CAA News Today
CAA Members among the 2017–18 Rome Prize Winners
posted by CAA — Apr 28, 2017
The American Academy in Rome has announced the recipients of its 2017–18 fellowships. The following CAA members are among the newest group of talented artists, scholars, writers, and composers chosen by the academy.
- Charles K. Williams II Rome Prize: Lisa Deleonardis, Austen-Stokes Professor, Department of the History of Art, Johns Hopkins University, “A Transatlantic Response to Worlds That Shake: Jesuit Contributions to Anti-Seismic Building Design in Early Modern Italy and Peru”
- Millicent Mercer Johnsen Post-Doctoral Rome Prize: Bissera V. Pentcheva, Professor, Department of Art History, Stanford University, “Animation in Medieval Art”
- Phyllis W. G. Gordan/Lily Auchincloss/Samuel H. Kress Foundation Pre-Doctoral Rome Prize: Joseph Williams, PhD Candidate, Department of Art, Art History, and Visual Studies, Duke University, “The Practice and Production of Architecture during the Mediterranean Commercial Revolution: The Church of S. Corrado in Moletta (ca. 1185–1303)”
- Andrew W. Mellon Foundation/National Endowment for the Humanities Post-Doctoral Rome Prize: Leslie Cozzi, Curatorial Associate, Hammer Museum, “Fra: Relation and Collaboration in Contemporary Italian Art”
- American Academy in Rome—Rome Prize: Cécile Fromont, Assistant Professor, Department of Art History, University of Chicago, “Images on a Mission: Cross-Cultural Encounters and Visual Mediation in Early Modern Kongo and Angola”
For over a century, the American Academy in Rome has awarded the Rome Prize to support innovative and cross-disciplinary work in the arts and humanities. Rome Prize fellowships include a stipend, room and board, and an individual work space at the institute’s eleven-acre campus in Rome.
Letter from Melbourne: An Exhibition at the Victorian College of the Arts Tackles Contested Lands and Landscape
posted by Sean Lowry, Head of Critical and Theoretical Studies,Victorian College of the Arts, University of Melbourne, Australia — Apr 27, 2017
We live in a world in which deeply contested perceptions of time and place coexist on lands shared by diverse populations. The unresolved politics of land that confront Indigenous cultures in Australia are a prime example of how such contestations continue to play out in a postcolonial context. Such tensions are particularly apparent when contrasting radically divergent artistic and historical representations of landscape. Australia is a vast and ancient continental landmass upon which a little over two centuries of colonization has savagely interrupted 50,000 years of continuous human culture expressed through over 500 distinct collective nominations. Presence, an ambitious exhibition curated by David Sequeira in the Margaret Lawrence Gallery at the Victorian College of the Arts (VCA), University of Melbourne (March 3–April 1, 2017), entered this seemingly inexpressible contestation with a curatorial strategy that provisionally marked out something of the possibility of aggregating these radically disparate understandings. As this text will attempt to demonstrate, Sequeira, in bringing otherwise ineffably distinct representations of the Australian landscape together, implicitly suggested that violently incompatible senses of time and place might indeed share space—and possibly even begin to communicate with one another.
Figures 1 and 2 show the gallery installation with Michael Riley’s film presented in the center. The two images from the film depict different contemporary perspectives of a land occupied by Indigenous cultures for tens of thousands of years. The smaller paintings installed on the perimeter wall are by well-known Australian artists who are all alumni of the Victorian College of the Arts upon the occasion of its 150-year celebration (see Figures 3–8 below).
Upon entering the dramatically darkened gallery, the viewer encountered a series of small uncaptioned spot-lit paintings by some of the VCA’s most distinguished alumni. These works appeared to be floating like a constellation of celestial objects around a large moving image projection at the center of the exhibition space. Sequeira strategically positioned Empire, a film by the late Indigenous Australian artist Michael Riley, at the heart of this carefully considered installation of historical and contemporary landscape paintings.
Figure 3: Eugene Von Guérard, From below the Lighthouse, Cape Shanck, Victoria, 1873, oil on paper on board, 9.7 x 12.4 in. (photograph provided by the Wilbow Collection)
Figure 4: Frederick McCubbin, At Macedon, 1913, oil on canvas 20.4 x 24.1 in. (photograph provided by the Wilbow Collection)
Figure 5: Fred Williams, Hillside III, 1968, oil on canvas, 24 x 26 in. (photograph provided by the Heidi Victoria Collection)
Contextualizing work by Eugene Von Guerard, Frederic McCubbin, Fred Williams, Clarice Beckett, Louise Hearman, and Rick Amor with that of Riley, Sequeira seductively stipulated that the viewer become mindful of Indigenous understandings of landscape that existed for 50,000 years prior to the VCA’s own 150-year history.
Figure 6: Clarice Beckett, Half Moon Bay, undated, oil on board, 11.2 x 15 in. (photograph provided by Rosalind Hollinrake and Niagara Galleries)
Figure 7: Louise Hearman, Untitled #480, 1997, undated, oil on composition board, 27 x 21 in. (photograph provided by the Wilbow Collection)
Figure 8: Rick Amor, Summer Morning Lucerne Crescent Alphington, 2012, oil on canvas, 20.1 x 15.9 in., Courtesy the artist and Niagara Galleries.
Not inconsequentially, Riley was not a VCA alumnus. This was a brave and deliberate curatorial gesture on the part of Sequeira to mark the occasion of the institution’s 150-year celebrations: “For most of its 150-year history, the Victorian College of the Arts ignored Indigenous Australian culture and art practices. I wanted the large-scale projection (including its soundtrack) by Indigenous artist Michael Riley to be the filter through which the other works of art are perceived.”[1]
Significantly, the deliberately modestly sized selection of paintings orbiting Riley’s intermittently expansive and forensic visual meditation upon the impact of colonialism and Christian missionary activities on Australian Aboriginal land and culture, were subsequently drawn inward to perform in concert with the deeply melancholic musical score by composer Antony Partos and performed by the Tasmanian Symphony Orchestra that accompanied Riley’s filmic essay. Sound is clearly an important part of Sequeira’s matrix of considerations. Considered together with the lighting design, we can see why Sequeira describes a “multi-sensory approach” as “critical in the process of generating new [historical] resonances.” Already an ode to the simultaneous expansiveness and minutiae of Australian landscape, once experienced on a big screen at the center of Sequeira’s installation, Empire commanded a hitherto unconsummated presence (especially when considered in comparison with earlier broadcast and exhibition presentations).
