CAA News Today

Rhodes Must Fall, downloaded from https://www.facebook.com/RhodesMustFall/photos

Posted by Janet Landay, Project Director, CAA-Getty International Program (for CAA News and the International Desk)

This summer I was invited by two alumni of the CAA-Getty International Program—Karen von Veh and Federico Freschi, both from the University of Johannesburg—to attend the 31st Annual Conference of the South African Visual Arts Historians (SAVAH). In the first five years of the CAA-Getty program, seven art historians from South Africa have participated—the most from any single country. Their strong presence at CAA’s Annual Conferences suggests a robust community of scholars, and I was eager to witness it firsthand.

In late July I flew to Johannesburg, where I met up with Rosemary O’Neill, associate professor of art history at Parsons the New School of Design and chair of CAA’s International Committee, who was also participating in the conference. On the day we arrived there was an intense thunderstorm followed by large hail. Our hosts, Karen von Veh and her husband Bengt, assured us that this was not normal for a Johannesburg winter. By the next day the sun had come out, and it remained sunny and pleasantly cool for the rest of our stay.

The weather may well serve as a metaphor for the abnormal state of affairs in South Africa: unusually stormy one day, seemingly calm the next. Twenty-two years after the end of apartheid, the country, and especially its university system, is in an enormous state of flux. Since March 2015, students have militated against South Africa’s twenty-three government-funded universities in two related protests. The first was Rhodes Must Fall, which demanded the removal of a sculpture of Cecil Rhodes, the embodiment of British racist colonial imperialism, from the University of Cape Town (UCT), and included the broader demand for decolonizing the university system, including curricula, language of instruction, and workers’ rights.

In October 2015 came Fees Must Fall, prompted by the announcement of a steep increase in fees at the University of Witwatersrand. Both movements have had successes: the UCT sculpture of Rhodes was removed, and many other public symbols of colonial rule have been taken down or defaced; students at Rhodes University persuaded authorities to consider renaming the school; and the government announced there would be no tuition increase for 2016. (This issue is being debated again, as increases for 2017 have elicited renewed protests.) These events are taking place at the same time that the government is reducing financial support for the universities.

Art, Design and Architecture Building at the University of Johannesburg, downloaded from university website, https://www.uj.ac.za/faculties/fada/Pages/Facilities.aspx

This was the context for SAVAH’s Annual Conference, as approximately sixty professors of art history, visual culture, and studio art gathered at the University of Johannesburg for three days of papers and discussion. Organized by Federico Freschi (executive dean), Brenda Schmahmann (research professor), and Karen von Veh (associate professor), all from the Faculty of Art, Design, and Architecture at the University of Johannesburg, the conference was titled “Rethinking Art History and Visual Culture in a Contemporary Context.” The ongoing crisis in higher education charged the sessions and discussions with particular intensity. The subjects addressed, whether historical, pedagogical, or political, were not chosen solely for theoretical considerations; speakers were seeking practical solutions to the immediate challenges they face as scholars and teachers in post-apartheid South Africa.

An underlying theme of the conference—how can art history be relevant and useful to scholars and students at this charged moment in time?—was a subtext in Steven Nelson’s eloquent keynote address. In a discussion of works by Houston Conwill, Moshekwa Langa, and Julie Mehretu, Nelson—a professor of African and African American art and director of the Center for African Studies at the University of California, Los Angeles—considered how the use of mapping and geography by these artists has reshaped our understanding of African ancestry, notions of diaspora, and urban spaces. The weaving of past and present, continental Africa and the African diaspora, and art-historical analyses of traditional forms and new media exemplified the ongoing relevance of the art-historical discipline to understanding contemporary art and culture.

Session topics during the two-day conference ranged from “International Curatorial Practices” to “The Politics of Display in South Africa” and “Decolonizing Education (Parts I and II)” to “Postcolonialism beyond South Africa.” Alison Kearney, a lecturer at the University of the Witwatersrand, delivered a paper titled “Art history is dead—long live art history!” in which she explored the deeper meaning of decolonizing the university, beyond the tokenistic call for more black authors and artists. This decolonization will lead to “the inevitable end of art history” and a return to the work of art and an interdisciplinary approach as a “deliberate means of destabilizing a single disciplinary gaze.” Fiona Siegenthaler, a senior lecturer at the Institute for Social Anthropology, Universität Basel, compared the call for decolonization in South Africa to the one in Uganda. Because the population in Uganda is overwhelmingly black, the call for decolonization has little to do with the racial profile of its teachers or students. Rather, the country is focused on rewriting curricula to be more relevant to their students’ lives. Both countries, she stated, are skeptical about the hegemony of neoliberalism as a form of neocolonialism, on the one hand, and the need for access to international contemporary art, art institutions, art markets and funding organizations, on the other.

Several speakers explored alternative approaches to current studies in South African art history. Lize van Robbroeck, from the University of Stellenbosch, spoke about “settler colonial studies” and a multinational research project she is part of that examines settler life in five former British dominions: New Zealand, South Africa, Canada, Australia, and the United States. The cultural, economic, and political circumstances in each of these colonies, in spite of particular dynamics in each, created comparable artistic products in the early to mid-twentieth century. The group’s research suggests that the demands to establish national art canons in each of these locations led to a corresponding art-historical neglect of the striking cross-national similarities in the art produced by artists in each place.

A paper by Jackson Davidow, from the Department of Architecture at MIT, called on the discipline of art history to enlarge its approach to “traverse geographies, temporalities, environments, and communities.” He made the case by discussing a global history of AIDS activist art, which must still be historically contextualized within local landscapes. His paper posed a crucial question to contemporary scholars: “How can global art histories work to decolonize and deconstruct the practices of our discipline rather than perpetuate its oppressive structuring?”

The conference ended with two papers from other humanities disciplines. The first one, by Brett Pyper from the University of the Witwatersrand, was about curating indigenous musical performances at the National Arts Festival in Grahamstown. Leana van der Merwe, of the University of Pretoria, delivered the second, which was about an “African” feminist philosophy of art. Many of the conference papers will be published in an upcoming issue of De Arte, a peer-reviewed South African journal on visual arts, art history, and art criticism.

The SAVAH conference was not the only significant art event taking place in Johannesburg during my visit. The meetings coincided with a historic exhibition held downtown at the Standard Bank Gallery: the first-ever presentation on the African continent of paintings and works on paper by Henri Matisse.

