CAA News Today
Call for Video of Performance Works for Times, Interludes, and Action at the 2011 Conference
posted by Christopher Howard — Aug 25, 2010
The first decade of the twenty-first century has given rise to new possibilities, new questions, and new challenges. With continued globalization and technological innovation, new platforms for human interaction and exchange have emerged. Simultaneously, we have witnessed an increase in terrorism, an energy crisis, and global economic instability. These problems have generated heated political debate about how we should best prepare for the future. Can we continue to employ the same solutions that worked in the past, or must we fundamentally change the way that we understand and approach these issues? How will this decade be remembered in the future?
To commemorate the tenth anniversary of ARTspace and the Centennial of CAA, the Services to Artists Committee invites artists to submit action-based works that respond in some way to the first decade of this new millennium. These performance works, to be collectively presented as Times, Interludes, and Action, will be displayed in the form of video documentation in the ARTspace Media Lounge at the 2011 Annual Conference in New York.
To be considered, please submit the video that you would like to include; or you may submit a written proposal for a work not completed, along with a portfolio. Please also send your artist statement, résumé, and contact information.
Email submissions limited to three or fewer works are preferred. Video may be sent either as a small email attachment (5 MB or less) or as a link to a website. Please send your submission to both Jeffrey Bird and Joseph Meiser. If an emailed submission is not possible, you can send a CD or DVD along with hard copies of your documents to: Joseph Meiser, Dept. of Art and Art History, Art Bldg., Bucknell University, Lewisburg, PA 17837. Deadline for emailed proposals: October 1, 2010. Mailed items must be postmarked by September 24, 2010.
Marlene Park: In Memoriam
posted by CAA — Aug 03, 2010
Herbert R. Hartel Jr. is adjunct associate professor at John Jay College of Criminal Justice, City University of New York.
Marlene Park (photograph provided by William Park)
Marlene Park, an art historian and professor who specialized in twentieth-century American art and public art, who worked to preserve America’s public art for future generations, and who became an accomplished photographer in her later years, died suddenly on July 10, 2010, at the age of 78.
Park was born in Los Angeles on December 1, 1931. Her father, Warren Shobert, was a lawyer who worked for Paramount Studios. He claimed that he had met Marlene Dietrich on a stage set, and that she asked him to name his child after her, which is how Marlene’s name was apparently chosen. Park graduated from the University of California, Los Angeles, in 1953 with a major in merchandising. Not long after, while working in New York, she took a course at Columbia University that inspired her to pursue graduate study in art history. She received her MA and PhD in art history from Columbia, where she specialized in medieval art and studied with Meyer Schapiro. Her dissertation was a study of the Crucifix of Fernando and Sancha, an ivory sculpture from 1063 that is in the National Archeological Museum in Madrid. In 1958, she married William Park, who later became a professor of English at Sarah Lawrence College, and together they had two children. She was a professor of art history at John Jay College of Criminal Justice, City University of New York (CUNY), from 1968 until 2000, and served on the faculty in the PhD Program in Art History at the CUNY Graduate Center for over twenty years.
Once at John Jay, Park took a path similar to Schapiro as her scholarly efforts shifted from medieval art to American art. A pioneering scholar of 1930s government-supported art and American public art, she coauthored two books with her John Jay colleague Gerald Markowitz: New Deal for Art: The Government Art Projects of the 1930s with Examples from New York City and State (1977) and Democratic Vistas: Post Offices and Public Art in the New Deal (1984). She also wrote numerous essays and articles on New York post-office murals, images of lynching in the 1930s, and artists Blanche Lazzell and Stanton Macdonald-Wright. In the 1980s Park was president of the Public Art Preservation Committee, based in New York. In this capacity, she worked to preserve important examples of public art, including the murals at the Rincon Annex Post Office in San Francisco.
