 7:30–9:00 AM. The meeting will be held at the Hilton New York, Bryant Suite, 2nd Floor. Informal audience discussion will follow three fifteen-minute presentations: Amanda Lahikainen, “‘British Asignats’: Satirical Representation and the Politicization of Paper Currency in 1797”; Keren Hammerschlag, “Artistic Scientists and Scientific Artists at the British Royal Academy 1860–1900”; and Emily Davis, “British Literary Periodicals Transform the Female Form in Turn-of-the-Century Glasgow.” All are welcome to attend.
Historians of Islamic Art Association
The Historians of Islamic Art Association (HIAA) has announced the election of Sheila Canby, Patti Cadby Birch Curator in Charge of the Department of Islamic Art at the Metropolitan Museum of Art in New York, as president-elect.
The annual majlis, or meeting, takes place at Hunter College in New York on February 12, 2011, 1:00–5:30 PM in the Lang Auditorium, North Building. Details of the program are published online. The HIAA business meeting and reception follow the presentations.
International Association of Word and Image Studies
The International Association of Word and Image Studies (IAWIS) recently sponsored an international conference devoted to the emerging theme of architecture and fiction, called “Once upon a Place: Haunted Houses and Imaginary Cities,” that took place October 12–14, 2010, in Lisbon, Portugal. The conference tackled the reciprocal influences between architecture and fiction, whether they appear under literary forms or other means related to visual narratives and popular culture. Questions that were addressed included: What kinds of stories do spaces and buildings tell us? What insights into architectural knowledge and experience can literary forms convey? Are designs, buildings, and cities a fabrication on the world? Does form follows fiction? Can fiction foresee architecture and urban futures? The program gathered over thirty papers by architects, scholars, and artists. Among the presenters were Alberto Manguel, Colin Fournier, Kazys Varnelis, Ângela Ferreira, Gonçalo M. Tavares, Jane Rendell, François Schuiten, and Benoît Peeters. An associated event of the 2010 Lisbon Architecture Triennale, the IAWIS conference was a joint initiative of CIAUD/Faculty of Architecture Universidade Técnica de Lisboa, with the collaboration of CUC-Centro Cultura Urbana Contemporânea and the Fundação Calouste Gulbenkian
The next IAWIS conference, “Imaginary/L’imaginaire,” will take place in Montreal, Quebec, this summer: August 22–26, 2011.
Leonardo Education and Art Forum
As part of its collaboration with the conferences Media Art History and SIGGRAPH, Leonardo Education and Art Forum (LEAF) seeks participants for “Media Art History 2011: Rewire,” the fourth international conference on the histories of media art, science, and technology. The event will be held in Liverpool, England, from September 28 to October 1, 2011. The call for papers is now open. Deadline: January 31, 2011.
LEAF also encourages the submission of papers and/or digitally mediated art for SIGGRAPH in Vancouver, British Columbia. In addition, selected works will be published in a special issue of Leonardo: Journal of the International Society of the Arts, Sciences and Technology. Deadline: January 14, 2011.
National Council of Arts Administrators
Jim Hopfensperger of the Gwen Frostic School of Art at Western Michigan University in Kalamazoo was elected president of the board of directors at the recent annual conference of the National Council of Arts Administrators (NCAA), held November 17–20, 2010, in Austin, Texas. In addition, Kim Russo of the Ringling College of Art and Design in Sarasota, Florida, and Sergio Soave from the Department of Art at Ohio State University in Columbus, were elected to three-year terms as board members.
At the upcoming CAA Annual Conference in New York, NCAA will present a session, called “‘Will You Friend Me?’ Social Media Possibilities, Responsibilities, and Challenges in Art Administration and Teaching,” on Friday, February 11, 5:30–7:30 PM. The four participants—Cora Lynn Deibler, Andrea Eis, Kim Russo, and Georgia Strange—will present a panel on the uses and abuses of social media and cloud computing in the academic environment.
Also at the CAA conference, join NCAA for its annual reception on Thursday, February 10, 5:30–7:30 PM, for networking and dialogue. See the Conference Program for the exact location of the reception in the Hilton New York. NCAA welcomes current members, new members, and innocent bystanders to all events.
Public Art Dialogue
Anne Pasternak has received Public Art Dialogue’s annual award (photograph by Timothy Greenfield-Sanders and provided by Creative Time)
Public Art Dialogue (PAD) is pleased to announce the recipient of its 2011 Award for Achievement in the Field of Public Art: Anne Pasternak, president and artistic director of Creative Time, based in New York. PAD will honor her immediately after a brief business meeting to be held at the CAA Annual Conference, on Friday, February 11, 5:30–7:00 PM in Gramercy A, 2nd Floor, Hilton New York. On receipt of the award, Pasternak will discuss the ongoing need for activist art in the public realm. Her talk will be followed by a brief conversation with Harriet F. Senie, PAD cochair, about Senie’s favorite projects. After the discussion, audience members may join the dialogue. This meeting and award presentation are free and open to the public. PAD gives the annual award to an individual whose contributions have had profound influence on the field, and its winners receive honorary lifetime PAD membership. The artist Suzanne Lacy was the inaugural award winner, in 2009. Last year, PAD recognized the achievements of the curator Mary Jane Jacob.