It was clear that none of these works had ever been exhibited like this before. Consequently, one of the most marked features of this exhibition was the conspicuous visibility of Sequeira’s curatorial voice. Moreover, it was not a stretch to reimagine this poetic exploration of new possibilities in selection and display as an installation by an artist rather than the work of a curator. Here, networks of relations marked between very different artistic materializations and senses of placemaking clearly instantiated the space of the exhibition itself as medium. In demonstrating profound new ways in which very different conceptions of landscape might sing together, and by extension, how accepted lineages of art history might in turn learn to incorporate understandings of Indigenous Australian art and culture, Sequeira created a work of art that far exceeded a sum of its parts. Although Sequeira understands his responsibilities to these histories “as part of a bigger commitment as an artist,” he also recognizes that curatorship demands very particular responsibilities. Despite the fact that we might reimagine the exhibition as an installation by Sequeira the artist, Sequeira the curator nevertheless understood that this would invariably “reflect a different style of authorship.” Interestingly, he appeared at once emboldened and troubled when asked to consider the exhibition as an installation by him as an artist. Clearly, Sequeira necessitates that these activities remain ontologically separate—for as Ruth Noack put it in 2015—just as “the other of the artist as curator is the curator,” it is also apparent that “the other of the curator as artist is the artist.”[2]
Importantly, Sequeira sees his “own subjectivity is a departure point for the exploration of other histories.” As a “middle-aged gay Indian born Australian man,” he sees his “subjectivity as an access to the disclosure of new understandings of art and art history.” For Sequeira, “creating opportunities for the revelation of new or previously undistinguished facets of history is integral to this process.” In order to facilitate this process, he first considers “selection and display strategies used in the construction mainstream histories” and then begins to develop alternative formats that suggest “new resonances within both individual works of art and a group as a whole.” When asked to imagine this exhibition as the first in a series, and that its next instantiation might be in the United States, Sequeira excitedly described one possible scenario:
the compelling video work of Mohawk artist Alan Michelson could be a potent context for re thinking American landscape painting. For example, set within a suite of small historic and contemporary landscape paintings by artists such as Thomas Cole, Josephine Chamberlin Ellis, Frederick Church, Georgia O’Keefe [sic], Alma Thomas, Andrew Wyeth, Michelson’s large scale projection (on a screen of turkey feathers), Mesprat, 2001 could expand the understandings of consumerism, spirituality, the sublime, environmentalism and ownership associated with considerations of landscape.
From exhibitions to nation states, delineations of place are destined to be dynamic and temporary. Unlike space, which possesses abstract physical and formal properties, the value of place is socially constructed. Against a backdrop of inevitable change, art performs both a mnemonic and a transitive role. This role is perhaps most apparent when art is experienced as a dynamic constellation of elements rather than as ossified objects. Although the idea of landscape is central to the sense of being in Australia, it can clearly evoke complex and unresolved historical and political tensions. Artists that deal with landscape as subject are by default connected to these tensions. The island continent of Australia is at once a timeless geological formation and a historically layered series of cultural projections. For a mere blip in historical time, a new nation has been superimposed over an ancient geological formation and accompanying appropriated nations. Landscape, like painting, is a register of gestures enacted upon a surface. Marks, together with conspicuous omissions and evacuations, can imply both desolation and new possibilities. Painting, like film, is a fertile ground upon which to stage a dynamic play between registers of information and space for the imagination to flourish. By suggesting new possibilities through the poetic play of disparate representations of landscape, and at the same time reminding the viewer that full comprehension is impossible, Sequeira has created an evocative vehicle with which to reimagine absence and presence.
[1] David Sequeira, email conversation with the author, March 31, 2017. All subsequent quotations by Sequeira are from email conversations that took place between March 31 and April 3, 2017.
[2] Ruth Noack, “The Curator as Artist?” (symposium presentation, Central Saint Martins, London, November 10, 2012). See http://afterall.org/online/artist-as-curator-symposium-curator-as-artist-by-ruth-noack/.
Conference Submissions for CAA 2018
posted by admin — Apr 07, 2017
Projects and Proposal Deadlines April 17 and 24
The Annual Conference Committee invites proposals of interest to its members and varied audiences. Submissions that cover the breadth of current thought and research in art and art practice, art and architectural history, theory and criticism, studio art, pedagogical issues, museum and curatorial practice, conservation, design, new media, and developments in technology are encouraged.
To submit a proposal, individuals must be current CAA members. All session participants, including presenters, chairs, moderators, and discussants, must also be current individual CAA members. Please have your CAA Member ID handy as well as the member IDs of any and all participants as this is a required field on the submission form. Please note that institutional member IDs cannot be used to submit proposals. If you are not a current individual member, please renew your membership or join CAA.
All session participants must also register for the conference. Online registration for CAA 2018 will begin October 2, 2017. Early conference registration will end December 15, 2017 and advance conference registration will end on February 7, 2018. Early and advance conference registration fees will not change from CAA 2017, New York.
The Annual Conference Committee will accept the following proposals for review: Complete Sessions, Sessions Soliciting Contributors, and Individual Paper/Project proposals. All sessions will be 90 minutes in length at CAA 2018. Please plan accordingly. For full details on the submission process for the conference, please review the information below and on the individual submission pages.
PROPOSAL SUBMISSION TYPES
Session Soliciting Contributors
SUBMISSION DEADLINE: April 17, 2017
The Session Soliciting Contributors option allows a submission for a full session (90 minutes in length) with yet-to-be identified speakers and papers/projects. If selected, such sessions will be included in the call for participation (CFP) which opens June 30.
Individual Paper/Project
SUBMISSION DEADLINE: April 17, 2017
Individual Paper/Project proposals (15 minutes in presentation length) may be submitted for review. No specific theme is required. The Annual Conference Committee will review and select paper/project proposals based on merit and group approved submissions into Composed Sessions of up to four participants. A liaison from the Annual Conference Committee will be identified for each Composed Session to assist with the format and to help identify a session chair or moderator.
Complete Session
SUBMISSION DEADLINE: April 24, 2017
The Complete Session option allows a submission for a complete panel (90 minutes in length) pre-formed with participants and papers/projects chosen in advance by session chairs. This session requires advance planning and information gathering by the chair(s).
Affiliated Societies
SUBMISSION DEADLINE: April 24, 2017
Each Affiliated Society may submit either one Complete Session proposal (90 minutes in length) pre-formed with participants and papers/projects chosen in advance or one Session Soliciting Contributors proposal (90 minutes in length) to be included in the CFP which opens June 30. A note of approval from the Affiliated Society chair must accompany the submission. This session will be guaranteed and will be identified as an Affiliated Society session in all CAA publications.
Subsequent proposals by Affiliated Society members may be submitted separately by individuals, but are subject to peer review by the Annual Conference Committee and must be submitted via the Complete Session, Session Soliciting Contributors, or Individual Paper/Project submissions forms described above. These submissions are not guaranteed and, if selected, will not be labeled or identified as Affiliated Society sessions in CAA publications.
CAA PIPS Committees
SUBMISSION DEADLINE: April 24, 2017
CAA PIPS committees may submit either one Complete Session proposal (90 minutes in length) pre-formed with participants and papers/projects chosen in advance or one Session Soliciting Contributors proposal (90 minutes in length) to be included in the CFP which opens June 30. A note of approval from the committee chair must accompany the submission. This session will be identified as a committee session in all CAA publications.
Subsequent proposals by committee members may be submitted separately by individuals, but are subject to peer review by the Annual Conference Committee and must be submitted via the Complete Session, Session Soliciting Contributors, or Individual Paper/Project submissions forms described above. These submissions are not guaranteed and, if selected, will not be labeled or identified as committee sessions in CAA publications.
GENERAL SUBMISSION GUIDELINES
- All sessions will be 90 minutes in length at CAA 2018. Please plan accordingly.
- All session proposals must be completed and submitted online.