As a member of CUNY’s art-history faculty, Park taught courses on American art of the 1930s, American art between the World Wars, public art in the United States, and American women sculptors. She opened the eyes of many students, introducing them to wonderful but little-known artists who became exciting topics for research papers and dissertations. I was one of many to benefit from this inspiration and guidance, and the list of those who similarly benefited is impossibly long to enumerate. Park cultivated enthusiasm for American modernist art among her students with an uncommon sense of caring and nurturing; she adeptly led them to serious, respected, and useful scholarship. She knew how to encourage and guide her students, to make them scholars while caring about them as people. In turn, her students had the utmost appreciation and regard for her. She embodied the ideal that art history is a humanistic academic endeavor.
Years spent documenting public art across the United States initiated and developed Park’s interest in photography as an art form. Many of her photographs of public art transformed themselves from documentation to artistic statements in their own right, and did so in that quietly thoughtful way that was uniquely Marlene. Upon retiring she and her husband moved to Santa Cruz, where she continued to spend time with her children and grandchildren. Devoting herself to photography, she created beautiful works in which she observed and recorded everyday life, the landscape of northern-central California, wildlife, and mechanical forms. In her seventies she learned the complexities of digital photography. Her photographs have been exhibited at Sarah Lawrence College, the Santa Cruz Art League, and elsewhere, and can be seen at www.marlenepark.com. Park exhibited her work often and acquired an impressive reputation as a serious and talented photographer. She also became very active in the art scene in Santa Cruz. Park’s decade of retirement was a model of how one can be productive and creative in those later years. She proved that although we must get older, we do not have to become stale. On the day she died, she attended the opening of a juried exhibition that included one of her photographs. I think Marlene left us after what was a very good day for her, a day spent doing what she loved, and for that we should be grateful.
Park is survived by her husband William, her children Catharine and William, her stepsons Jonathan and Geoffrey, and nine grandchildren. She will truly be missed by family, friends, colleagues, and former students, but will live on in her family, scholarship, photography, and the new generations of art historians she educated.
New Faces for CAA Journals
posted by Christopher Howard — Aug 03, 2010
New appointments have been made to the editorial boards of two of CAA’s three scholarly journals.
Sheryl Reiss, lecturer in art history at the University of Southern California in Los Angeles, has been appointed the next editor-in-chief of caa.reviews, succeeding Lucy Oakley of the Grey Art Gallery at New York University. Reiss will begin her three-year term on July 1, 2011, with the preceding year as editor designate. Reiss had previously served on the caa.reviews Editorial Board from 2001 to 2005, and was also a field editor for books on early modern art in southern Europe.
Joining the caa.reviews Editorial Board for the next four years is Conrad Rudolph of the University of California, Riverside. In addition, five new field editors for books and related media have been chosen this year: Christopher Heuer of Princeton University in New Jersey will assign reviews in northern European art, and Tomoko Sakomura of Swarthmore College in Pennsylvania will do likewise for Japanese art. Marika Sardar of the Metropolitan Museum of Art in New York is field editor for books on Islamic art, Yekaterina Barbash of the Brooklyn Museum in New York will commission reviews on Egyptian and ancient Near Eastern art, and Christina Kiaer is in charge of books on twentieth-century art. Field editors work with caa.reviews for three years.
At Art Journal, Jenni Sorkin has joined the editorial board for a four-year term. Formerly a faculty member at the Center for Curatorial Studies at Bard College, she recently received her PhD from Yale University. In 2010–11 Sorkin will be a postdoctoral residential fellow at the Getty Research Institute in Los Angeles. The editorial board also has a new chair, appointed from within its ranks: Karin Higa, director of the Curatorial and Exhibitions Department and senior curator of art at the Japanese American National Museum in Los Angeles, will serve for two years.
All editors and editorial-board members are chosen from an open call for nominations and self-nominations, published in at least two issues of CAA News (usually January and March) and on the CAA website.
Summer Obituaries in the Arts
posted by Christopher Howard — Aug 02, 2010
CAA recognizes the lives and achievements of the following artists, scholars, photographers, collectors, museum directors, and other important figures in the visual arts. Of particular interest is a thoughtful text on the art historian and public-art preservationist Marlene Park, written especially for CAA by her colleague Herbert R. Hartel Jr.