The latest newsletter for Public Art Dialogue (PAD) newsletter has been published online. This issue contains information about the upcoming launch of the journal Public Art Dialogue, edited by Cher Krause Knight and Harriet F. Senie, which will be available in early 2011. Subscription to Public Art Dialogue—at a discounted rate—is a benefit of organizational membership. The newsletter also details the inaugural PAD Portfolio Reviews, to be held during the CAA conference in New York. For further information, please write to Juilee Decker, PAD membership coordinator.
Radical Art Caucus
Celebrate the tenth birthday of the Radical Art Caucus (RAC) with a slice of cake at the annual reception, held at the CAA Annual Conference on Friday, February 11, 5:30–7:00 PM; see the Conference Program for the exact location. RAC will also discuss questions of unions and academic labor and make strategic plans for CAA’s 2012 and 2013 meetings. Don’t miss the RAC-sponsored sessions: “Video Art as Mass Medium,” chaired by Benj Gerdes and Nate Harrison; and “Environmental Sustainability in Art History, Theory, and Practice,” organized by Travis Nygard, RAC copresident. Look out for updates on the RAC Facebook page or contact Joanna Gardner-Huggett, RAC secretary, if you have any additional questions or news to share.
Society for Photographic Education
The Society for Photographic Education (SPE) forty-eighth national conference, called “Science, Poetry, and the Photographic Image,” will examine the confluence of the ideologies of scientists and poets in the context of photography. To be held March 10–13, 2011, at the Sheraton Atlanta Hotel in Georgia, the conference will feature presentations from artists, educators, historians, and curators, as well as one-on-one portfolio critiques and informal portfolio sharing, a print raffle and silent auction, and film screenings, exhibitions, tours, and receptions. Speakers include Abelardo Morell, Catherine Wagner, Carolyn Guertin, Justine Cooper, and more. Student volunteers receive discounted admission.
Society of North American Goldsmiths
Registration opened on January 11, 2011, for the Society of North American Goldsmiths (SNAG) conference, “FLUX,” taking place May 26–29, 2011, in Seattle, Washington. Hosted by the Seattle Metals Guild and sponsored by Rio Grande, the conference includes two important programs with conference registration: the Education Dialogue, a three-hour session that gives educators a place to discuss the current issues they are facing in academia; and the Professional Development Seminar, a three-hour event providing concrete information that will change the way you approach your work and the way you do business. Review the full conference schedule, available as a PDF. Register now for the Demo Days preconference workshops produced by the Seattle Metals Guild; only eighty tickets will be sold. Student, educator, and guild registration grants and discounts are available. For more information, please write to SNAG.
Visual Resources Association
The Visual Resources Association (VRA) and the Art Libraries Society of North America (ARLIS/NA) will hold their second annual joint conference March 24–28, 2011, in Minneapolis and St. Paul, Minnesota. With the theme “Collaboration: Building Bridges in the 21st Century,” the conference will provide a two-in-one opportunity for attendees to obtain cutting-edge information about current trends in the book and image realms. In addition to pertinent sessions, exhibitions, and workshops, the full schedule includes several exciting events that are planned throughout the culturally vibrant Twin Cities. Experience an Italian Renaissance architectural gem by attending the fundraising “Founders’ Fête” at the historic Gale Mansion. Afterward, the Minneapolis Institute of Art will open its doors for attendees to view the exhibition, Titian and the Golden Age of Venetian Painting: Masterpieces from the National Galleries of Scotland. The welcome party, called “The Icebreaker,” will take place at the Walker Art Center. Conference attendees can also experience artists’ collaboratives focused on book arts, printmaking, and ceramics or take architectural tours.
Women’s Caucus for Art
Join the Women’s Caucus for Art (WCA) for its 2011 annual conference, “LIVE SPACE: women + art + activism,” with events running concurrently with the CAA Annual Conference in New York. For a morning of networking, sharing work, performances, videos, and panels, please visit the WCA Live Space Confab on Thursday morning, February 10, 2011, 8:00 AM–NOON at the Hilton New York, New York Suite, 4th Floor.
Later that day (5:30–7:00 PM), head uptown for the artists’ reception for Sanctuaries in Time, an exhibition of the Jewish Women Artist Network (a WCA caucus) at Columbia/Barnard Hillel, Kraft Center for Jewish Student Life, 606 West 115th Street. The show is on view January 21–March 1. Also on Thursday, the Young Women’s Caucus will present What Young Women Artists Want at Raandesk Gallery of Art, 16 West 23rd Street, 4th Floor (7:00–9:00 PM). This event will showcase independent films from members and allies of the Young Women’s Caucus, a moving canvas of theater pieces in a collaborative gallery setting, and outdoor flash mob art performances. From 6:00 to 9:00 PM, a reception for Control, a traveling exhibition from WCA’s South Bay and Peninsula chapters, will be held at Ceres Gallery, 547 West 27th Street, Suite 201.
On Friday, February 11, New Century Artists will host a reception for Hidden Cities, the WCA national juried exhibition, that will take place 7:00–9:00 PM at the gallery at 530 West 25th Street. Lisa Phillips, director of the New Museum of Contemporary Art in New York, juried the exhibition.