Henri Matisse, The Horse, the Rider and the Clown,1947, fifth plate of the book Jazz, Musée Matisse in Le Cateau-Cambrésis

Juxtaposed against the topic of the conference—rethinking art history in a contemporary context—this major exhibition provided another bellwether of the state of art history in South Africa. The absence of Matisse exhibitions in the entire continent until now can partially be explained by practical reasons related to insufficient resources (shipping and insurance costs, museum-quality exhibition spaces, etc.), but it is also likely due, in part, to a reluctance or lack of interest on the part of European and American collections and African-based organizers to bring the artist’s work to African audiences, in spite of Matisse’s great interest in African art. During my visit to South Africa, I was struck by the lack of Western art displayed in the museums, with the exception of a small collection on view at the National Museum in Cape Town. Little access to this art is yet another challenge for professors of art history, and it must relate to the absence of Matisse exhibitions as well. Why should South Africans be interested in his work if, for many, he is an unknown, dead white European artist? There is an audience for Matisse in South Africa, including the well-educated professional class and an active, sophisticated group of collectors who support a growing number of commercial galleries. There is also a vibrant community of artists in South Africa whose work characteristically draws on indigenous artistic traditions as well as global art. In spite of the limited audience—or perhaps because of it—a Matisse exhibition in Johannesburg is an important event, a major step toward broadening an appreciation of global art and its history.

In Johannesburg, the Matisse exhibition was the fourth in a series of presentations at the Standard Bank Gallery of works by twentieth-century modern European masters. Previous projects focused on Mark Chagall, Joan Miró, and Pablo Picasso. Through the curatorial efforts of Federico Freschi and Patrice Deparpe, director of the Musée Matisse in Le Cateau-Cambrésis, the exhibition Henri Matisse: Rhythm and Meaning was on view at the Standard Bank Gallery from July 13 to September 17, 2016. It included significant paintings, drawings, collages, and prints covering all the dominant themes in the artist’s oeuvre, from his early Fauvist years to the paper cut-outs produced in the last years of his life. As Freschi noted in introductory remarks, “Of particular interest to South African audiences is the inspiration Matisse took from African and other non-Western art forms during the early 1900s while struggling to find a new visual language to express the particular experience of the new, modern age.”

Patrice Deparpe, Director of the Musée Matisse in Le Cateau-Cambrésis, in the exhibition Henri Matisse: Rhythm and Meaning, downloaded from website of the Embassy of France in South Africa.

To open the SAVAH conference, a lecture, gallery talk and reception for the exhibition was held the evening before the conference proceedings began. Rosemary O’Neill presented a thought-provoking lecture titled, “Henri Matisse: Fluid Memory, Embodied Signs.” Her paper considered aspects of Matisse’s work in relation to the construct of memory, time, and intuitive expression, as well as the influence of the ideas of philosopher Henri Bergson. In discussing Jazz, O’Neill identified ways in which his Tahitian memories from 1930, as well as his own cultural context and artistic trajectory, resulted in the realization of the innovative process and expression soon evident in Matisse’s late cut-outs; their importance in relation to a revival of the decorative impulse in postwar France; and their analogous relationship to poetic and musical phrasing—that is, a system of ensemble signs—as articulated in the writings of the poet Louis Aragon. Freschi’s subsequent gallery talk elaborated on Matisse’s exploration of African modes of representation in his early works; then, calling special attention to the series of prints that comprise the artist’s book, Jazz, he emphasized the influence of his travel to Tahiti and the archipelago islands that appear in his use of patterns and rhythms, ephemeral materials, and a conceptual rather than perceptual approach to image making.

For an American visitor, the conference and exhibition provided much food for thought. It was impossible to ignore similarities in the dissatisfactions of university students in both countries. Like their South African counterparts, U.S. students are demanding a greater diversity of voices in the curriculum, on the faculty, and in the administrations of colleges and universities. In both countries, growing complaints about racial inequality and ties to apartheid or slavery have resulted in important, if mostly symbolic, changes. At about the same time that South African authorities were removing sculptures of Cecil Rhodes and suspending tuition hikes, leaders at Georgetown University announced efforts to make amends for its complicity in the nation’s slave trade, including preferential admissions for descendents of slaves sold in 1838 by Maryland Jesuits to stave off the college’s bankruptcy. Other schools, such as Brown University, Harvard University, Emory University, and the University of Virginia, have made their historical ties to slavery public and announced plans such as renaming buildings, creating racial justice programs, and erecting memorials acknowledging their ties to the transatlantic slave trade.

[Just last week in New York City, as part of an anti-Columbus Day protest, a diverse group of protesters, united under the banner “Decolonize This Place,” demanded the removal of an equestrian sculpture of Theodore Roosevelt (flanked on either side by a Native American and an African American) at the entrance to the American Museum of Natural History. The crowd included activists from the Black Lives Matter, Indigenous rights, and other labor and social justice movements. Calling it “the most visible symbol of white supremacy in New York,” the group also called for “decolonizing of the museum,” citing specific exhibits within the museum that highlight its history of white supremacy and colonialism. The demonstration was one of many across the country protesting the continued observance of Columbus Day, demanding that it be replaced by Indigenous People Day.]

From my vantage point as a participant at the SAVAH conference, the most striking similarity between the two countries was the paucity of people of color among art history professors and students. This was the great unspoken problem at the conference, evidenced by the prevalence of white faculty and students at a gathering focused on decolonization, art and activism, and keeping art history relevant. There were a small number of people of color at the conference among both speakers and attendees, but much like at a CAA Annual Conference, the dominant color was white. The answer is not, as some radical South African students demand, to rid the curriculum of all European content, or to replace all white professors with black ones; rather, it lies both in a multiplicity of voices and a questioning of assumptions rooted in the foundational texts of the field. Solving this problem may be the greatest challenge to art history’s relevance, even as progress is made alongside the slow path to racial equality.

South Africa is sometimes called a Petri dish for studying race relations. Only twenty-two years away from government-enforced racism, the country’s efforts in building a democratic, racially equal society offer many lessons about effective and less effective ways to accomplish radical change. The art historians I met in Johannesburg have created a vital community in which to study and struggle with these lessons. They are keeping the discipline of art history alive and relevant to the cultural and political challenges they face. But how they do it may provide important guidelines for scholars in the United States. In spite of numerous differences between the two countries—especially in scale, resources, and history—both South African and U.S. art historians are grounded in the same antecedents. How to retain the strengths of a discipline born in nineteenth-century Germany while stretching its geographic parameters to include all cultures is a challenge we all face.