- Katia Bassanini, a Swiss artist based in Lugano and New York who worked in video, drawing, performance, and sculpture, died on July 20, 2010. She was 40
- Thomas S. Buechner, founding director of the Corning Museum of Glass in 1950 and head of the Brooklyn Museum during the 1960s, died on June 13, 2010, at age 83
- Nicolas Carone, an Abstract Expressionist painter and founding member of the New York Studio School, where he taught for almost twenty-five years, died on July 15, 2010. He was 93
- Joe Deal, an American landscape photographer included in the influential New Topographics exhibition in 1975, died on June 18, 2010, at the age of 62. A longtime teacher and administrator, he was a member of the CAA Board of Directors from 1997 to 2001, serving as secretary for the last two years.
- Daniele Di Castro, an art historian and director of the Jewish Museum of Rome, died on June 25, 2010
- Harry Eccleston, artist, president of the Royal Society of Painter-Printmakers, and chief designer for the Bank of England, where he created the pictorial Series D banknotes, died on April 30, 2010. He was 87
- Carola Hicks, art historian, biographer, and author of books on the Bayeux Tapestry and the stained-glass windows of King’s College Chapel, died on June 23, 2010. She was 68
- Stephen Kanner, architect and cofounder of the Architecture and Design Museum in Los Angeles, died on July 2, 2010, at the age of 54
- Rudolf Leopold, an Austrian ophthalmologist and art collector who focused on twentieth-century art from his country, died on June 29, 2010, at age 85. He was known for popularizing Egon Schiele through several books
- Jim Marshall, a photographer who took classic portraits of the Beatles, Jimi Hendrix, Johnny Cash, and other sixties icons, died on March 24, 2010, at the age of 74
- Eleanor R. Morse, an art collector and founder of the Salvador Dalí Museum in Florida, died on July 1, 2010, at the age of 97
- Marlene Park, an artist historian of twentieth-century American art, a public-art preservationist, and a photographer, died on July 10, 2010, at age 78. Read a special text on her by Herbert R. Hartel Jr.
- Harvey Pekar, author of the critically praised comic-book series American Splendor, died on July 12, 2010, at the age of 70
- Rammellzee, a pioneer of graffiti art and hip-hop music in New York, died on June 27, 2010. He was 49
- Helene Zucker Seeman, writer, teacher, and director of the Art Acquisition Program for Prudential Life Insurance for many years, died on June 27, 2010. She was 60 years old
- Robert Shapazian, art dealer, publisher of artist’s books, and founding director of the Californian branch of Gagosian Gallery, died on June 19, 2010, at age 67
- Jan-Erik von Löwenadler, a Swedish art dealer and collector who staged exhibitions internationally, died on July 24, 2010, at the age of 74
- Richard Walker, art historian, cataloguer, and adviser to the Government Art Collection in the United Kingdom, died on May 6, 2010. He was 93
- Wu Guanzhong, a painter and teacher who is widely considered among the most important and influential in twentieth-century Chinese art, died on June 25, 2010. He was 91
Read all past obituaries in the arts on the CAA website.
June Obituaries in the Arts
posted by Christopher Howard — Jun 15, 2010
CAA recognizes the lives and achievements of the following artists, scholars, photographers, critics, collectors, museum directors, and other important figures in the visual arts. Of particular interest is a text on the artist and teacher Marvin Lowe, written especially for CAA by Wendy Calman.