CAA Announces the Recipients of the 2011 Awards for Distinction
posted by Christopher Howard — Jan 05, 2011
CAA has announced the recipients of the 2011 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 ceremony to be held during the 99th Annual Conference in New York, on Thursday evening, February 10, 2011, 6:00–7:30 PM, at the Metropolitan Museum of Art. Led by Barbara Nesin, president of the CAA Board of Directors, the ceremony will take place in the Grace Rainey Rogers Auditorium (use the 83rd Street entrance) and precede the Centennial Reception in the museum’s Great Hall and Temple of Dendur (7:30–9:00 PM). In connection with CAA’s one-hundredth anniversary, past recipients of each award will introduce the winners of the same award, bringing past and present together. The awards ceremony is free and open to the public; tickets for the reception are $35. RSVP to the event on Facebook.
In addition, Nesin, will formally introduce the five recipients of CAA’s 2010–11 Professional-Development Fellowships in the Visual Arts: Alma Leiva, Sheryl Oring, Brittany Ransom, Mina T. Son, and Amanda Valdez. This fellowship program awards grants to outstanding MFA students who are nearing graduation. She will also has also recognized five additional artists who have received honorable mentions: Maria Antelman, Caetlynn Booth, Gregory Hayes, Ashley Lyon, and Georgia Wall.
The 2011 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, art historians, students, and arts professionals in the United States.
Distinguished Artist Award for Lifetime Achievement
Lynda Benglis
For more than forty years, Lynda Benglis has challenged prevailing views about the nature and function of art, producing sculpture, painting, video, photography, and installation that demonstrate extraordinary breadth and invention. She models the life of an artist lived according to the rhythm of her own creativity and curiosity, rather than to the beat of fashion or the market and its enormous but inconstant rewards. Benglis’s career inspires younger artists, not because she was a star as a young artist, or because she has now begun to be recognized as a major artist at a later date. Her work has been and continues to be an ever-shifting monument to the body in motion, as she herself continues to change and grow as an artist. Her retrospective exhibition, Lynda Benglis, opens at the New Museum of Contemporary Art in New York on February 9.
Artist Award for Distinguished Body of Work
John Baldessari
Few artists of the postwar era are so influential—or so elusive of definition—as John Baldessari, who has made extraordinary contributions in such wide-ranging registers as Conceptualism, appropriation, and art education. This seeming paradox—in which the artist at once towers over contemporary art and often slips through its cracks (while also prompting his students to seek new alternatives)—no doubt arises, at least in part, from his subtle wit. This year’s retrospective exhibition, John Baldessari: Pure Beauty, which opened at Tate Modern in London, appeared at the Los Angeles County Museum of Art, and ends its tour at the Metropolitan Museum of Art in New York (on January 9), firmly establishes his preeminence over the course of five decades of artistic production.
Distinguished Lifetime Achievement Award for Writing on Art
Mieke Bal
The protean career of Mieke Bal, Royal Academy of Arts and Sciences Professor at the University of Amsterdam, has traversed many fields in the humanities. Emerging as a brilliant biblical scholar with path-breaking books that explored the gendered nature of Old Testament narratives, Bal became a star in literary criticism with the English translation of her 1977 book Narratology (1985). Ever curious and creative, her interests then migrated to art history, where she rapidly challenged established methodological conventions with Reading Rembrandt: Beyond the Word Image Opposition (1991) and Quoting Caravaggio: Contemporary Art, Preposterous History (1999)—not to mention her well-known essay “Semiotics and Art History,” coauthored with Norman Bryson and published in The Art Bulletin (1991). Applying philosophical principles to an enterprise too often obsessed with empirical “evidence,” Bal provocatively rethinks the status of artistic authorship, the nature of the text/image relationship, the structure of text/context relationships, and the character of historical time.
Frank Jewett Mather Award
Luis Camnitzer
Luis Camnitzer has translated his tricultural perspective—born in Germany, raised and educated in Uruguay, and a participant in the New York art world—into a tripled practice. As an artist, teacher, and critic, he has lucidly addressed the aesthetic, social, and political conundrums of our times with firm but low-key authority. His latest collection of writings, On Art, Artists, Latin America, and Other Utopias (Austin: University of Texas Press, 2009), speaks incisively to issues of cultural displacement, transnational aesthetics, and the peripheral condition of contemporary art. Written originally for international art journals, exhibition catalogues, and academic conferences, the essays, which date from 1969 to 2007, assume a universal address, and Camnitzer’s intricate perception, laced with humor and irony but not dependent on them, allows him reasoned closeness to, and passionate distance from, his myriad topics.
Distinguished Feminist Award
Faith Ringgold
Faith Ringgold has been a forceful voice for feminism, successfully and gracefully encapsulating crucial issues of race despite the often-contentious relationship between gender and race in enfranchisement movements over the last four decades. Her work not only captures the strength of black women in fighting slavery, oppression, and sexual exploitation, but it also chronicles the dreams of black women who sought to transcend circumstance and find a brighter future. Ringgold’s American People paintings (1963–67) and Black Light series (begun in 1967) sought to examine how traditional color values could be modified for black subjects. From there she explored traditions of “women’s work” in fabric, first in collaboration with her late mother and then in her Story Quilts, which have become her signature statement. As a committed activist, Ringgold was a founder of Women, Students, and Artists for Black Liberation and a cofounder and member of Where We At, a collaborative of black women artists in the 1970s and 1980s.