Comment on this article in the Diversity in the Arts community on CAA Connect.

People in the News

posted by CAA — Oct 15, 2016

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.

October 2016

Academe

Celeste-Marie Bernier, formerly of the University of Nottingham in England, has taken up a position as professor of black studies at the University of Edinburgh in Scotland.

John Hatch has been appointed chair of the Department of Visual Arts at Western University in London, Ontario, Canada.

Mary Healy, formerly research fellow and guest lecturer in the history of art and visual culture at Trinity College Dublin in Ireland, has become lecturer at University College Cork, also in Ireland.

Sheila Pepe has become a faculty member in the MFA Fine Arts program at the School of Visual Arts in New York.

Museums and Galleries

Alan Chong

Alan Chong, formerly director of the Asian Civilisations Museum and the Peranakan Museum in Singapore, has been named director and chief executive officer of the Currier Museum of Art in Manchester, New Hampshire.

Amanda Gilvin

Amanda Gilvin, formerly visiting assistant professor of African art at Skidmore College in Saratoga Springs, New York, has been appointed assistant curator of collections for the Davis Museum at Wellesley College in Wellesley, Massachusetts.

Michael Goodson

Michael Goodson, formerly director of exhibitions at the Beeler Gallery at Columbus College of Art and Design in Columbus, Ohio, has been appointed senior curator of exhibitions for Ohio State University’s Wexner Center for the Arts, also in Columbus.

Jens Hoffmann, deputy director of exhibitions and programs at the Jewish Museum in New York, has a new position at his institution: director of special exhibitions and public programs.

Kristin Holder, print room manager for the Blanton Museum of Art’s Julia Matthews Wilkinson Center for Prints and Drawings at the University of Texas at Austin, is now curator emerita at her institution.

Sarah Newman, previously consulting curator of modern art for the National Gallery of Art in Washington, DC, has been named James Dicke Curator of Contemporary Art at the Smithsonian American Art Museum, also in Washington, DC.

Stephanie E. Rozman

Stephanie E. Rozman has joined the Norton Simon Museum in Pasadena, California, as assistant curator for Asian art.

Khristaan D. Villela, formerly professor of art history and scholar in residence at Santa Fe University of Art and Design in New Mexico, has been named director of the Museum of International Folk Art in Santa Fe.

Jonathan Frederick Walz

Jonathan Frederick Walz, formerly curator of American art for the Sheldon Museum of Art at the University of Nebraska in Lincoln, has been appointed director of curatorial affairs and curator of American art at the Columbus Museum in Columbus, Georgia.

 

Filed under: Uncategorized — Tags: Member News, Member Spotlight, People in the News —

Grants, Awards, and Honors

posted by CAA — Oct 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.

October 2016

Dustin Chad Alligood, curator for the Crystal Bridges Museum of American Art in Bentonville, Arkansas, was a participant in NextGen 2016, a program of the Getty Leadership Institute at Claremont Graduate University in Claremont, California.

Alex Arzt, an artist based in Adamstown, Maryland, has been awarded a 2016 residency at the Artists’ Cooperative Residency and Exhibitions (ACRE) program in Steuben, Wisconsin.

Renzo Baldasso, assistant professor of art history for the Herberger Institute for Design and the Arts at Arizona State University in Tempe, has been named a Paul Mellon Visiting Senior Fellow for fall 2016–winter 2017 by the National Gallery of Art’s Center for Advanced Study in the Visual Arts in Washington, DC. His research project is “A New Aesthetics for Print: The Emergence of the Visuality of the Printed Page from Gutenberg to Ratdolt.”

Caitlin Beach, a PhD candidate in the Department of Art History and Archaeology at Columbia University in New York, has earned a 2016–18 Wyeth Fellowship from the National Gallery of Art’s Center for Advanced Study in the Visual Arts in Washington, DC. As a nonresident predoctoral dissertation fellow, Beach will work on “Sculpture, Slavery, and Commodity in the Nineteenth-Century Atlantic World.”

John Richard Blakinger has accepted a two-year postdoctoral fellowship with the USC Society of Fellows in the Humanities at the University of Southern California in Los Angeles.

Andrianna Campbell, a doctoral student in art history at the Graduate Center, City University of New York, has received a Twelve-Month Chester Dale Fellow for 2016–17 from the National Gallery of Art’s Center for Advanced Study in the Visual Arts in Washington, DC. She will research “Norman Lewis: Linearity, Pedagogy, and Activism in His Abstract Expressionism, 1946–1964” during her time as a nonresident predoctoral dissertation fellow.

Natalie Campbell, an independent curator based in Washington, DC, has received a 2017 Curatorial Fellowship from the Center for Craft, Creativity, and Design in Asheville, North Carolina. With Carissa Carman, she will work on an exhibition called Tie Up, Draw Down, scheduled for summer 2017.

Carissa Carman, lecturer and area head of textiles in the Department of Studio Art at Indiana University in Bloomington, has received a 2017 Curatorial Fellowship from the Center for Craft, Creativity, and Design in Asheville, North Carolina. She will work on an exhibition called Tie Up, Draw Down, scheduled for summer 2017, with Natalie Campbell.

Peter Christensen, assistant professor of art history in the Department of Art and Art History at the University of Rochester in Rochester, New York, has won a 2016 SAH/Mellon Author Award from the Society of Architectural Historians. His book Germany and the Ottoman Railways: Art, Empire, and Infrastructure will be published by Yale University Press.

Grace Chuang, a doctoral candidate in art history at New York University’s Institute of Fine Arts, has been appointed a 2016–18 Samuel H. Kress Fellow by the National Gallery of Art’s Center for Advanced Study in the Visual Arts in Washington, DC. As a nonresident predoctoral dissertation fellow, Chuang will work on “The Furniture of Bernard II Vanrisamburgh, Master Cabinetmaker in Eighteenth-Century Paris.”

Lee Ann Custer, a PhD student in the University of Pennsylvania’s Department of History of Art in Philadelphia, has accepted an Ailsa Mellon Bruce Predoctoral Fellowship for Historians of American Art to Travel Abroad. The award was presented by the National Gallery of Art’s Center for Advanced Study in the Visual Arts in Washington, DC.

Catherine Damman, a doctoral candidate in the Department of Art History and Archaeology at Columbia University in New York, has earned a Twenty-Four-Month Chester Dale Fellow for 2016–18 from the National Gallery of Art’s Center for Advanced Study in the Visual Arts in Washington, DC. During her time as a nonresident predoctoral dissertation fellow, she will research “Unreliable Narrators: Laurie Anderson, Julia Heyward, and Jill Kroesen Perform the 1970s.”