- Arakawa, an artist born in Japan but based in New York who with his wife strove to halt aging with paintings and installations, died on May 18, 2010. He was 73
- Louise Bourgeois, an internationally acclaimed artist who created psychologically charged work in sculpture and on paper that has inspired countless artists, died on May 31, 2010, at the age of 98. CAA’s Committee on Women in the Arts is preparing a tribute to Bourgeois, to appear on the CAA website later this month
- David Dillon, a longtime architecture critic for the Dallas Morning News and the author of a dozen books, died on June 3, 2010, at the age of 68
- Brian Duffy, a fashion and portrait photographer known for his fiery temper as much as his work in swinging London as part of the Black Trinity, died on May 31, 2010. He was 76
- Teshome H. Gabriel, a cinema scholar in the School of Theater, Film, and Television at the University of California, Los Angeles, died on June 14, 2010
- Dennis Hopper, a maverick yet revered Hollywood actor who was also a photographer and a collector of modern art, died on May 29, 2010. He was 74
- Lester Frederick Johnson, an American figurative painter who was a member of the second generation of Abstract Expressionists, died on May 30, 2010. He was 91
- Donald Krieger, an artist and performer based in Los Angeles who also taught graphic design and began curating, died on May 3, 2010. He was 57
- Marvin Lowe, an artist, musician, and longtime professor of printmaking at Indiana University, died on April 28, 2010, at the age of 87. Read Wendy Calman’s special obituary on him
- Sigmar Polke, a highly influential German painter who in the 1960s helped found Capitalist Realism with Gerhard Richter and Konrad Lueg, died on June 10, 2010. He was 69
- Stephen Smarr, a master glass artist based in Bloomsbury, New Jersey, died on May 28, 2010, at the age of 53
- Michael Wojas, the owner of and bartender at London’s infamous Colony Room Club who served Francis Bacon, Damien Hirst, Sarah Lucas, and Tracey Emin, died on June 6, 2010. He was 53
- Tobias Wong, a New York–based conceptual designer and artist who was included in exhibitions at the Cooper-Hewitt and Museum of Modern Art, died on May 30, 2010. He was 35
- James N. Wood, president of the J. Paul Getty Foundation and the director of the Art Institute of Chicago for twenty-four years, died on June 11, 2010. He was 69
Read all past obituaries in the arts on the CAA website.
Committee on Women in the Arts Picks for June 2010
posted by CAA — Jun 10, 2010
Each month, CAA’s Committee on Women in the Arts singles out the best in feminist art and scholarship from North America and around the world. CWA Picks may include exhibitions, conferences, symposia, panels, lectures, and other events. The following selections should not be missed.
June 2010
Maude Kerns, Composition #85 (In and Out of Space), 1951, oil on canvas, 28 × 22 in. Gift of the Estate of Maude I. Kerns, collection of Jordan Schnitzer Museum of Art, University of Oregon, Eugene (1969:8.7). (photograph provided by the Whatcom Museum)
Show of Hands: Northwest Women Artists 1880–2010
Whatcom Museum
121 Prospect Street, Bellingham, WA 98225
April 24–August 8, 2010
The exhibition coincides with centennial of women’s suffrage in Washington State. Featuring more than ninety works of art by sixty-three women artists from Washington, Oregon, and British Columbia, Show of Hands celebrates women’s contributions to the legacy of Northwestern art and examines the myriad talents women of the Northwest have displayed since 1880 through painting, drawing, sculpture, photography, video, and installation.
Lil Picard and Counterculture New York
Grey Art Gallery
New York University, 100 Washington Square East, New York, NY 10003
April 20–July 10, 2010
Lil Picard and Counterculture New York features over seventy works by a pioneering feminist artist who played varied and acknowledged roles in the New York art world from the 1950s through the 1970s. This first comprehensive exhibition presents paintings, sculptures, drawings, collages, and several landmark installations and performances, as well as photographs, writings, and films. All works are drawn from the collections of the University of Iowa Museum of Art, which organized the show, and from the University of Iowa Libraries, which houses the artist’s extensive papers.
Pictures by Women: A History of Modern Photography
Museum of Modern Art
11 West 53rd Street, New York, NY 10019
May 7, 2010–March 21, 2011
Women have expanded the roles of photography during its 170-year history by experimenting with every aspect of the medium. Organized by Roxana Marcoci and Eva Respini, Pictures by Women: A History of Modern Photography presents a selection of outstanding photographs by women artists, charting the medium’s history from the dawn of the modern period to the present day. Including more than two hundred works, the exhibition features celebrated masterworks and new acquisitions by Diane Arbus, Berenice Abbott, Claude Cahun, Imogen Cunningham, Rineke Dijkstra, Florence Henri, Roni Horn, Nan Goldin, Helen Levitt, Lisette Model, Lucia Moholy, Tina Modotti, Cindy Sherman, Kiki Smith, and Carrie Mae Weems, among many others. The exhibition also highlights works drawn from a variety of curatorial departments, including Bottoms, a large-scale Fluxus wallpaper by Yoko Ono.