Distinguished Teaching of Art Award
William Itter
William Itter’s gifted teaching approach, dedication to the instruction of freshman students, and curricular innovations in foundations have had a momentous, immeasurable impact on art pedagogy for more than fifty years. During his tenure as director of the Fundamentals Studio Program at Indiana University in Bloomington, which he joined in 1969, Itter has mentored several generations of graduate students with insight and commitment, turning them into great artists and teachers from a time when the MFA degree was in its infancy to the present day. In a unique pedagogical approach, he has regularly and generously shared his museum-quality collection of ceramics, textiles, baskets, and sculpture with his students as pedagogical tools to help them understand how visual languages have manifested across cultures and times. Now professor emeritus of fine arts, Itter continues to exhibit his own painting and drawing in prestigious venues nationwide.
Distinguished Teaching of Art History Award
Patricia Hills
An active, gifted teacher, faithful mentor, and valued colleague, Patricia Hills has maintained a prodigious career, producing scholarship that has profoundly shaped the history of American art and visual culture. Her textbook Modern Art in the USA: Issues and Controversies of the Twentieth Century (2001) has become standard reading in the field, and her work on Jacob Lawrence, Alice Neel, Stuart Davis, John Singer Sargent, and Eastman Johnson is highly esteemed. As professor of art history at Boston University, she is a creative, active, and engaged classroom leader who has developed an innovative style of teaching that emphasizes intellectual role-playing and demonstrates striking methodological openness. Hills’s admirable commitment to the time-demanding aspects of pedagogy, such as her rigorous attention to student writing and her ability to combine that investment with a remarkable publication record, are a model for students and teachers across the discipline.
Charles Rufus Morey Book Award
Molly Emma Aitken
Informed by history, connoisseurship, and contemporary artistic practice, Molly Emma Aitken’s The Intelligence of Tradition in Rajput Court Painting (New Haven: Yale University Press, 2010) is an original contribution to the history of South Asian art. Aitken’s closely argued yet accessible account overturns long-held assumptions regarding the conservatism of Rajasthani miniatures, revealing the subtle yet powerful dynamism that animates this tradition. She acknowledges that the “enormous red-tipped eyes, narrow skulls, and squat or strangely arching bodies” of the figures depicted in these works can seem formulaic or alienating, but these images cannot be understood as mere repetitions of moribund conventions. Instead, Aitken shows that these court paintings were intended to elicit emotional states from the viewer, a conclusion she reaches through an innovative application of formal analysis and social history.
CAA announced the shortlist on December 15, 2010.
Alfred H. Barr, Jr., Award
Darielle Mason, ed.
Darielle Mason’s Kantha: The Embroidered Quilts of Bengal from the Jill and Sheldon Bonovitz Collection and the Stella Kramrisch Collection of the Philadelphia Museum of Art (Philadelphia: Philadelphia Museum of Art, 2009) constitutes a model of how to make a catalogue about specific collections that far outreaches the task of honoring the collectors in question. Offering acute insights into an important region and an understudied medium, the book not only celebrates a lively vernacular textile tradition but also accords, for the first time, a comprehensive, sensitive treatment to this form of women’s domestic, creative, and social expression. In a series of richly grounded, engagingly written essays, Mason and her collaborators—Pika Ghosh, Katherine Hacker, Anne Peranteau, and Niaz Zaman—locate Kantha in wider sociocultural, historical, political, economic, and religious currents while tackling issues sometimes avoided in such studies, such as matters surrounding the quiltmakers’ agency.
CAA announced the shortlist on December 15, 2010.
Alfred H. Barr, Jr., Award for Smaller Museums, Libraries, and Collections
Yasufumi Nakamori
Yasufumi Nakamori’s Katsura: Picturing Modernism in Japanese Architecture; Photographs by Ishimoto Yasuhiro (Houston: Museum of Fine Arts, 2010) revisits a book of photographs of an elegant imperial villa in Kyoto, a seventeenth-century structure that interestingly foreshadows Western modernist design. While this errand may sound obscurantist to some, the author has a profoundly fascinating story to tell. It emerges that the architect Tange Kenzō (with Walter Gropius, who authored the original Herbert Bayer–designed book from 1960) extensively altered the vision of Ishimoto, a fledgling photographer, by drastically cropping the images to better align them with Bauhaus aesthetics, and to reinforce his own position in postwar Japanese debates on the relation of the modern to tradition. In this astutely, impeccably produced catalogue, Nakamori importantly rehabilitates Ishimoto’s initial vision of Katsura, reproducing his original, perfectly stunning photographs.
Arthur Kingsley Porter Prize
Ross Barrett
In “Rioting Refigured: George Henry Hall and the Picturing of American Political Violence,” published in the September 2010 issue of The Art Bulletin, Ross Barrett recovers the history of the artist and a landmark painting of an American laborer. Rooting his analysis in close observation, the author enlivens a work that could easily be dismissed as little more than an academic study of a male model. Calling attention to the title Hall gave his 1858 painting (The Dead Rabbit, a term New Yorkers applied to a street rowdy), to bruises on the man’s torso, and to the brick clutched in his right hand, Barrett identifies the figure as a working class, Irish immigrant. Barrett calls on an arsenal of resources—history, biography, iconography, pedagogical practices in the academy, reports and illustrations in the popular press, theories of the body and spectatorship, and ancillary images of the male athlete in mid-nineteenth-century America—to build a clear and convincing case for reading class conflict and civil disorder in this material body.