Maggie Dethloff, a PhD student in the Department of Art History at the University of California, Irvine, has completed a 2016 summer internship at the National Gallery of Art in Washington, DC. For her project, Dethloff assisted with research and organization for an upcoming exhibition on the photographs of Sally Mann.

Jill Johnson Deupi, director and chief curator of the University of Miami’s Lowe Art Museum in Coral Gables, Florida, was a 2016 participant in the Getty Leadership Institute at Claremont Graduate University in Claremont, California.

Rachel Epp Buller, associate professor of visual arts and design at Bethel College in Mishawaka, Indiana, has been awarded one of the two Mary McMullan Grants given in the United States by the National Art Education Foundation. The grant will fund the development of a new course on activism, art, and design.

Jennifer Foley, director of education and community engagement for the Albright-Knox Art Gallery in Buffalo, New York, was a participant in NextGen 2016, a program of the Getty Leadership Institute at Claremont Graduate University in Claremont, California.

Sarah E. Fraser, professor of Chinese art history and deputy head of the Institute of East Asian Art History at Heidelberg University in Heidelberg, Germany, has been appointed Ailsa Mellon Bruce Senior Fellow at the National Gallery of Art’s Center for Advanced Study in the Visual Arts in Washington, DC. Fraser’s research concerns “Chinese as Subject: Genres in Nineteenth-Century Photography and the Migration of European Chinoiseries.”

Faye Raquel Gleisser, assistant professor of contemporary art in the Department of Art History of the Henry Radford Hope School of Fine Arts at Indiana University in Bloomington, has received a 2017 Academic Fellowship from the Georgia O’Keeffe Museum Research Center in Santa Fe, New Mexico. In fall 2017 Gleisser will work on “Guerilla Tactics:  Performance Art and the Aesthetics of Resistance in American Visual Culture, 1967–83.”

Aaron M. Hyman, a doctoral candidate in the History of Art Department at the University of California, Berkeley, has earned a 2015–17 Andrew W. Mellon Fellowship from the National Gallery of Art’s Center for Advanced Study in the Visual Arts in Washington, DC. During his time as a resident predoctoral dissertation fellow, Hyman will research “Rubens in a New World: Prints, Authorship, and Transatlantic Intertextuality.”

Frances Jacobus-Parker, a doctoral student in the Department of Art and Archaeology at Princeton University in Princeton, New Jersey, has earned a 2017 Academic Fellowship from the Georgia O’Keeffe Museum Research Center in Santa Fe, New Mexico. Her dissertation is titled “Redescription: Vija Celmins and the Replica in Postwar American Art.”

Hagi Kenaan, associate professor in the Department of Philosophy at Tel Aviv University in Israel, has been named William C. Seitz Senior Fellow by the National Gallery of Art’s Center for Advanced Study in the Visual Arts in Washington, DC. He will work on “The Origins of Photography and the Future of the Image.”

Bahareh Khoshooee, an MFA candidate in studio art at the University of South Florida in Tampa, has earned a 2016 residency in the Artists’ Cooperative Residency and Exhibitions (ACRE) program in Steuben, Wisconsin.

David Young Kim, assistant professor in the Department of History of Art at the University of Pennsylvania in Philadelphia, has been appointed Paul Mellon Senior Fellow at the Center for Advanced Study in the Visual Arts by the National Gallery of Art in Washington, DC. His project will examine “The Groundwork of Painting: Background, Materiality, and Composition in Italian Renaissance Art.”

Dale Kinney, Eugenia Chase Guild Professor Emeritus in the Humanities and Research Professor at Bryn Mawr College in Bryn Mawr, Pennsylvania, has been named 2016–17 Samuel H. Kress Professor at the Center for Advanced Study in the Visual Arts by the National Gallery of Art in Washington, DC.

Estelle Lingo, associate professor of art history and Donald E. Petersen Endowed Fellow at the University of Washington in Seattle, has been appointed Andrew W. Mellon Professor for 2016–17 at the National Gallery of Art’s Center for Advanced Study in the Visual Arts in Washington, DC.

Melissa Ming-Hwei Lo, assistant curator for the Huntington Library, Art Collection, and Botanical Gardens in San Marino, California, was a participant in NextGen 2016, a program of the Getty Leadership Institute at Claremont Graduate University in Claremont, California.

Fernando Loffredo has been selected as an A. W. Mellon Postdoctoral Fellow for 2015–17 by the National Gallery of Art’s Center for Advanced Study in the Visual Arts in Washington, DC. He is working on “A Sea of Marble: Traveling Fountains in the Early Modern Mediterranean.”

Joseph Madrigal, assistant professor of art at Luther College in Decorah, Iowa, has earned a 2016 residency at the Artists’ Cooperative Residency and Exhibitions (ACRE) program in Steuben, Wisconsin.

Michelle McCoy, a PhD student in the History of Art Department at the University of California, Berkeley, has been named Ittleson Fellow for 2015–17 by the National Gallery of Art’s Center for Advanced Study in the Visual Arts in Washington, DC. During her residency as a predoctoral dissertation fellows, McCoy will explore “Astrology and Astronomy in the Art of Liao-Yuan China and Inner Asia.”

Patricia Miranda, an artist, curator, and educator based in New York, has become the fall 2016 artist in residence at the I-Park Foundation in East Haddam, Connecticut.

Mary G. Morton, curator and head of the National Gallery of Art’s Department of French Paintings in Washington, DC, has been appointed 2016–17 Ailsa Mellon Bruce National Gallery of Art Sabbatical Curatorial Fellow at the Center for Advanced Study in the Visual Arts. Her exhibition will be titled Considering Caillebotte.

Itohan I. Osayimwese, assistant professor of the history of art and architecture at Brown University in Providence, Rhode Island, has won a 2016 SAH/Mellon Author Award from the Society of Architectural Historians. Her book Colonialism and the Archive of Modern Architecture in Germany will be published by the University of Pittsburgh Press.

Hannah Patterson, an artist based in Maryville, Tennessee, has accepted a 2016 residency from the Artists’ Cooperative Residency and Exhibitions (ACRE) program in Steuben, Wisconsin.

Giancarla Periti, associate professor of Italian Renaissance art at the University of Toronto in Ontario, Canada, has been honored with a Samuel H. Kress Senior Fellowship. During her time at the National Gallery of Art’s Center for Advanced Study in the Visual Arts in Washington, DC, she will work on “Correggio: Borders, Frames, and the Center of Painting.”