- To submit a proposal, individuals must be current CAA members. All session participants, including presenters, chairs, moderators, and discussants, must also be current individual CAA members. Please have your CAA Member ID handy as well as the member IDs of any and all participants as this is a required field on the submission form. Please note that institutional member IDs cannot be used to submit proposals. If you are not a current member, please renew your membership or join CAA.
- All session participants must also register for the conference. Online registration for CAA 2018 will begin October 2, 2017. Early conference registration will end December 15, 2017 and advance conference registration will end on February 7, 2018. Early and advance conference registration fees will not change from CAA 2017, New York.
- CVs are required for panel proposals where the chair and, if applicable, the co-chair are known.
- Session and paper/project abstracts should be no more than 250 words in length.
- The accuracy of information entered into the proposal form (e.g. spelling of names, affiliations, titles) is important as it will be pulled directly from this database for conference publications such as Abstracts 2018 and the conference website.
- The Annual Conference Committee makes its selections solely on the basis of merit and works to create a balanced program. Where proposals overlap, CAA reserves the right to select the most considered version or, in some cases, to suggest a fusion of two or more versions from among the proposals submitted.
- If their proposals are accepted, CAA members may participate in session panels in consecutive years.
- For more information about session proposals for the 2018 Annual Conference, please contact Katie Apsey, CAA manager of programs, at 212-392-4405 or Tiffany Dugan, CAA director of programs, at 212-392-4410.
KEY DATES
- February 27 – Call for Annual Conference session and paper/projects proposals begins
- Proposal Submission Deadlines for CAA 2018:
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- April 17 – Proposal submission deadline for Sessions Soliciting Contributors
- April 17 – Proposal submission deadline for Individual Paper/Projects
- April 24 – Proposal submission deadline for Complete Sessions
- April 24 – Proposal submission deadline for Affiliated Societies and CAA PIPS Committees
- May 15 – Call for Professional Development Workshop Proposals begins
- June 19 – Notifications sent regarding approved sessions for CAA 2018
- Key dates for approved Sessions Soliciting Contributors included in the Call for Participation (CFP):
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- June 30 – CFP for approved Sessions Soliciting Contributors announced (includes Poster Sessions)
- August 14 – Paper/Project submission deadline to chairs of Sessions Soliciting Contributors; deadline for Poster Session submissions
- August 28 – Session chairs send notifications to participants selected from CFP; Poster Session notifications sent
- September 18 – Deadline for all chairs to submit final abstracts and website listings to CAA
- October 2 – Online conference registration opens
- December 15 – Early conference registration closes
- February 7 – Advance conference registration closes
People in the News
posted by CAA — Apr 07, 2017
People in the News lists new hires, positions, and promotions in three sections: Academe, Museums and Galleries, and Organizations and Publications.
The section is published every two months: in February, April, June, August, October, and December. To learn more about submitting a listing, please follow the instructions on the main Member News page.
April 2017
Academe
Ira Goldberg, executive director of the Art Students League in New York, has resigned from his post.
Cordula GreweCordula Grewe has accepted a position as associate professor with tenure in the Department of Art History at Indiana University Bloomington, where she will teach European art between 1700 and today.
Alex Kitnick has been given the title of Brant Foundation Fellow in Contemporary Arts at Bard College’s Center for Curatorial Studies in Annandale-on-Hudson, New York.
Jonathan MorganJonathan Morgan has become an adjunct professor of art at Lone Star College in the Woodlands, Texas.
Sheila Rae Neal has been named adjunct instructor at Munson-Williams-Proctor Arts Institute in Utica, New York.
Jennifer RisslerJennifer Rissler has been appointed dean and vice president of academic affairs at the San Francisco Art Institute in California.
Museums and Galleries
Esther Bell, previously curator in charge of European paintings at the Fine Arts Museum of San Francisco in California, has been named Robert and Martha Berman Lipp Senior Curator for the Sterling and Francine Clark Art Institute in Williamstown, Massachusetts.
Makeda Best, formerly assistant professor in visual studies at the California College of the Arts in Oakland and San Francisco, California, has been named Richard L. Menschel Curator of Photography at the Harvard Art Museums in Cambridge, Massachusetts.
Connie H. ChoiConnie H. Choi, formerly assistant curator of American art at the Brooklyn Museum in New York, has been appointed associate curator of the permanent collection at the Studio Museum in Harlem, also in New York.
Joey Orr, formerly Andrew W. Mellon Postdoctoral Curatorial Fellow at the Museum of Contemporary Art in Chicago, Illinois, has been appointed Andrew W. Mellon Assistant Curator for Research for the Spencer Museum of Art at the University of Kansas in Lawrence.
James Merle Thomas, professor of global contemporary art at Temple University’s Tyler School of Art in Philadelphia, Pennsylvania, has been appointed executive director of Vox Populi, also in Philadelphia.
Organizations and Publications
Conny BogaardConny Bogaard has been appointed executive director of the Western Kansas Community Foundation in Garden City, Kansas.
Douglas Dreishpoon, chief curator emeritus for the Albright-Knox Art Gallery in Buffalo, New York, has been appointed director of the Helen Frankenthaler Catalogue Raisonné, a project organized by the Helen Frankenthaler Foundation in New York.
News from the Art and Academic Worlds
posted by Christopher Howard — Mar 22, 2017
Each week CAA News summarizes eight articles, published around the web, that CAA members may find interesting and useful in their professional and creative lives.
Could Blockchain Put Money Back in Artists’ Hands?
By registering artworks with blockchain to establish authenticity and create property rights which can then be split off and traded, argues Amy Whitaker, artists can retain an “equity share” in their works, much like the founder of a startup retains an ownership stake that grows in value as the company expands. (Read more from Artsy.)
Report from the 2016 Craft Think Tank
Last June the Center for Craft, Creativity, and Design convened a two-day, special-topic Craft Think Tank, bringing together experts across disciplines to assess the state of craft in academia. The group discussed and made recommendations concerning the content, format, approach, audience, and resources needed to create a relevant and successful program. (Read more from the Center for Craft, Creativity, and Design.)
Detroit Exits Bankruptcy, Thanks to Its Art Museum
A federal judge approved Detroit’s bankruptcy plan, allowing the city government to hit the reset button after years of financial mismanagement. The bankruptcy could have been far lengthier, and even more painful for retirees, had it not been for an unusual deal designed to save the Detroit Institute of Arts while minimizing cuts to pensions. (Read more from Slate.)
The Skillful Curator: A Case Study in Curatorial Pedagogy and Collective Exhibition-Making
For a recent CAA panel on pedagogy, feminism, and activism, I presented a graduate curatorial practice course I developed at the School of the Art Institute of Chicago, for which I organized an exhibition alongside sixteen students, as a case study. While the curatorial field is considered hospitable to women, the curator’s role often operates within structures that reinforce patriarchy and inequality. How? (Read more from Art History Teaching Resources.)
Midcareer Faculty: Five Great Things about Those Long Years in the Middle
In a recent post on tired teaching I identified the major challenge of the midcareer stretch—keeping your teaching fresh and keeping yourself engaged, enthusiastic, and instructionally moving forward. On the other hand, special opportunities are afforded by that long stretch in the middle. The question is whether we’re taking full advantage of them. (Read more from Faculty Focus.)