In Praise of America: Selections from the Sellars Collection of Art by American Women
Huntsville Museum of Art
300 Church Street South, Huntsville, AL 35801
June 13–August 29, 2010
Selected from the museum’s recent acquisition of over four hundred nineteenth- and twentieth-century works of art by American women, this exhibition presents accomplished landscapes, portraits, and genre scenes that celebrate the dramatic scenery, diverse people, and distinctive spirit of our great nation. Bringing a previously unseen facet of art history to life, the Sellars Collection offers a unique opportunity to discover contributions of women artists forged during a period of struggle and little recognition. The largest public collection of its kind, many of the artists represented in the collection studied at major academies, received accolades and awards, and pioneered the way for those who would follow. In Praise of America features approximately forty paintings, sculptures, and works on paper and includes engaging florals, still lifes, portraits, genre scenes, and landscapes reflecting different regions of the United States.
Ayumi Shigematsu, Circuit Tree, 2006, stoneware (artwork © Ayumi Shigematsu; photograph © Hideya Amemiya and provided by International Arts and Artists)
Soaring Voices: Recent Ceramics by Women from Japan
American University Museum
Katzen Arts Center at American University, 4400 Massachusetts Avenue NW, Washington, DC 20016
June 15–August 15, 2010
Through eighty-six works by twenty-five women artists, this exhibition, organized by International Art and Artists, showcases contemporary interpretations of a traditional art form through a range of motifs inspired from the natural world: plants, shells, mountains, rivers, and the play of light and shadow. Other sources of inspiration for these ceramic vessels can be found in the Noh Theater and kimono patterns of the Edo Period.
CAA Report on the Getty-Sponsored Meetings on the Future of Art Bibliography
posted by Christopher Howard — Jun 07, 2010
Representatives from CAA participated in a pair of meetings on “The Future of Art Bibliography in the 21st Century,” held in April 2010 at the Metropolitan Museum of Art in New York. Organized by the Getty Research Institute in Los Angeles, with a grant from the Samuel H. Kress Foundation, two-day event invited participants to discuss the advantages and disadvantages of the Bibliography of the History of Art (BHA), and to develop ideas for an art bibliography that moves beyond current models.
Christopher Howard, CAA managing editor, has written a report on the April meetings, and the Getty has published a brief summary.
FIELD REPORT
posted by Christopher Howard — Jun 07, 2010
Getty-Sponsored Meetings on the Future of Art Bibliography
In response to the uncertain future of the Bibliography of the History of Art (BHA), and concerned with helping anticipate and facilitate new developments in art scholarship, the Getty Research Institute organized two meetings at the Metropolitan Museum of Art and the ARTstor office in New York on April 20–21, 2010. Funded with a grant from the Samuel H. Kress Foundation, the event, called “The Future of Art Bibliography in the 21st Century,” convened a small but passionate group of art librarians, professors, publishers, information specialists, and CAA representatives that began discussing the state of art bibliographies, research, and scholarship.
Kathleen Salomon, head of library services and bibliography at the Getty Research Institute, writes, “Our goal was to review current practices, take stock of changes, and seriously consider developing more sustainable and collaborative ways of supporting the bibliography of art history in the future.” The Getty has just released a brief summary of the April meetings, which describes outcomes and indicates important next steps. Appendices list the twenty-four members of the Future of Art Bibliography in the 21st Century Task Force, which includes Linda Downs, CAA executive director; the forty-five participants in the open meeting on April 20; and agendas for the two meetings.