Lisa Pon, professor of art history in the Meadows School of the Arts at Southern Methodist University in Dallas, Texas, has received a Paul Mellon Visiting Senior Fellowship for fall 2016–winter 2017. Her research project at the National Gallery of Art’s Center for Advanced Study in the Visual Arts in Washington, DC, is called “Raphael and the Renaissance Arts of Collaboration.”

Aviva Rahmani, an artist based in New York, has won a 2016 award in architecture/environmental structures/design category through the Artists’ Fellowship Program of the New York Foundation for the Arts.

Jennifer Reynolds-Kaye, Lewis B. and Dorothy Cullman-Payson Postdoctoral Fellow at the Yale University Art Gallery in New Haven, Connecticut, was a participant in NextGen 2016, a program of the Getty Leadership Institute at Claremont Graduate University in Claremont, California.

Jeff Robinson, instructor of art and director of the Visual Arts Gallery at the University of Illinois in Springfield, has accepted a 2016 residency at the Artists’ Cooperative Residency and Exhibitions (ACRE) program in Steuben, Wisconsin.

Kristine Ronan, who recently earned her PhD in art history from the University of Michigan in Ann Arbor, has been awarded a 2017 Academic Fellowship from the Georgia O’Keeffe Museum Research Center in Santa Fe, New Mexico. As a postdoctoral fellow, Ronan will continue work on “Indian – Pop – Politics: The Rise and Fall of a Native/American Art Movement.”

Margaret Samu, a freelance art historian based in New York, has become writer in residence at New York University’s Jordan Center for the Advanced Study of Russia. She will work on her manuscript “Russian Venus” during the 2016–17 academic year.

Elke Seibert

Elke Seibert, a postdoctoral researcher, has been awarded a two-year fellowship at the German Center for the History of Art in Paris, France, sponsored by the German Research Foundation. She will continue researching “Prehistoric Rock Paintings and the Genesis of Contemporary Art in New York and Paris (1930–60).”

Zeynep Simavi, program specialist in public and scholarly engagement for the Smithsonian Institution’s Freer Gallery of Art and Arthur M. Sackler Gallery in Washington, DC, was a participant in NextGen 2016, a program of the Getty Leadership Institute at Claremont Graduate University in Claremont, California.

Anna P. Sokolina

Anna P. Sokolina has become the first Milka Bliznakov Scholar in recognition and support of her research proposal, “Life to Architecture: Milka Bliznakov Academic Papers and Records of Russian Women Architects at the IAWA.” The Milka Bliznakov Research Prize Jury 2016 at the International Archive of Women in Architecture, facilitated at Virginia Polytechnic Institute and State University, created a new designation that includes a stipend to cover a two-year period (2016–18).

Phil Taylor, a doctoral student in the Department of Art and Archaeology at Princeton University in Princeton, New Jersey, has been appointed David E. Finley Fellow for 2014–17 by the Center for Advanced Study in the Visual Arts at the National Gallery of Art in Washington, DC. His research, to be undertaken as a resident predoctoral dissertation fellow, examines “Raoul Ubac’s Photographic Surrealism.”

Jill Vaum, a PhD candidate in the Department of History of Art at the University of Pennsylvania in Philadelphia, has received an Ailsa Mellon Bruce Predoctoral Fellowship for Historians of American Art to Travel Abroad, awarded by the National Gallery of Art’s Center for Advanced Study in the Visual Arts in Washington, DC.

Leslie Wilson, a graduate student in the Department of Art History at the University of Chicago in Illinois, has received a Twenty-Four-Month Chester Dale Fellow for 2015–17 from the Center for Advanced Study in the Visual Arts at the National Gallery of Art in Washington, DC. While a resident predoctoral dissertation fellow, Wilson will consider “Past Black and White: The Color of Post-Apartheid Photography in South Africa, 1994‒2004.”

Oliver M. Wunsch, a PhD candidate in the Department of History of Art and Architecture at Harvard University in Cambridge, Massachusetts, has been appointed Robert H. and Clarice Smith Fellow for 2016–17 by the National Gallery of Art’s Center for Advanced Study in the Visual Arts in Washington, DC. As a nonresident predoctoral dissertation fellow, he will research “Painting against Time: The Decaying Image in the French Enlightenment.”

Irini Zervas, who recently earned an MA in art history from Hunter College, City University of New York, has completed work as a 2016 National Gallery of Art Summer Intern. For her project in Washington, DC, Zervas assisted with research and organization for an upcoming exhibition on women photographers working from the 1920s through the 1940s.

 

Filed under: Uncategorized — Tags: Grants Awards Honors, Member News, Member Spotlight —

Institutional News

posted by CAA — Aug 15, 2016

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.

August 2016

The American Institute for Conservation of Historic and Artistic Works, based in Washington, DC, has received a comprehensive financial analysis and capacity building financial support from the Andrew W. Mellon Foundation through a four-year pilot initiative, organized in collaboration with the National Performance Network/Visual Artists Network and Nonprofit Finance Fund.

Vidya Dehejia

The Center for Advanced Study in the Visual Arts at the National Gallery of Art in Washington, DC, has posted audio and video of the sixty-fifth A. W. Mellon Lectures in the Fine Arts. In a six-part series titled “The Thief Who Stole My Heart: The Material Life of Chola Bronzes from South India, c. 855–1280,” the art historian Vidya Dehejia of Columbia University discusses the work of artists of Chola India who created exceptional bronzes of the god Shiva.

The Cincinnati Art Museum in Cincinnati, Ohio, has accepted a five-year, $500,000 donation from the Harold C. Schott Foundation to strengthen the museum’s special exhibitions and related programming.

Architectural rendering of the Bo Barlett Center at Columbus State University from Olson Kundig

Columbus State University in Columbus, Georgia, has created the Bo Bartlett Center as the result of a public/private partnership dedicated to the arts, creativity, and collaboration. Opening in late 2017, the center will feature a gallery, archive, and multidisciplinary programming spaces.

The Detroit Institute of Arts in Michigan has been given a $1 million pledge to its operating endowment from the Founders Junior Council. The Egyptian gallery will be named the Founders Junior Council Gallery in recognition of the promised gift.

Getty Publications, based in Los Angeles, California, has launched two new online catalogues highlighting antiquities in the collections of the J. Paul Getty Museum, providing free access to these works online and in a variety of downloadable formats.