The Sculpture of a Fearless Girl on Wall Street Is Fake Corporate Feminism
Fearless Girl features a branded plaque at its base. The companies that installed it had a permit. They are the advertising firm McCann New York—whose leadership team has only three women among eleven people, or 27 percent women—and the asset manager SSGA—whose leadership team has five women among twenty-eight people, or 18 percent women. SSGA is a division of State Street, which has a board of directors that includes only 27 percent women. (Read more from Hyperallergic.)
Dispute on Cultural Appropriation Leads to Assault Charges
Last week a Hampshire College student was in a Massachusetts court to face charges that she assaulted a member of the women’s basketball team of Central Maine Community College when, at a January game, the woman refused to take out braids that she had in her hair—braids that Carmen Figueroa, the student facing charges, demanded be removed because they are an example of cultural appropriation. (Read more from Inside Higher Ed.)
Did ISIS Inadvertently Uncover the Secret to the “Lost” Hanging Gardens of Babylon?
To the surprise of the archaeologists, upon examining the reconquered Iraqi city of Mosul, they found evidence that when ISIS blew up parts of the Nebi Yunus shrine, the militants unveiled a major discovery: a palace that predated the tomb of the Prophet Jonah and had been buried beneath it—unseen for thousands of years. (Read more from Salon.)
Institutional News
posted by CAA — Feb 15, 2017
Read about the latest news from institutional members.
Institutional News is published every two months: in February, April, June, August, October, and December. To learn more about submitting a listing, please follow the instructions on the main Member News page.
February 2017
The Getty Research Institute in Los Angeles, California, has acquired the archive of the artist, writer, curator, and scholar Harmony Hammond. The donation includes correspondence, photographs, original source material for her art, professional papers, publication drafts, editioned prints, original artwork, files, and a slide registry devoted to lesbian artists.
The Harvard Art Museums in Cambridge, Massachusetts, have been awarded a $506,000 grant from the Andrew W. Mellon Foundation to establish a new Summer Institute for Technical Studies in Art. The program, designed for graduate students from art-history programs across North America who are interested in broadening their experience with object-focused technical inquiry, methodologies, and instruction, will begin in June 2017.
The Harvard Art Museums in Cambridge, Massachusetts, have received a $1 million gift from a Harvard Business School alumnus, Ken Hakuta, to establish the Hakuta Family Endowment Fund, enabling the creation of the Nam June Paik Fellowship at the Harvard Art Museums. Hakuta is the nephew of the pioneering artist Nam June Paik.
John Cabot University in Rome, Italy, has inaugurated a new MA program in art history to begin in fall 2017. Accredited by the Middle States Commission on Higher Education, the degree is the first US-accredited master’s degree in the history of art based entirely in Rome. The program can be completed in approximately fifteen months of full-time study.
The Pennsylvania Academy of the Fine Arts in Philadelphia has received a generous $500,000 gift from Julie Jensen Bryan and Robert Bryan to name the PAFA Printmaking Shop. This transformative commitment ensures that printmaking will remain one of the school’s core artistic disciplines.
The Princeton University Art Museum in Princeton, New Jersey, has posted to its website more than five thousand images and related photographic material by the seminal American modernist Minor White. The two-year digitization and cataloging project, funded in part by the Institute of Museum and Library Services, provides online access for the first time to the most significant photographic content of the Minor White Archive, which includes finished prints, artist’s proof cards, and bibliographic history.
The Smithsonian American Art Museum in Washington, DC, has surpassed its campaign goals for both financial gifts and significant art gifts, amassing a combined total of $105 million with more than one year remaining in the campaign. The $65 million cash goal was exceeded by $3 million, funds supporting the Renwick Gallery renovation, an education center for the museum’s National Historic Landmark building, and the museum’s endowments. The campaign will continue through 2017 with a focus on additional artworks and endowments to support curatorial, technology, and education initiatives.
Grants, Awards, and Honors
posted by CAA — Feb 15, 2017
CAA recognizes its members for their professional achievements, be it a grant, fellowship, residency, book prize, honorary degree, or related award.
Grants, Awards, and Honors 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 2017
Tatiana Flores, associate professor in the Department of Art History at Rutgers University in New Brunswick, New Jersey, with a joint appointment in the Department of Latino and Caribbean Studies, has won a 2016 award from the Arts Writers Grant Program, coordinated by Creative Capital and the Andy Warhol Foundation for the Visual Arts. Her grant will support a book, titled Art and Visual Culture under Chávez.
Marina Kassianidou, an artist and writer based in Boulder, Colorado, has received a $25,000 award from the Joan Mitchell Foundation’s 2016 Painters and Sculptors Grant Program.
Beili Liu, an artist based in Austin, Texas, has accepted a $25,000 grant from the Joan Mitchell Foundation through the 2016 Painters and Sculptors Grant Program.
Christina Michelon, a doctoral candidate in art history at the University of Minnesota, Twin Cities, has received a $8,500 project grant via the 2016–17 Craft Research Fund, supervised by the Center for Craft, Creativity, and Design. The funds will support a dissertation focused on print’s relationship to domestic craft and interior design from 1830 to 1890.
Anya Montiel, a PhD student in American studies at Yale University in New Haven, Connecticut, has accepted a $4,500 project grant from the Center for Craft, Creativity, and Design through the 2016–17 Craft Research Fund. The funds will support dissertation research on government-funded basketry, pottery, and woodworking craft workshops in the 1960s and 1970s among the Florida Seminole, Mississippi Choctaw, and North Carolina Cherokee.
Klaus Ottmann, deputy director for curatorial and academic affairs at the Phillips Collection in Washington, DC, has been conferred the insignia of chevalier of the Order of Arts and Letters by Bénédicte de Montlaur, cultural counselor of the French Embassy in New York, on behalf of the French government.
Betsy Redelman, a student pursuing an MFA in craft studies at the Oregon College of Art and Craft in Portland, has received a $3,705 graduate research grant from the Center for Craft, Creativity, and Design through the 2016–17 Craft Research Fund. The award will support thesis research on the neglected history of indigenous women potters in San Marcos Tlapaola, a small pueblo in Oaxaca, Mexico.
Margaret Samu, a freelance art historian based in New York, has been awarded the 2016 Mary Zirin Prize for independent scholarship from the Association for Women in Slavic Studies.
Maureen G. Shanahan, professor of history of art for the School of Art, Design, and Art History at James Madison University in Harrisonburg, Virginia, has received a Fulbright Award for research in France from March to June 2017. The grant, entitled “World War I and the Colonial Legacy: Sites of Memory, Traces of Forgetting,” will support two projects: planning for a conference on the representation of the colonial subject during and after WWI; and archival research on a monograph, tentatively entitled Silence, Surveillance, and Psychiatry: Gaëtan Gatian de Clérambault and the French Colonial Subject (1914–34).
Andrew Uroskie, director of graduate studies for the MA/PhD program in art history and criticism at Stony Brook University in Stony Brook, New York, has won a 2016 award from the Arts Writers Grant Program, administered by Creative Capital and the Andy Warhol Foundation for the Visual Arts. The grant will support his book, titled The Kinetic Imaginary: Robert Breer and the Animation of Postwar Art.