Art Journal Award
Kirsten Swenson, Janet Kraynak, Paul Monty Paret, and Emily Eliza Scott
Organized by Kirsten Swenson for the forthcoming Winter 2010 issue of Art Journal, “Land Use in Contemporary Art” is an impressive, useful, and theoretically significant series of articles on a new genre of aesthetic practices. Presented with relevant introductions and histories, the contributions address social, economic, and conceptual issues on Land Use, which has attributes related to but occasionally outside what is usually considered art. Especially impressive are the differences among the texts, particularly in the authors’ descriptions of their values and approaches, which range from self-conscious nonjudgementalism to explicit activism. (CAA members will receive the Winter 2010 Art Journal later this month.)
CAA/Heritage Preservation Award for Distinction in Scholarship and Conservation
Joyce Hill Stoner
Based at the University of Delaware’s Art Conservation Department, Joyce Hill Stoner is a highly respected scholar, a dynamic, beloved professor, and a meticulous conservator of paintings. As director of the doctoral program in preservation studies, which developed from the first art-conversation program in the United States that she founded at her school in 1990, she has developed an interdisciplinary focus on art history and conservation. In the words of one nominator: “Three decades ago the prospect of conservation as a scholarly discipline was, at best, nascent if not merely notional. Since that time conservation scholarship has come to embody inquiries that include the investigation of an artist’s materials and techniques, the documentation of a contemporary artist’s ideas and intentions, the history of conservation, and the development of new techniques in the conservation of art, to name but a few. Stoner has contributed essential research in each of these areas and has thereby fundamentally shaped the discipline.”
Contact
For more information on the 2011 Awards for Distinction, please contact Emmanuel Lemakis, CAA director of programs. Visit the Awards section of the CAA website to read about past recipients. The Metropolitan Museum of Art is located at 1000 Fifth Avenue, New York, NY 10028.
Updated on January 27 and February 3, 2011.
January Deaths in the Arts
posted by Christopher Howard — Jan 04, 2011
CAA recognizes the lives and achievements of the following artists, scholars, architects, museum directors, collectors, and other men and women whose work has had a significant impact on the visual arts. Of special note is a text on the art historian Angela Rosenthal, written by her colleague David Bindman for CAA.
- David Becker, curator of prints and drawings at the Museum of Fine Arts in Boston and professor of art history at several schools across New England, died on November 26, 2010. He was 63
- Frederick S. Beckman, professor emeritus at the University of Notre Dame who taught industrial and graphic design for more than fifty years, died on October 31, 2010. He was 93
- H. Allen Brooks, a professor of architecture at the University of Toronto for nearly thirty years, died on August 8, 2010, at the age of 84. An authority on Frank Lloyd Wright and Le Corbusier, he was a past president of the Society of Architectural Historians
- Laura Cohen, cofounder of Krafti-Kit, an online fiber-arts kit store, who studied art history at the University of California in Santa Barbara, died on September 22, 2010. She was 42
- William Cumming, a painter of the Northwest School whose contemporaries included Mark Tobey and Morris Graves, died on November 22, 2010, at the age of 93. He also taught at the Burnley School of Professional Art (now the Art Institute of Seattle) and Cornish College of the Arts
- Nassos Daphnis, a Greek-born painter based in New York who showed his colorful, precise geometric abstractions at Leo Castelli Gallery, died on November 23, 2010, at age 96. He was also a noted horticulturist who grew hybrid tree peonies
- Diane Darst, the founder and director of Learning to Look, an art-education program for children, and the author of two textbooks, Western Civilization to 1648 and Learning to Look: A Complete Art History and Art Appreciation Program for Grades K–8, died on June 22, 2010. She was 62
- John Diebboll, an architect who worked for Michael Graves and who, as an artist, transformed pianos into sculptural objects, died on November 23, 2010, at age 54. He also founded his own firm, Diebboll Architects, in 2007
- Denis Dutton, scholar, cultural commentator, author of The Art Instinct, and founder and editor of the website Arts & Letters Daily, died on December 28, 2010. He was 66
- Robert Joseph Forsyth, professor emeritus of art history at Colorado State University who began his career at the Minneapolis Institute of Arts in the 1950s, died on June 19, 2010, at the age of 88
- Sally D. Garen, professor of art history at the Corcoran College of Art and Design and Marymount University, among other schools around Washington, DC, died on November 29, 2010. She was 63
- Kay Gaskill-Jaeger, an artist, quilter, and urban planner for the Texas State Parks Department who studied art history at the University of Texas at Austin, died on November 27, 2010, at the age of 61
- Jane Tiley Griffin, an art historian who taught at the University of Maryland, George Washington University, and Howard University for more than thirty years, died on November 18, 2010, at the age of 84. She also organized tours to Southeast Asia
- Garry Gross, a fashion photographer who took the infamous photograph of a nude Brooke Shields that was later appropriated by the artist Richard Prince, died on November 30, 2010. He was 73