CAA Summary of the Meetings
During the two days of discussion, ideas of scholarly authority and discipline comprehensiveness were discussed in relation to BHA. A key topic was a systemic process (creating a record of publication in the field) versus a critical approach (emphasizing the reliability or authority of a search). While many meeting participants agreed that complete breadth is an impossible goal, approaches to a future art bibliography should be as complete as possible, which is helpful in fending off duplicative research and the misrepresentation of ideas, according to Thomas DaCosta Kaufmann of Princeton University.
With internet research ever increasing, especially among undergraduate students, the popularity-driven results of search engines must be countered with reliable sources of knowledge, said Elizabeth Mansfield of New York University. She recently entered a lesser-known artist from the nineteenth century into Google Scholar; of the fifteen pages of results, none referenced the work of the most important scholar on that artist. Without a trustworthy body of knowledge on the web, authoritative research may drown in a sea of extraneous, even irrelevant material.
Since BHA covered only Western art—the founding editor Michael Rinehart noted that H. W. Janson’s survey textbook was the original model—inclusiveness is key to moving forward. Tom Cummins of Harvard University mentioned that references to only half his scholarship on South American art is archived in BHA: work dealing with colonialism (that is, Western influences) is included, but other publications are not found there. Any future bibliography should, of course, embrace scholarship on Asian, African, and South American art.
Further, because of increasingly multidisciplinary approaches in art history, an art bibliography should establish consistent metadata, with much of the information (from general publication information to keywords to abstracts) for a database generated by authors and publishers before publication. Multilingual subject headings, for example, are a must for a future art bibliography, as are linking, tagging, and other user-generated notations, as recommended in a paper by Jan Simane of the Kunsthistorisches Institut in Florence. Simane cited artlibraries.net as a model for a art-historical bibliography that would include such additional capabilities. Concerns about how to include citations from born-digital academic journals, which have become more numerous in recent years, into an art bibliography were also touched on in the meeting, as were resources in art history not traditionally captured by existing catalogues.
Collaboration and sustainability are also necessities, as single organizations like the Getty, CAA, the Art Libraries Society of North America (ARLIS), or the Comité International d’Histoire de l’Art (CIHA) can no longer host and maintain a bibliographic database on their own. This is especially evident with BHA, which received its final update of 135,000 records in spring 2010. Since BHA indexing ceased in summer 2009, one meeting participant estimated that two weeks would be needed to catch up on cataloguing one week’s worth of backlogged entries. However, it is unclear to the task force if there is an immediate need to plug this deepening hole, or if alternative approaches to bibliographies could better serve scholars.
Representatives from art bibliographies similar to BHA made short presentations. The Avery Index to Architectural Periodicals, reported Carole Ann Fabian of Columbia University, has three full-time indexers and a couple part-timers, but the bibliography’s scope—English-language publications from the 1930s to the present—is narrow enough to be sustainable. Fabian also talked about the index’s financial model as relying on aggregators, subscriptions, and technological and administrative resources at her university. Volunteer groups of scholars, it was thus determined at the meetings, could not sustain a comprehensive bibliography, but collaborations among institutions could alleviate the cataloguing burden. For example, the European-based Kubikat has no harvesting tool and all entries are done manually, said Rüdiger Hoyer of the Zentralinstitut für Kunstgeschichte, but the three German and Italian institutions that operate it are assigned specific periodicals to index.
Questions that remain open for discussion ranged from practical issues (“Do we need full abstracts or just subject headings?”) to philosophical inquiries (“Does an art bibliography best facilitate art-historical research, or do other methods need exploring?”) Creating an environment for discovery and enlightened self-interest in an art bibliography, in contrast to the older method of working toward the greater good, was put forward in the meetings. In the face of the increasing instrumentalization of the humanities in higher education, perhaps the most pressing concern is how to more strongly articulate the need for a comprehensive art bibliography.
Next Steps
After intensive discussion, the task force did not come to consensus on an immediate plan of action. Some members believed that the BHA model should be adhered to and expanded, and others felt a wholly new approach to art bibliographies is needed. Therefore, within the next six months the task force plans to seek funding for two things. First, it will create an international working group, which will include an outside specialist, to scan currently operating art bibliographies, which in addition to BHA include artlibraries.net, arthistoricum.net, the Avery Index, Arcade, and Kubikat, among others. The task force will also examine emerging resources and other technological opportunities. Second, the task force will establish another group, again with an outside consultant, that will conduct focus groups with librarians, scholars, publishers, and nonprofit and commercial vendors to determine their professional needs. The task force also plans to explore different business models and more clearly identify the technological and financial challenges that can sustain BHA or something like it.