Laura A. L. Wellen, a writer and curator based in Houston, Texas, has earned a 2016 award from the Arts Writers Grant Program, coordinated by Creative Capital and the Andy Warhol Foundation for the Visual Arts. The grant will support a blog called Piedrín.
Soyoung Yoon, program director and assistant professor of art history and visual studies in the Department of the Arts at the New School’s Eugene Lang College of Liberal Arts in New York, has received a 2016 awards via the Arts Writers Grant Program, supervised by Creative Capital and the Andy Warhol Foundation for the Visual Arts. The funds will support an article titled “The Evidence of Things Not Heard: On Mendi + Keith Obadike’s Numbers Station.”
Affiliated Society News for January 2017
posted by CAA — Jan 15, 2017
Association of Academic Museums and Galleries
The Association of Academic Museums and Galleries (AAMG) welcomes a new board member, Jamaal B. Sheats. Sheats is the director and curator of the Fisk University Galleries and assistant professor in the Fisk University Art Department. He has simultaneously maintained a strong and consistent exhibition record for nearly fifteen years in galleries across the nation and abroad. Most recently, Sheats curated Carl Van Vechten: Depth of Field; Selections from the Fisk University Galleries and the John Hope and Aurelia E. Franklin Library Collection and Origins of Influence: The Alfred Stieglitz Collection of Modern Art at the Carl Van Vechten Art Gallery at Fisk University. He also completed a commission for the National Museum of African American Music. In 2015, Sheats organized the exhibition Topography at Tinney Contemporary Art Gallery in Nashville, Tennessee.
Sheats was commissioned to create Eight Octives for Music City Center in 2013. In addition to his appointments at Fisk, active art-making, exhibitions, and curatorial projects, he is the owner of Sheats Repoussé and the Charlotte Art Project. He continues to receive accolades for his work. In 2016 his exhibitions Origins of Influence and Topography were voted by the editors of the Nashville Scene as “Best Art Comeback” and “Best Group Exhibit,” respectively. Sheats has also been featured in the Boston Globe, the New York Times, Numbers, and Nashville Arts Magazine, as well as several other arts journals, newspapers, and magazines.
To support his commitment to the arts and art education, Sheats is active in the arts community and holds positions on the Frist Center for the Arts Education Council, the “To Share a Legacy” HBCU Alliance, the Nashville Conference on African-American History Culture planning committee, and the “Plan to Play” Steering Committee for the Metro Parks and Recreation. He is a board member of the Arts and Business Council also.
Sheats obtained his BA degree in art from Fisk University and an MFA degree with a concentration in studio art from the School of the Museum of Fine Art, Boston, and Tufts University, where he also completed a postgraduate teaching fellowship. Sheat was a teaching artist-in-residence at the Nashville Public Library.
View the complete list of AAMG board members.
Association of Art Historians
The Association of Art Historians’ (AAH) 2017 annual conference and art-book fair will take place April 6–8, 2017, at Loughborough University. The keynote speakers are: Amelia Jones, Robert A. Day Professor in Art and Design and Vice Dean of Critical Studies at the Roski School of Art and Design at the University of Southern California in Los Angeles, who will speak on “Intimate Relations: Queer Performance in Art History”; and Mark Hallett, director of studies at the Paul Mellon Center for Studies in British Art, who will address “Interactive Landscapes: From Thomas Gainsborough to George Shaw.”
The conference will celebrate the expansive spectrum of histories, theories, and practices that characterize art-historical research today. Internationally, the field of art history is eclectic and inclusive, reaching across geopolitical, cultural, and disciplinary divides to extend an understanding of the visual and material culture of many diverse periods and places. Loughborough University is engaged with art history, contemporary practice, and visual culture, linking arts-based research with advances in design, technology, media, and communication, centered on the development of more sustainable and equitable global communities. Full details and register information can be found on the AAH website.
New Media Caucus
The New Media Caucus (NMC) will be sponsoring a series of programs during CAA’s upcoming 2017 Annual Conference. Programs include panels, the annual showcase, and a membership business meeting where important news about NMC will be announced. More information can be found online.
The annual NMC business meeting will take place on Thursday, February 16, 1:30–3:00 PM. All members are invited. We will gather to discuss new developments and initiatives for the growth of our organization. Next is NMC’s panel, “Other Media: Decolonizing Practices and Cyborg Ontologies,” to be held 3:30–5:00 PM. The session will be followed at 7:00 PM with the NMC showcase in the Lang Auditorium at Hunter College, Main Campus, 695 Park Ave at 68th Street, New York, NY 10065. The showcase is a highlight of NMC’s events at CAA and will feature presentations by twenty new media artists who will talk about their current research. The showcase is followed by a public reception. On Friday, February 17, NMC has scheduled three events in the CAA Media Lounge: “Roundtable: New Media Futures” at 10:30 AM; “Game Studies at 20” at 1:30 PM; and “Between Biology and Art” at 3:30 PM.
Renaissance Society of America
The Renaissance Society of America (RSA) will hold its sixty-third annual meeting at the Palmer House Hilton Hotel in Chicago from March 30 to April 1, 2017. Some two hundred art-history sessions are featured in the program, as well as a plenary lecture by Paul Hills, professor emeritus at the Courtauld Institute of Art, taking place on Saturday, April 1, at noon. The conference program is available online, as well as information about fees and other practicalities.
Meanwhile, the society is sponsoring a session on “Early Modern Senses and Spaces” at the CAA Annual Conference in New York, scheduled for Wednesday, February 15, at 10:30 AM in Sutton Parlor South, 2nd Floor. RSA’s executive director plans to attend and hopes to see many RSA and CAA members there.
RSA offers numerous fellowships for art historians, including Samuel H. Kress Research Library Fellowships, Samuel H. Kress Mid-Career Research and Publication Fellowships in Renaissance Art History, the RSA-Kress Carlo Pedretti Fellowship in Leonardo da Vinci Studies, and our own RSA Fellowships. The next deadline for applications will be in fall 2017.
The winter 2016 issue of Renaissance Quarterly (vol. 69, no. 4) includes an article on “Vicenzo Danti’s Deceits,” coauthored by Michael Cole and Diletta Gamberini.
RSA is pleased to announce that James Shulman, senior fellow at the Andrew W. Mellon Foundation and former president of Artstor, has joined RSA’s executive board in July 2016 as a counselor.
Society for Photographic Education
Registration is open for the Society for Photographic Education’s (SPE) fifty-fourth national conference, “Family Values,” taking place March 9–12, 2017, in Orlando, Florida. Connect with artists, educators, and photographers from around the world for programming that will fuel your creativity—four days of presentations, industry seminars, and critiques to engage you! Explore an exhibits fair featuring the latest equipment, processes, publications, and photography/media schools. Participate in one-on-one portfolio critiques and informal portfolio sharing, and take advantage of student volunteer opportunities to receive a full rebate on admission. Other highlights include a print raffle, a silent auction, mentoring sessions, film screenings, exhibitions, receptions, a dance party, and more! The guest speakers are Renee Cox, LaToya Ruby Frazier, and Jerry Uelsmann. Preview the conference schedule and register online. Preregistration ends on February 17, 2017. Don’t wait, register today!