- Varnette P. Honeywood, an artist and teacher whose colorful works appeared in The Cosby Show during the 1980s, died on September 12, 2010, at the age of 59
- Stephen Irwin, an artist based in Louisville, Kentucky, who was a member of a collective called Zephyr Gallery, died on December 27, 2010. He was 51
- Theodore W. Kheel, a labor negotiator who was collected modern and contemporary art, especially works by Robert Rauschenberg, died on November 12, 2010. He was 96
- Peter C. Marzio, the director of the Museum of Fine Arts in Houston since 1982 who oversaw a rapid growth in the permanent collection, died on December 9, 2010. He was 67
- Roy R. Neuberger, the founder of the investment firm Neuberger Berman whose private collection comprises the core of a museum that bears his name at Purchase College, State University of New York, died on December 24, 2010. He was 107
- Angela Rosenthal, an associate professor of art history at Dartmouth College and a scholar of eighteenth-century European art, died on November 11, 2010. David Bindman has contributed an obituary for CAA
- Matthew Selsor, a curator and the director of the Anderson Gallery at Drake University, died on July 11, 2010, at the age of 27
- Elizabeth C. Shepherd, a professor of art history at the University of Pittsburgh and the former head of the Frick Fine Arts Library at her school, died on April 6, 2010, at the age of 95
- Andrzej Stanislaw Tomaszewski, a former director of the International Centre for the Study of the Preservation and Restoration of Cultural Property, died on October 25, 2010. Born in 1934, he had been a professor of conservation at numerous universities in Poland and Germany
- John Warhola, a brother of Andy Warhol and founding member of the Andy Warhol Foundation for the Visual Arts, where he served as vice president for twenty years, died on December 24, 2010. He was 85
- Peter J. Worth, an artist, art historian, and former chair of the Department of Art and Art History at the University of Nebraska in Lincoln, died on May 3, 2010. He was 93
Read all past obituaries in the arts on the CAA website.
Angela Rosenthal: In Memoriam
posted by CAA — Jan 04, 2011
David Bindman is emeritus professor of the history of art at University College London.
Angela Rosenthal
Angela Rosenthal, associate professor of art history at Dartmouth College in Hanover, New Hampshire, died on November 11, 2010. She was an exceptional scholar whose boundless energy, intellectual fecundity, and charismatic personality endeared her to her colleagues, students, and friends.
Born in Trier, Germany, Rosenthal attended university there, receiving her PhD magna cum laude in 1994. She had previously studied in England—at University College London, the Courtauld Institute of Art, and Westfield College—between 1986 and 1989. After working as curator of contemporary art at the Stadtgalerie in Saarbrücken (1994–95), she moved to the United States to become Andrew Mellon Assistant Professor of Art History at Northwestern University (1995–97). She came to Dartmouth in 1997 as an assistant professor.
Unusually wide ranging in the field of early modern visual culture, Rosenthal’s work embraced a global perspective, with an emphasis on cultural history, gender studies, and postcolonialism. Although her focus was on eighteenth-century British art, she wrote eloquently in recent years on images of slavery and whiteness, and on contemporary art of the African diaspora. Her most important publication was the magisterial Angelica Kauffman: Art and Sensibility (New Haven: Yale University Press, 2006), which she developed from her Trier University thesis on this Neoclassical painter. She was also working on a second major book, The White of Enlightenment: Racializing Bodies in Eighteenth-Century British Visual Culture, at the time of her death.
Angela Rosenthal’s Angelica Kauffman: Art and Sensibility
An energetic force in the academic tradition of essay compilations, Rosenthal partnered with Bernadette Fort to edit The Other Hogarth: Aesthetics of Difference (Princeton: Princeton University Press, 2001), which won the 2002 Historians of British Art Book Award for the best multiauthor volume of the year. In addition, she compiled the forthcoming volume Invisible Subjects? Slave Portraiture in the Circum-Atlantic World, 1630–1890 (University of Chicago Press) with Agnes Lugo-Ortiz and was working on another collection, No Laughing Matter: Visual Humor in Ideas of Race, Nationality, and Ethnicity, that was based on the proceedings of a Humanities Institute she organized at Dartmouth in 2007.
Rosenthal also produced many articles in English and German on eighteenth-century art and contemporary subjects, some of which have become widely influential. Although it is difficult to pick just one from the many, her essay on “Visceral Culture: Blushing and the Legibility of Whiteness in Eighteenth-Century British Portraiture,” published in Deborah Cherry’s Art: History: Visual: Culture (Malden, MA: Blackwell, 2005), has become particularly seminal.
Rosenthal’s death at such an early stage of her career is an incalculable loss, but she will live on in the remarkable work she had already produced, and in the fond memories of all who had been touched by her vitality and warmth. She is survived by her husband, Adrian Randolph, Leon E. Williams Professor of Art History at Dartmouth College; her sister, Felicia Rosenthal, chief executive officer of CellGenix Technologie Transfer; and her parents, Peter and Anne Rosenthal.
Grants, Awards, and Honors
posted by CAA — Dec 15, 2010
Grants, Awards, and Honors
CAA recognizes its members for their professional achievements, be it a grant, fellowship, residency, book prize, honorary degree, or related award.