A follow-up discussion took place at the ARLIS annual meeting, held on April 25, 2010, in Boston. Further meetings will be held this month at the Getty Research Institute in Los Angeles (for participants who could not attend the New York meeting because of flights cancelled from the volcanic ash); at the yearly International Federation of Library Associations and Institutions conference in Gothenburg, Sweden, in August 2010; and at the CAA Annual Conference in New York in February 2011.
Society for Architectural Historians Invites CAA Members to Take a Study Tour of Mexico
posted by Christopher Howard — May 10, 2010
The Society for Architectural Historians (SAH) invites CAA members to take a study tour of Mexico City. The tour’s focus will be modern and contemporary architecture, but because some knowledge of older styles, contemporary issues across the arts, and the growth of the city itself are critical to understanding Mexican modern architecture, the tour will include pre-twentieth-century buildings and works of art and urban planning that inform the development of Mexican architectural modernism in essential ways.
The study program is designed to include famous, “must-see” sites in Mexico City as well as buildings that participants may not know and that they might find difficult to visit. Download a detailed brochure and register online to reserve a space on the tour. CAA members need not be members of SAH but will pay a $25 administration fee to attend, in addition to the tour-package cost. Space is limited, so please make your reservations today!
Image: The Basilica of Guadalupe on top of Tepeyac hill, north of Mexico City, was built between 1974 and 1976 by the Mexican architect Pedro Ramírez Vázquez (photograph provided by Kathryn O’Rourke and the Society of Architectural Historians)
Committee on Women in the Arts Picks for May 2010
posted by CAA — May 10, 2010
Each month, CAA’s Committee on Women in the Arts singles out the best in feminist art and scholarship from North America and around the world. CWA Picks may include exhibitions, conferences, symposia, panels, lectures, and other events. The following selections should not be missed.
May 2010
Carolee Schneemann: Within and Beyond the Premises
Samuel Dorsky Museum of Art
State University of New York at New Paltz, 1 Hawk Drive, New Paltz, NY 12561
February 26–July 25, 2010
Over forty works spanning the career of pioneering painter, filmmaker, writer, performance, and installation artist Carolee Schneemann are featured in this edition of the Dorsky Museum’s Hudson Valley Masters exhibition series. Schneemann has lived in New Paltz, New York, for nearly fifty years while sustaining an international career. This selective but extensive overview of her entire career, organized to highlight connections between the artist’s life and art, includes paintings, drawings, photography, installation work, video projections, and writings.
Nicole Ianuzelli, Envelope 2, 2007, latex and oil on canvas, 32 x 36 in. (artwork © Nicole Ianuzelli)
Illusive Balance: Transcendental Pattern and Layered Surface
Mabel Smith Douglass Library Galleries
Rutgers University, 8 Chapel Drive, New Brunswick, NJ 08901
March 17–June 7, 2010
This Mary H. Dana Women Artist Series exhibition showcases abstract paintings and drawings by four New York– and New Jersey–based artists—Marsha Goldberg, Nicole Ianuzelli, Lisa Pressman, and Debra Ramsay—who were selected by a jury of visual-arts professionals. Goldberg and Ianuzelli work in oil and acylic, while Pressman and Ramsay primarily use encaustic. For more details, download the press release and catalogue (posted later this month).
“Making Ourselves Visible”
Elizabeth A. Sackler Center for Feminist Art
Brooklyn Museum, 200 Eastern Parkway, Brooklyn, NY 11238
May 22, 2010, 11:00 AM–5:00 PM
This interactive program, organized by the feminist artist Liz Linden and the writer Jen Kennedy, explores the question “What does feminism look like today?” and encourages visitors to take part by voicing their ideas and questions.