Getty Research Portal

The Getty Research Institute in Los Angeles, California, has launched an updated version of the Getty Research Portal, which now offers more than 100,000 volumes available from over twenty international partners. Launched in 2012, the Getty Research Portal is an online search gateway that aggregates the metadata of art-history and cultural texts, with links to fully digitized copies that are free to download.

The Solomon R. Guggenheim Museum in New York has received a major grant from the Edmond de Rothschild Foundation to support Guggenheim Social Practice, a new initiative that will explore the ways in which artists can initiate projects that engage community participants, together with the museum, to foster new forms of public engagement.

Maryland Institute College of Art in Baltimore has received a $75,000 award from the National Endowment for the Arts to support the North Avenue Knowledge Exchange, an educational platform developed with Red Emma’s Bookstore Coffeehouse and Station North Arts and Entertainment. Centered in the Station North Arts and Entertainment District and open to all, the Knowledge Exchange will provide opportunities for neighborhood residents to learn from each other and to work on projects that improve the community through art, design, and creativity.

The Minneapolis Institute of Art in Minnesota has unveiled a series of new digital initiatives designed to augment and personalize visitors’ experiences within and beyond the museum’s galleries. From innovative mobile apps that facilitate a customized journey through the museum to in-depth multimedia explorations of treasured artworks—as well as new features on the museum’s website—these new digital platforms will allow visitors to more deeply engage with the institute’s collection and create shared art experiences in unprecedented ways.

Oklahoma State University in Stillwater has won a $15,000 grant from the National Endowment for the Arts to support an exhibition of artwork and related programming centered on female deities in Native American creation stories. The exhibition will be held September 2016–January 2017 at the Oklahoma State University Museum of Art.

The Pennsylvania Academy of the Fine Arts in Philadelphia has created a curatorial fellowship dedicated to enhancing diversity ranks among curators in the fine arts. The Winston and Carolyn Lowe Curatorial Fellowship for Diversity in the Fine Arts is a full-time, two-year position that will offer a highly mentored and structured curatorial experience at the academy.

The Princeton University Art Museum in Princeton, New Jersey, has won a $50,000 grant from the National Endowment for the Arts to support Nature’s Nation: American Art and Environment, an exhibition, publication, and companion programming that will explore the evolving human understanding of, and relation to, the natural world.

SAH Archipedia

The Society of Architectural Historians, based in Chicago, Illinois, has been awarded a $205,000 outright and matching grant from the National Endowment for the Humanities to commission new content and site enhancements to SAH Archipedia, a media-rich online encyclopedia of American architecture developed by SAH in collaboration with the University of Virginia Press.

The University of Oklahoma in Norman has accepted a $40,000 grant from the National Endowment for the Arts to support the commissioning and exhibition of photographs of the state’s Native American community by the contemporary Navajo artist Will Wilson. The exhibition, to open in spring 2017, will be held at the university’s Fred Jones Jr. Museum of Art.

This Currier & Ives hand-colored lithograph is among 1,500 works to be digitized at Winterthur thanks to an NEA Art Works grant recommendation.

The Winterthur Museum, Garden, and Library in Wilmington, Delaware, has accepted a $35,000 grant recommendation from the National Endowment for the Arts to digitize 1,500 important works of art on paper. The project is part of a Winterthur initiative to thoroughly document its collection, upgrade its cataloguing content, and provide broad access through the museum’s collection website.

 

Filed under: Uncategorized — Tags: Institutional News, Member News, Member Spotlight —

Affiliated Society News for July 2016

posted by CAA — Jul 15, 2016

 

American Council for Southern Asian Art

The American Council for Southern Asian Art (ACSAA), along with the University of Michigan History of Art Visual Resources Collections and the Center for Art and Archaeology (CA&A) of the American Institute of Indian Studies in Gurgaon, India, is pleased to announce that over 12,000 low-resolution images (suitable for PowerPoint presentations), known collectively as the ACSAA Digital Images, are now newly available for free direct downloading for noncommercial, educational, and scholarly purposes through the Virtual Museum of Images and Sounds (VMIS). Funded by India’s Ministry of Culture, VMIS was recently created by using the image and sound archives of the CA&A and the Archives and Research Center for Ethnomusicology (ARCE)—the two centers of the AIIS.

The ACSAA Digital Images were first distributed under the aegis of the ACSAA Color Slide Project, a nonprofit initiative administered through the former Asian Art Archives of the University of Michigan that from 1974 through 2006 provided high-quality original and duplicate 35mm color slides of the art and architecture of India and greater South Asia, Southeast Asia, and Indonesia, as well as the Himalayan regions, to individuals and institutions around the world for teaching and research purposes. With this new iteration, the original project’s educational intentions have not only been maintained, but have now been expanded to make the images available on an even wider scale and without fee. The user simply needs to register (free of charge) on the VMIS website before the images can be downloaded (free of charge).

Arts Council of the African Studies Association

News from the Arts Council of the African Studies Association (ACASA) includes a call for nominations for the new ACASA Curatorial Awards, coming soon. The spring 2016 Newsletter has been published (available to subscribers only).

ACASA is also sponsoring two panels at the upcoming annual meetings of the African Studies Association and the College Art Association. At the African Studies Association annual meeting, to be held December 1–3, 2016, in Washington, DC, the group will present “Shattering Single Stories in the Labeling and Presentation of Historical Arts of Africa.” The cochairs are Susan Elizabeth Gagliardi of Emory University and Yaëlle Biro from the Metropolitan Museum of Art’s Department of the Arts of Africa, Oceania, and the Americas. The participants are: Silvia Forni, Royal Ontario Museum; Kathryn Gunsch, Museum of Fine Arts, Boston; Nanina Guyer, Hans Himmelheber Photographic Archives, Museum Rietberg Zurich; and Matthew Francis Rarey, Oberlin College. The discussant is Karen E. Milbourne from the Smithsonian Institution’s National Museum of African Art.

The deadline for the call for submissions to the ACASA-sponsored panel at CAA’s next Annual Conference, taking place February 15–18, 2017, in New York, is August 30, 2016. Titled “Flesh,” the session will be chaired by Shannen Hill of the Baltimore Museum of Art.
The call for submissions and the full panel description will be listed on CAA website on July 1. By August 30, interested parties should send a CV and abstract of no more than 500 words to Shannen Hill. All parties will be notified of the outcome by September 15.

Foundations in Art: Theory and Education

Foundations in Art: Theory and Education (FATE) has announced that the call for papers for its 2017 biennial conference, “To the Core and Beyond,” is now open.