To learn more about submitting a listing, please see the instructions on the main Member News page.
December 2010
James CahillJames Cahill, professor emeritus at the University of California in Berkeley, has been awarded the Charles Lang Freer Medal by the Smithsonian Institution’s Freer Gallery of Art and Arthur M. Sackler Gallery. The medal recognizes Cahill’s lifetime of contributions to the history of Chinese and Japanese art.
Henry Drewal, the Evjue-Bascom Professor of African and African Diaspora Arts at the University of Wisconsin in Madison, has been awarded a senior fellowship at the Institute for Research in the Humanities at his school. During the four-year appointment he will research and write a book on art and the senses.
Nancy Feldman has received the 2010 Founding Presidents Award from the Textile Society of America for “Shipibo Textile Practices 1950–2010,” a paper written with Claire Odland and presented at the society’s twelfth biennial symposium in October.
Ruth Fine, curator of special projects in modern art at the National Gallery of Art in Washington, DC, has been honored for curatorial excellence by the Print Center in Philadelphia, Pennsylvania. The November 2010 celebration was the first of five annual events leading to the center’s one-hundredth anniversary in 2015.
Hal Foster, the Townsend Martin ’17 Professor of Art and Archaeology at Princeton University in Princeton, New Jersey, has received the 2010 Clark Prize for Excellence in Arts Writing by the Sterling and Francine Clark Art Institute in Williamstown, Massachusetts. Established in 2006 and awarded every two years, the Clark Prize recognizes individuals whose critical or art-historical writing has had a significant impact on public understanding and appreciation of the visual arts.
William R. Levin,
professor emeritus of art history
at Centre College in
Danville, Kentucky, has received two prestigious award from the Southeastern College Art Conference (SECAC) at its October meeting: the Award for Excellence in Teaching, granted each year to a member “who demonstrates an exceptional command of his or her discipline through the ability to teach effectively, impart knowledge, and inspire students”; and the occasionally bestowed Award for Exemplary Achievement, “the organization’s most prestigious award, given in recognition of personal and professional development as well as long-standing service to SECAC.”
Beili Liu, Lure/Wave, Grand Rapids, 2010, thread and sewing needles, dimensions variable (artwork © Beili Liu; photograph by Brian Kelly)Beili Liu, an artist based in Austin, Texas, has received third place in the 2010 ArtPrize, an annual competition established last year, for her installation Lure/Wave, Grand Rapids at the Urban Institute of Contemporary Arts in Grand Rapids, Michigan. Her award includes a $50,000 prize.
Jules Prown, the Paul Mellon Professor Emeritus of the History of Art at Yale University in New Haven, Connecticut, has been recognized by the Bookbuilders of Boston for his book, The Architecture of the Yale Center for British Art (New Haven: Yale Center for British Art, 2009). The title won Best of Category in Professional Illustrated Books at the fifty-third annual New England Book Show, which recognizes outstanding work by New England publishers, printers, and graphic designers.
Shelley Rice and Kenneth Silver (who was also named a chevalier) celebrate with their “horses,” compliments of their fellow NYU professor Finbarr Barry Flood (photograph by Miriam Basilio)Shelley Rice, Arts Professor in the Department of Art History and in Department of Photography and Imaging at the Tisch School of the Arts, both at New York University, has been named a Chevalier of the Order of Arts and Letters by the French government.
Alicia Weisberg-Roberts, assistant curator of eighteenth- and nineteenth-century art at the Walters Art Museum in Baltimore, Maryland, has received the thirtieth annual George Wittenborn Memorial Book Award from the Art Libraries Society of North America for Mrs. Delany and Her Circle (New Haven: Yale University Press, 2009), an exhibition catalogue coedited with Mark Laird.
The Creative Capital | Warhol Foundation Arts Writers Grant Program has announced the recipients of its 2010 grant cycle. Among the winners are these CAA members and their projects: Douglas Crimp, for his book Before Pictures; Clare Davies, for short-form writing; Matthew Jesse Jackson, for his blog Our Literal Speed; Raphael Rubinstein, for his blog The Silo; Irene Small, for her book Hélio Oiticica: Folding the Frame; and Sandra Zalman, for her article “Whose Modern Art? Huntington Hartford, MoMA, and the Fight for Modern Art’s Legacy.” Participating in the program’s 2010 Writing Workshop, which pairs a practicing writer with an established critic through the International Association of Art Critics/USA Section, are Colin Edgington of New Brunswick, New Jersey, and Christina Schmid of Minneapolis, Minnesota.
The National Academy Museum and School in New York has elected eighteen American artists and architects as members of the 185-year-old institution. Two are CAA members: Garth Evans, an abstract sculptor; and Nancy Friese, a landscape painter and printmaker.
The Skowhegan School of Painting and Sculpture, a nine-week summer-residency program for emerging visual artists in Skowhegan, Maine, hosted the following CAA members in 2010: Yui Kugimiya, for video and film; Anna Chiaretta Lavatelli, for installation; Abraham Storer, for painting; and Cullen Washington Jr., for drawing.