Society of Historians of East European, Eurasian, and Russian Art and Architecture
Members of the Society of Historians of East European, Eurasian, and Russian Art and Architecture (SHERA) took an active part in the forty-eighth convention of the Association of Slavic, East European, and Eurasian Studies in Washington, DC, organizing several panels and roundtable discussions. At the membership meeting held during the convention, matters of importance to the life of the organization were discussed, such as the upcoming conference in Venice in October 2017; possible replacement of a listserv communication platform with a network-based one; reelection of officers; and distribution of prizes and awards.
At CAA’s Annual Conference in February 2017, SHERA will sponsor the following double session: “Emerging Scholars: Politics and the Collective in East European and Russian Art: Part I,” taking place on Wednesday, February 15, 2017, at 10:30 AM in West Ballroom, 3rd Floor; and “Emerging Scholars: Russian Artists and International Communities: Part II,” to be held on Friday, February 17, 2017, at 8:30 AM in Sutton Parlor South, 2nd Floor. Both sessions will be chaired by Alice Isabella Sullivan, a PhD candidate at the University of Michigan in Ann Arbor.
Visual Resources Association
The Visual Resources Association (VRA) has opened registration for its thirty-fourth annual conference, to be held March 28–April 1, 2017, in Louisville, Kentucky. Early-bird rates are good through February 28. Registration will continue online at the full rate until March 17, then continue onsite the week of the conference. Current members will be prompted to log in with MemberClicks ID-password through the registration form, while nonmembers will have the opportunity to join or register through the same single form. The payment structure for workshops is new: one workshop is included in the registration fee, and any additional workshops are $15 each. You can submit multiple conference registration forms. This may be helpful if using multiple forms of payment (institutional credit card for registration and personal card for tours, for example).
Check the conference schedule for event details and updates. Workshops and tours fill up fast and are on a first-come, first-served basis. Once the enrollment limits are reached, registration for them closes. If there is something you are really interested in, it is best to act early. Contact VRA’s secretary, Jasmine Burns, with any questions or registration changes. The conference website includes information about rates and date ranges for registration, the welcome letter from VRA president Jen Green, tips for travel to and from Louisville and the Marriott Hotel, and more.
Top News in 2016 from the Art and Academic Worlds
posted by Christopher Howard — Dec 28, 2016
As 2016 comes to a close, CAA would like to wish a safe and happy holiday season to its members, subscribers, partners, and other professionals in the visual arts. As we reflect on the past twelve months, the association would like to offer readers a look at the most accessed articles in the weekly CAA News email from the past year.
I Survived My First Year on the Tenure Track, but I’m Ready to Bail!
Now that I’ve survived my first year in a tenure-track position at a small liberal-arts college, all I want to do is curl up in a ball. A nonacademic position is opening up in my hometown. If I got the job, I’d still have adjunct faculty status and be able to supervise grad students. I’d also probably get a 30- to 50-percent salary increase. (Read more from Vitae.)
Advice for the Newly Tenured
I would love to share with you the three biggest mistakes that I observe newly tenured faculty members make. If you know what those mistakes are, then you are not only far less likely to make them, but you also have the opportunity to experiment with new ways of thinking and working that will help you to truly enjoy your tenured status. (Read more from Inside Higher Ed.)
How Many Hours a Week Should Academics Work?
How many hours do you work in a week? Many academics feel overworked and exhausted by their jobs. But there is little evidence that long hours lead to better results, while some research suggests that they may even be counterproductive. (Read more from Times Higher Education.)
The Disappearing Humanities Jobs
The arrival of annual reports on the job market in various humanities fields this year left many graduate students depressed about their prospects and professors worried about the futures of their disciplines. This week, the American Academy of Arts and Sciences released several new collections of data that show that these declines, part of a continuing pattern, are far more dramatic when viewed over a longer time frame. (Read more from Inside Higher Ed.)
Publish or Be Damned
The London office of Yale University Press has been a leading publisher of art history in the English language. When we heard of a new book planned by a leading scholar in the field, we expected to learn that Yale had pledged to publish it. When a bright graduate finished his or her dissertation, we hoped that Yale would publish it. (Read more from the Burlington Magazine.)
Racially Charged St. Louis Contemporary Art Museum Show Sparks Outrage
Racially charged works at a Contemporary Art Museum in Saint Louis exhibition have some calling for boycotts and the resignation of the museum’s chief curator. The museum has opted to build walls around the controversial pieces of art. The show will remain up and visitors will have access to all of the work. (Read more from Fox 2 News.)
Learning from My Teaching Mistakes
As a professional failed academic, I get asked if my decisions in graduate school were to blame for my failures. The answer is, of course, yes and no. Similar to anyone else with a PhD who isn’t delusional or lying, my relationship with my doctorate contains multitudes of defeats. And now, six years after I finished, I’ve got some perspective on both what I screwed up and what I didn’t. (Read more from Vitae.)
Syllabus Adjunct Clause
Here is a sample adjunct clause that can be inserted into any syllabus for courses taught by temporary faculty. Please keep in mind that since situations differ from school to school—and even from department to department—the following may not be universally applicable as written. Therefore, if you decide to use it, make the necessary changes to accurately reflect your own situation. (Read more from School of Doubt.)
When Students Won’t Do the Reading
Is there a more common lament among college instructors than “Why won’t students just do the reading?” It’s an important and difficult question. In my experience, many students understand, at least in the abstract, that the reading is important. (Read more from Inside Higher Ed.)
Why You Weren’t Picked
There are two major downsides to not getting that tenure-track job you applied for. The second one is the less obvious but may be the more pernicious in the long run: no one will tell you why you weren’t chosen. (Read more from the Chronicle of Higher Education.)
Why Most Academics Will Always Be Bad Writers
For at least a generation, academics have elaborately and publicly denounced the ponderous pedantry of academic prose. So why haven’t these ponderous pedants improved, already? The critics would say the ponderous pedants are doing it on purpose. (Read more from the Chronicle of Higher Education.)
Balancing the Books at Yale University Press in London
A letter signed by over 290 academics, curators, and writers expressed a “sense of shock at the restructuring of Yale University Press in London, particularly as it affects the renowned art books department.” Having learned that two commissioning editors were to be made redundant, the signatories asked for reassurance about Yale’s commitment to scholarly art publishing and for the rationale for the changes. (Read more from Apollo.)
How to Be an Unprofessional Artist
No one likes being called an amateur, a dilettante, a dabbler. “Unprofessional” is an easy insult. The professional always makes the right moves, knows the right thing to say, the right name to check. Controlled and measured, the professional never sleeps with the wrong person or drinks too much at the party. (Read more from Momus.)
Make No Mistake, Art History Is a Hard Subject. What’s Soft Is the Decision to Scrap It
In the UK, art history A-level is to be scrapped in 2018. The decision taken by the exam board AQA seems related to the Conservative government’s policy of ranking subjects by perceived relative difficulty, using an analogy of “soft” and “hard” that may be designed to belittle students and teachers who have apparently taken the easy way out. (Read more from Apollo.)
Essential PhD Tips: Ten Articles All Doctoral Students Should Read
If you’re still deciding whether to study for a doctorate, or even if you’re nearing the end of your PhD and are thinking about your next steps, we’ve selected ten articles that you really should take a look at. They cover everything from selecting your topic to securing a top job when your years of hard graft come to an end. (Read more from Times Higher Education.)