Italian Art Society

In May, the Italian Art Society (IAS) sponsored two sessions titled “New Perspectives on Medieval Rome” at the International Congress on Medieval Studies in Kalamazoo, Michigan. Marius Hauknes (Johns Hopkins University) and Alison Locke Perchuk (California State University, Channel Islands) organized the panels. In August, IAS will sponsor two sessions at the Sixteenth Century Society and Conference (SCSC) meeting in Bruges, Belgium: “Co-petition: Testing the Boundaries of Cooperation and Competition,” organized by Alexis Culotta (American Academy of Art, Chicago); and “The Holy Republic of Venice,” organized by Allison Sherman (Queen’s University) and Eveline Baseggio Omiccioli (Fashion Institute of Technology, State University of New York). An IAS Conference Travel Grant for Emerging Scholars has been awarded to Tenley Bick (doctoral candidate, University of California, Los Angeles) to support travel to the recent meeting of the American Association for Italian Studies in Baton Rouge, Louisiana. IAS/Kress International Conference Travel Grants have been awarded to Alexis Culotta and Giada Damen (Morgan Library and Museum) to support travel to SCSC in Bruges. The seventh annual IAS/Kress Lecture took place on June 1 at the Villa I Tatti in Florence. An audience of nearly eighty listened raptly to the paper presented by Megan Holmes (University of Michigan), “New Perspectives on the Reception of Florentine Panel Painting: Interpreting Scratch Marks.”

National Council of Arts Administrators

The forty-fourth National Council of Arts Administrators (NCAA) annual gathering, “The Great Untapped: Unlocking Assets through Alliances,” will convene September 28–October 1, 2016, in Philadelphia, Pennsylvania. Please join NCAA at Temple University’s Tyler School of Art for a discussion considering how institutions are now challenged to reconcile their own particular histories with the development of experiential curricula that connect students to an infinitely expanding world. How does one honor deep institutional history while cultivating alliances with other scholarly and cultural traditions? How can we foster alliances with outside communities as equal partners, and move away from an aesthetics of display to an ethics of care and deep understanding? We invite current and aspiring art department chairs, directors, and deans to attend. Visit the website to learn more about the conference and to join NCAA

Public Art Dialogue

Public Art Dialogue (PAD) has news. The winter 2016 issue of the Public Art Dialogue Newsletter features an interview by Jennifer K. Favorite with Kirk Savage, the recipient of the 2016 PAD award for achievement in public art. Marissa Lerer contributed an essay, “Built and Open Walls,” on public art in Washington, DC. There are several forthcoming special issues of PAD: Public Art Dialogue. The first is “Higher Ed: College Campuses and Public Art,” which will be edited by Monika Burczyk (submission deadline: September 1, 2016). Cher Krause Knight and Harriet F. Senie are serving as coeditors for an open issue (submission deadline: March 1, 2017). A third issue will feature guest editors Silvia Bottinelli and Margherita d’Ayala Valva; the theme will be “Food as Activism in Contemporary Public Art” (submission deadline: June 1, 2017). For more information, see http://publicartdialogue.org/journal/submissions.

SECAC

SECAC’s annual meeting will be held October 19–22, 2016, in Roanoke, Virginia, with Virginia Tech serving as host. Kevin Concannon, director of the School of Visual Arts and professor of art history at Virginia Tech, will serve as conference director. Sessions will take place at the official conference hotel, the Hotel Roanoke and Conference Center. The Hotel Roanoke, added to the National Register of Historic Places in 1996, is in the heart of the city’s vibrant downtown and within easy walking distance of the Taubman Museum of Art, the Harrison Museum of African American Culture, and the O. Winston Link Museum, as well as many restaurants and bars. The conference schedule will be posted in early July on the SECAC website.

Excursions to Virginia Tech and Hollins University on Thursday and Friday evening include the 2015 Artist’s Fellowship exhibition opening, the 2016 SECAC Juried Exhibition, and the keynote speaker Lynn Hershman Leeson, who will present in the Moss Arts Center’s spectacular Snohetta-designed theater at Virginia Tech.

The last issue of the Southeastern College Art Conference Review has been published. The 2016 edition will be renamed Art Inquiries.

The deadline for the $5,000 SECAC 2016 Artist’s Fellowship is August 1, 2016. For application details, visit www.secacart.org/artists-fellowship.

Visual Resources Association

The Visual Resources Association (VRA) held its third joint conference with Art Libraries Society of North America (ARLIS/NA) in Seattle, Washington, this past March. The event offered an engaging and diverse program from ninety-five submitted paper or session proposals, resulting in thirty-nine sessions; fifteen submitted workshop proposals, resulting in six workshops; fifty-five submitted poster proposals, resulting in forty posters, and eleven SIG/SUG meetings. Topics included digital humanities, visual literacy, geospatial and visualization projects, image rights and reproductions, new technologies, museum education, environmental design, makerspaces, ebook publishing, materials education and research, diversity, RDF and LOD, crowdsourcing, cataloging, archives, visualization, and open access.

Key officers at the conference included VRA vice president for conference program, Chris Strasbaugh, as coordinator of the program and schedule in collaboration with Program Committee cochairs Dan McClure (ARLIS/NA), Denise Hattwig (ARLIS/NA), and Mar González Palacios (AASL, ARLIS/NA); VRA Education Committee cochairs Beth Wodnick Haas, Ryan Brubacher, and Marsha Taichman, who contributed toward programming; and the many presenters, instructors, and moderators who offered such timely, relevant, and forward-thinking content. The collaborative perspectives and working relationships of these individuals and many others set the tone for all conference planning and arrangements.

VRA honored Ann Whiteside with its Distinguished Service Award (she was also the recipient of the same award from ARLIS/NA) and conferred its Nancy DeLaurier Award to VRA Core 4.0 cocreators Kevin Esmé Cowles, Janice Eklund, Benjamin Kessler, and Trish Rose-Sandler. Sarah Bergmann, a design thinker and the founder of the Pollinator Pathway, spoke during convocation and shared perspectives on how the plight of the honey bee inspired her to consider symbiotic relationships and the importance of building pathways to support these relationships. While Bergmann’s consideration of bees inspired her to connect city dwellers to existing green spaces, her work inspired attendees to think about the benefits that might be realized when building connections across disciplines and professional organizations.