The Sterling and Francine Clark Art Institute in Williamstown, Massachusetts, has named its 2010–11 fellows. Among the recipients are these CAA members: Adrienne Childs, University of Maryland, College Park; Dario Gamboni, Université de Genève; Michèle Hannoosh, University of Michigan, Ann Arbor; Mark Ledbury, Power Institute, University of Sydney; Griselda Pollock, University of Leeds; Susan Siegfried, University of Michigan, Ann Arbor; and Adrian Sudhalter, independent scholar.
Exhibitions Curated by CAA Members
posted by CAA — Dec 15, 2010
Check out details on recent exhibitions organized by CAA members who are also curators.
To learn more about submitting a listing, please see the instructions on the main Member News page.
December 2010
Jean-Léon Gérôme, The Snake Charmer, ca. 1870, oil on canvas, 83.8 x 122.1 cm (artwork in the public domain)Scott Allan and Mary Morton. The Spectacular Art of Jean-Léon Gérôme. J. Paul Getty Museum, Los Angeles, California, June 15–September 12, 2010.
Leslie K. Brown. Traces: Daniel Ranalli, Cape Work 1987–2007. Provincetown Art Association and Museum, Provincetown, Massachusetts, October 15, 2010–January 16, 2011.
Rachel Epp Buller. Mothers. Woman Made Gallery, Chicago, Illinois. November 5–December 23, 2010.
Fahamu Pecou, POP, 2010, acrylic and gold leaf on canvas, 66 x 49½ in. (artwork © Fahamu Pecou; photograph provided by Artadia and Lyons Wier Gallery, New York)Dina Deitsch. Southern Exposure: Artadia Awardees 2009 Atlanta. Mills Gallery, Boston Center for the Arts, Boston, Massachusetts, November 19, 2010–January 2, 2011.
Installation view of A Turning Point (photograph by Ann Lane Hedlund)Ann Lane Hedlund. A Turning Point: Navajo Weaving in the Late Twentieth Century. Cooper Gallery, Morrill Hall, University of Nebraska State Museum, Lincoln, Nebraska, October 1–November 30, 2010.
Robyn G. Peterson. Eye for an Eye: Photographs of Modern Artists by Modern Artists from the Collection of John W. Green. Yellowstone Art Museum, Billings, Montana, October 7, 2010–January 9, 2011.
Three unisex motorcycle uniforms (photograph © The Museum at FIT, New York)Valerie Steele. Japan Fashion Now. Museum at FIT, Fashion Institute of Technology, State University of New York, New York, September 17, 2010–April 2, 2011.
Richmond Barthé, Self Portrait, ca. 1940, painted plaster, lifesize. Collection of Phillip H. Rubin (artwork © Richmond Barthé; photograph by Margaret Rose Vendryes)Margaret Rose Vendryes. Richmond Barthé: The Seeker. Ohr-O’Keefe Museum of Art, Biloxi, Mississippi, November 6, 2010–June 12, 2011.
Two Back-to-Back Conference Sessions on Intellectual Property
posted by Christopher Howard — Dec 14, 2010
CAA will highlight intellectual property and copyright in two back-to-back sessions at the 2011 Annual Conference. First, CAA’s Committee on Intellectual Property will host an informal, participatory session on the rapidly changing world of copyright as it affects the work of contemporary artists and scholars. A second panel, part of the regular conference program, will trace the evolution of intellectual property since ancient times. Both sessions will take place on Friday, February 11, 2011, at the Hilton New York, the conference headquarters hotel. The first will be held in Petit Trianon, Third Floor (12:30–2:00 PM); and the second moves to Gramercy A, Second Floor (2:30–5:00 PM).
For the committee-sponsored “Copyright, CAA, and the Next Century,” the session cochairs—Ken Cavalier, an art historian and lawyer based in British Columbia, and Christine Sundt, editor of Visual Resources: An International Journal of Documentation—will facilitate discussion about today’s critical issues. Open to the public, the session allows attendees to speak freely on issues they think CAA should address, or that are starting to brew regarding copyright in the United States and Canada. Cavalier and Jeffrey Cunard, CAA’s counsel, will serve as legal experts and guides, and committee members will be on hand to answer questions. CAA is especially interested in how it can improve coverage of intellectual-property issues on its website, in its conference sessions, and in outreach efforts, as well as how the organization can define its leadership role (and work with other groups) to advocate copyright legislation that benefits the artistic community.
For the program session, “Intellectual Property in the Visual Arts, Antiquity through Early Modern,” Beth Holman, an independent scholar and the session’s chair, will shift the focus from print and print privileges to shed light on other strategies of asserting and protecting intellectual property. Kristen Seaman of Kennesaw State University will talk about “Ancient Greek Theories of Authorship and the Creation of Art History,” and Giancarla Periti of the University of Toronto will speak on “Authorship and Early Modern Manuscript Collections of Antiquarian Artifacts.” Moving forward chronologically, C. Jean Campbell of Emory University will discuss “Working Knowledge: Ownership and the Representation of Inventive Capacity in Early Renaissance Art,” and Alexandra Hoare of the Center for Advanced Study in the Visual Arts will address “‘Né tocchi mai da nessuno’: Salvator Rosa’s Contribution to Seventeenth-Century Concepts of Intellectual Property.” Ken Cavalier will serve as the session’s discussant.