How to Become a Curator
Start out as an artist instead. In school, you’re always saddled with organizing the group shows, buying the beer, placating fellow artists’ fears, making the invitations, composing the checklist, finding the funding, contacting the press, inviting the audience. Your entire art practice becomes a smudgy line between curating and art, and you grow to feel strange and unnecessary. (Read more from Momus.)
Donald Trump, Taste, and the Cultural Elite
It’s said that taste defines us. The music I like lets you know, to some degree, what kind of person I am. Yet though this year’s presidential election has raised issues of racism, sexism, and classism, not much has been said about taste, and the role it may or may not have played in getting Donald Trump to the White House. (Read more from the Washington Post.)
Black Arts Community Expresses Outrage with Kelley Walker
“This is a mess, and I’m uncomfortable,” said Kat Reynolds as she spoke before the capacity crowd at the Contemporary Art Museum on September 22. The panel of artists and educators—who spoke during the Critical Conversations talk presented by Critical Mass for the Visual Arts—didn’t hold back from voicing their disdain about the art that hung in the very space where the discussion was taking place. (Read more from the St. Louis American.)
What Learning People Really Think about Lecturing
Is there really a war on lecturing going on across higher education? Do learning professionals want to kill the lecture? Read Christine Gross-Loh’s “Should Colleges Really Eliminate the College Lecture?” and you would be forgiven in thinking that there is and that we do. The problem is that her description of the current climate bears little resemblance to reality. (Read more from Inside Higher Education.)
Gallery Defends Kelley Walker, Artist under Fire in St. Louis Exhibit
The New York City–based gallery representing the artist Kelley Walker has responded to the controversy surrounding a racially charged exhibition at the Contemporary Art Museum in Saint Louis, but with a statement that raises more questions than it answers. (Read more from Riverfront Times.)
Should Colleges Really Eliminate the College Lecture?
Despite the increased emphasis in recent years on improving professors’ teaching skills, such training often focuses on incorporating technology or flipping the classroom, rather than on how to give a traditional college lecture. It’s also in part why the lecture—a mainstay of any introductory undergraduate course—is endangered. (Read more from the Atlantic.)
What Happens When a Museum Closes?
Four recently dissolved cultural institutions—the Museum of Biblical Art in New York, the Fresno Metropolitan Museum of Art and Science in California, the Corcoran Gallery of Art in Washington, DC, and the Higgins Armory Museum in Massachusetts—each offer a lesson in how to weather the complex process of closing a museum. (Read more from Artsy.)
Artiquette: Ten Mistakes Not to Make While Promoting Your Art
How do you make it in the art world? It’s a magical formula that involves, talent, drive, grit, and the ability to promote oneself. Unfortunately, talking up your own artwork, projects, and ideas can be a delicate balancing act. To help you walk that line, Artnet News has rounded up a list of mistakes to avoid in self-promotion. (Read more from Artnet News.)
Six Things to Keep in Mind When Applying for Art Grants
With governments cutting funding for the arts, it is getting harder for artists and art institutions to obtain art grants, fellowships, or scholarships. The professional grant writer Ethan Haymovitz has put together a list of things to keep in mind when writing your application. (Read more from Art Report.)
Getting beyond the Anecdote: Research and Art-History Pedagogy
Pedagogical innovations abound in art-history classrooms. National and regional conferences increasingly feature panels of inspirational examples and case studies. These sessions are well attended by instructors eager for new, proven ideas to improve their teaching. The speakers assure this audience of improved student engagement and efficacy at achieving learning outcomes with this or that innovation. But how can they prove it? (Read more from Art History Teaching Resources.)
This Art Historian Teaches FBI Agents and Surgeons How to See
Amy Herman teaches people how to see. Her tools of choice are famous artworks from major art institutions all over the world. Her typical pupils? Cops, FBI officers, medical students, and first responders. Herman teaches a class that helps people fine-tune their observational skills—which often prove critical in solving a crime or conducting open-heart surgery. (Read more from Fast Company.)
Five Strategies Successful Artists Follow to Thrive in Their Careers
As a gallery owner, I’ve been particularly interested in watching the careers of artists who have built strong sales of their work. These artists are able to generate sales that allow them to devote all of their time to their art. They have found ways to make a successful living while at the same time pursuing their passion. (Read more from Red Dot Blog.)
Five Time-Saving Strategies for the Flipped Classroom
I often hear comments like “The flipped classroom takes too much time,” “I don’t have time to devise so many new teaching strategies,” “It takes too much time to record and edit videos,” and “I don’t have time to cover everything on the syllabus.” I also hear “I tried to flip my class, but it was exhausting; so I quit.” If these comments sound familiar, it might be helpful to create margins in your flipped classroom. (Read more from Faculty Focus.)
How Do I Get My Foot in the Art World?
I’m a recent grad and want to learn more about the art world, so hopefully, one day, I can work in the arts. I didn’t major in art, but I took several art history and art classes and really loved them. I also love going to galleries and museums. Could you give me some suggestions on how to learn more? (Read more from Burnaway.)
Help Desk: Getting Paid for Curatorial Work
I’m a professional curator with over a decade of experience, mostly as a salaried professional. I’d like to do more freelance work, but curators seem to get paid nothing, absurdly little, or astronomical sums. How can I actually get paid for the work I do? (Read more from Daily Serving.)
Museums Are Keeping a Ton of the World’s Most Famous Art Locked Away in Storage
Most of Georgia O’Keeffe’s work is in storage. Nearly half of Pablo Picasso’s oil paintings are put away. Not a single Egon Schiele drawing is on display. Since the advent of public galleries in the seventeenth century, museums have amassed huge collections of art for society’s benefit. But just a tiny fraction of that art is actually open for people to view and enjoy. (Read more from Quartz.)
University of Chicago Strikes Back against Campus Political Correctness
The anodyne welcome letter to incoming freshmen is a college staple, but the University of Chicago took a different approach: it sent new students a blunt statement opposing some hallmarks of campus political correctness, drawing thousands of impassioned responses, for and against, as it caromed around cyberspace. (Read more from the New York Times.)
On Not Reading
The activity of nonreading is something that scholars rarely discuss. When they—or others whose identities are bound up with books—do so, the discussions tend to have a shamefaced quality. Blame “cultural capital”—the sense of superiority associated with laying claim to books that mark one’s high social status. (Read more from the Chronicle Review.)
Medieval Scots Used Art the Way We Use Social Media
Medieval Scots once gave each other postcard-sized artworks to forge social bonds, in the same way we post pictures on social media today, according to new research. The “postcards on parchment”—whose painted images included patron saints, the Virgin Mary and child, and highly decorated lettering—revealed status, allegiances, and values among the wealthy classes in the fourteenth and fifteenth centuries. (Read more from the Scotsman.)
Grants, Awards, and Honors
posted by CAA — Dec 15, 2016
CAA recognizes its members for their professional achievements, be it a grant, fellowship, residency, book prize, honorary degree, or related award.
Grants, Awards, and Honors is published every two months: in February, April, June, August, October, and December. To learn more about submitting a listing, please follow the instructions on the main Member News page.
December 2016
Devon Baker, a PhD student in art history at Temple University in Philadelphia, Pennsylvania, has been awarded a 2016–17 Jane and Morgan Whitney Fellowship by the Metropolitan Museum of Art in New York. She will conduct research for her dissertation, which explores print culture in Renaissance Lombardy, using printmaking to examine larger themes of mobility, north-south exchange, and transmateriality.
Amy Beecher, an artist based in New York and Providence, Rhode Island, has received a fall 2016 fellowship from the MacDowell Colony in Peterborough, New Hampshire, in the interdisciplinary artist category.
Daniella Berman, a doctoral candidate at New York University’s Institute of Fine Arts, has been awarded a 2016–17 Theodore Rousseau Fellowship by the Metropolitan Museum of Art to work on her dissertation, which considers the unfinished history paintings of the French Revolution and identifies an emergent aesthetic of “unfinishedness” developed by artists in response to the shifting sociopolitical landscape.
Douglas Brine, associate professor of art history at Trinity University in San Antonio, Texas, has accepted a 2016–17 J. Clawson Mills Scholarship at the Metropolitan Museum of Art in New York to undertake research and writing for his book project, “The Art of Brass in the Burgundian Netherlands: Makers, Markets, Patrons, Products.”
Emily Casey, a PhD candidate in art history at the University of Delaware in Newark, has been given a Sylvan C. Coleman and Pam Coleman Memorial Fund Fellowship for 2016–17 by the Metropolitan Museum of Art in New York. She will examine representations of oceanic space in American art and material culture to show how colonial and early national identities were constructed in relation to these.
Joshua Cohen, assistant professor at City College, City University of New York, has received a 2016–17 Jane and Morgan Whitney Fellowship from the Metropolitan Museum of Art to complete a book that tracks modernist appropriations of African sculpture by European and African artists between 1905 and 1980.
Joelle Dietrick, assistant professor of art and digital studies at Davidson College in Davidson, North Carolina, has accepted a Pollock-Krasner Foundation award to support her studio production during the 2016–17 academic year before she goes to Hamburg, Germany, for her Fulbright Global Award (April–July 2017). As part of the Fulbright, Dietrick will travel to Santiago, Chile, and Hong Kong, China, during the next two winter breaks.
Brad Hostetler, who earned a PhD in art history last year at Florida State University in Tallahassee, has been awarded a 2016–17 Jane and Morgan Whitney Fellowship from the Metropolitan Museum of Art in New York to complete revisions for a book project, “Enshrining Sacred Matter: The Form, Function, and Meaning of Reliquaries in Byzantium, 843–1204.”
Amy Huang, a doctoral candidate in the history of art and architecture at Brown University in Providence, Rhode Island, and an adjunct lecturer for Boston University in Massachusetts, has received a 2016–17 Jane and Morgan Whitney Fellowship from the Metropolitan Museum of Art in New York. She will research visual modes of remembrance in Chinese paintings through seventeenth-century Nanjing and investigate how memory operated through texts, images, and historic sites.
Frances Jacobus-Parker, a PhD student in art and archaeology at Princeton University in Princeton, New Jersey, has been given a Jane and Morgan Whitney Fellowship for 2016–17 by the Metropolitan Museum of Art in New York, where he will work on the first comprehensive study of the oeuvre of the pivotal American artist Vija Celmins.
Samuel Johnson, who earned his PhD in the history of art and architecture at Harvard University in Cambridge, Massachusetts, in 2015, has been awarded a Leonard A. Lauder Fellowship by the Metropolitan Museum of Art in New York. In 2016–17 Johnson will study the effects of the papiers collés of Georges Braques and Pablo Picasso on the photographs of El Lissitzky, László Moholy-Nagy, and Man Ray.
Anna Jozefacka, an adjunct professor at Hunter College, City University of New York, has been awarded a 2016–17 Leonard A. Lauder Fellowship by the Metropolitan Museum of Art to conduct research on Cubism’s relationship to the evolution of modern architectural and interior design in the first three decades of the twentieth century.
Julia McHugh, a doctoral student in art history at the University of California, Los Angeles, has accepted a Douglass Foundation Fellowship in American Art for 2016–17 from the Metropolitan Museum of Art in New York to work on her dissertation, which examines the ways in which patrons used tapestries and other textiles to adorn interiors, both domestic and sacred, in seventeenth- and eighteenth-century Peru.
Patricia Miranda, Invasive, 2016 (artwork © Patricia Miranda)Patricia Miranda, an artist, curator, educator, and founder of MAPSpace, a gallery in Port Chester, New York, has completed an October 2016 residency at I-Park Residency in East Haddam, Connecticut.
Jiha Moon, an artist who lives and works in Atlanta, Georgia, has received a 2016 Artadia Award.
Elyse Nelson, a PhD candidate in the history of art at New York University’s Institute of Fine Arts, has been given a Jane and Morgan Whitney Fellowship by the Metropolitan Museum of Art. During 2016–17 she will work on a dissertation that explores the Italian neoclassical sculptor Antonio Canova’s renewed relationship with his British patrons after Napoleon’s defeat in 1814.
Giulia Paoletti, a core lecturer at Columbia University in New York, has been awarded a 2016–17 Andrew W. Mellon Postdoctoral Curatorial Fellowship by the Metropolitan Museum of Art to research and assist with the development and preparation for a planned reinstallation and renovation of the African art galleries.
John Richardson, professor of art and chair of the James Pearson Duffy Department of Art and Art History at Wayne State University in Detroit, Michigan, has received the 2016 Lifetime Achievement Award from the Mid America College Art Association.
Miriam Said, a doctoral student in the history of art at the University of California, Berkeley, has accepted a 2016–17 Frances Markoe Fellowship by the Metropolitan Museum of Art in New York to explore material-based mechanisms of ritual affect as it was manifested in and between the Near East and Greece in the first millennium BC.
John A. Tyson, a recent recipient of a PhD in art history from Emory University in Atlanta, Georgia, has joined the National Gallery of Art in Washington, DC, as a 2016–17 participant in the fellowship and internships program. He will assist the Department of Modern Art with research for the upcoming Rachel Whiteread retrospective and lead tours in the newly reinstalled East Building permanent and special exhibition galleries.
Aaron Wile, a PhD candidate in the history of art and architecture at Harvard University in Cambridge, Massachusetts, has accepted a Chester Dale Fellowship from the Metropolitan Museum of Art in New York. During 2016–17 he will complete his dissertation, “Painting, Authority, and Experience at the Twighlight of the Grand Siècle, 1690–1721,” and begin transforming it into a book manuscript, consulting materials at the museum.
Katharine Wright, who earned her PhD in art history at the Institute of Fine Arts, New York University, in 2015, has been awarded an Andrew W. Mellon Curatorial Research/Collections Specialist Fellowship for 2016–17 by the Metropolitan Museum of Art to catalogue the Department of Modern and Contemporary Art’s collection of American modernism.
Tara Zanardi, an associate professor at Hunter College, City University of New York, has accepted a 2016–17 Jane and Morgan Whitney Fellowship from the Metropolitan Museum of Art to research the Porcelain Room at the Royal Palace in Aranjuez, a tour-de-force in its implementation and display of porcelain, the interior exemplifies Charles III’s innovative artistic and political strategies at court.