 

Filed under: Affiliated Societies —

Call for Applicants to PIPS Committees for 2017–20 Terms

posted by CAA — Jun 21, 2016

The Professional Interests, Practices and Standards (PIPS) committees address critical concerns of CAA’s members set out in the goals of CAA’s Strategic Plan. CAA invites members to apply for service on one of these PIPS committees.

Committee on Diversity Practices

http://www.collegeart.org/committees/diversity

The Committee on Diversity Practices supports the development of global perspectives on art and visual culture. The committee promotes artistic, curatorial, scholarly and institutional practices that deepen appreciation of political and cultural heterogeneity, as educational and professional values. To that end, the committee assesses and evaluates the development and implementation of curricular innovation, new research methods, curatorial and pedagogical strategies, and hiring practices that contribute to the realization of these goals.

Committee on Intellectual Property

http://www.collegeart.org/committees/ip

The Committee on Intellectual Property monitors and interprets copyright legislation for the benefit of CAA’s various constituencies. In so doing, it seeks to offer educational programs and opportunities for discussion and debate in response to copyright legislation that affects educators, scholars, museum professionals, and artists.

Committee on Women in the Arts

http://www.collegeart.org/committees/women

The Committee on Women in the Arts (CWA) promotes the scholarly study and recognition of women’s contributions to the visual arts and to critical and art-historical studies; advocates for feminist scholarship and activism in art; develops partnerships with organizations with compatible missions; monitors the status of women in the visual-arts professions; provides historical and current resources on feminist issues; and supports emerging artists and scholars in their careers.

Education Committee

http://www.collegeart.org/committees/education

The Education Committee promotes the visual arts as essential human activity; as a creative Endeavor and subject of cultural and historical inquiry and critical appreciative activity, and encourages excellence in teaching at all levels.  Its focus is on pedagogy at the higher education level in art history, visual culture, studio, aesthetics, and art criticism, and on the interface between arts teaching and learning research and practice.

International Committee

http://www.collegeart.org/committees/international

The International Committee seeks to foster an international community of artists, scholars and critics within CAA; to provide forums in which to exchange ideas and make connections; to encourage engagement with the international student community; to develop relationships between CAA and organizations outside the United States with comparable goals and activities; and to assist the CAA Board of Directors by identifying and recommending advocacy issues that involve CAA and cross national borders.

Museum Committee

http://www.collegeart.org/committees/museum

The Museum Committee provides a bridge between scholars and arts professionals in the academic and museum fields.  It offers a forum for the discussion of issues of mutual interest and promotes museum advocacy issues within CAA.  The committee lends support and mentorship for both seasoned and emerging professionals to protect and interpret the arts within museums.

Professional Practices Committee

http://www.collegeart.org/committees/professional

The Professional Practices Committee responds to specific concerns of the membership in relation to areas such as job placement and recruitment, tenure and promotion procedures, scholarly standards and ethics, studio health and safety, and artists’ practices.  The Professional Practices Committee also oversees CAA’s Standards and Guidelines.

Services to Artists Committee

http://www.collegeart.org/committees/services

The Services to Artists Committee (SAC) was formed by the CAA Board of Directors to seek broader participation by artists and designers in the organization and the Annual Conference.  SAC identifies and addresses concerns facing artists and designers; creates and implements programs and events at the conference and beyond; explores ways to encourage greater participation and leadership in CAA; and identifies ways to establish closer ties with other arts professionals and institutions.  To this end, committee members are responsible for the programming of ARTspace and its related events.

Student and Emerging Professionals Committee

http://www.collegeart.org/committees/student

Established in February 1998, the Student and Emerging Professionals Committee is comprised of CAA members who are students, recent graduates, and experienced arts professionals with the intention of better representing students and emerging professionals within the larger CAA and academic framework.

In the past year the Committee on Diversity continues to address how CAA as an association can positively address diversity awareness, training and implementation and maintains a site for resources on diversity practices: http://www.collegeart.org/diversity/; the Committee on Intellectual Property has organized conference sessions on the new Fair Use Code and maintains a resource cite on intellectual property: http://www.collegeart.org/ip/;  the Committee on Women in the Arts provides CWA Picks: http://www.collegeart.org/committees/picks and supports scholarship on women in the arts; the Education Committee organizes conference panels on issues in education, and in 2017 will examine Teaching Art and Art History to Non-Majors; the International Committee promotes interactions between scholars on a global basis and continues to support the CAA/Getty International Travel program that brings international scholars to the annual conference; the Museum Committee focuses on the history and theory of art museums and academia and has implemented its project—Resources for Academic Art Museum Professionals (RAAMP) supported by the Andrew W. Mellon Foundation; the Professional Practices Committee updates and develops important guidelines for the profession; Services to Artists Committee plans and organizes ArtSpace at the annual conference that presents prominent artists and designers, discussions on artist/designer concerns from safety in the workplace to professional development; the Student and Emerging Professionals Committee organizes panels related to emerging professionals and holds mentoring and mock job interviews at the conference. All committees are seeking new members with expertise in these areas.

New this year, each PIPS Committee may propose and present one session on a subject related to their committee charge.  If a Committee wishes to propose a second session, that session must be vetted and approved by the Annual Conference Committee.

Committee members serve three-year terms (2017–20), with at least one new member rotating onto a committee each year. Candidates must be current CAA members and possess expertise appropriate to the committee’s work. Members of all committees volunteer their services without compensation. It is expected that once appointed to a committee, a member will involve himself or herself in an active and serious way.

The following vacancies are open for terms beginning in February 2017:

• Committee on Diversity Practices: 3–4 members
• Committee on Intellectual Property: 3–4  members
• Committee on Women in the Arts: 3–4 members
• Education Committee: 3–4 members
• International Committee: 6 members
• Museum Committee: 5 members
• Professional Practices Committee: 7 members
• Services to Artists Committee: 4–5 members
• Student and Emerging Professionals Committee: 3–4 members

CAA’s president, vice president for committees, and executive director review all candidates in the fall, and announce the appointments after November 1, prior to the Annual Conference. New members are introduced to their committees during their respective business meetings at the conference.

Nominations and self-nominations should include a brief statement (no more than 150 words) describing your qualifications and experience and an abbreviated CV (no more than 2–3 pages). Please send all materials to Vanessa Jalet, CAA executive liaison at vjalet@collegeart.org.  Deadline: Friday, September 30, 2016. Kindly enter subject line in email: 2017 PIPS Applicant.

Filed under: Committees, Governance, Service, Uncategorized —

People in the News

posted by CAA — Jun 15, 2016

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.

June 2016

Academe

Susan Cohen has left her position as director of the Council for the Arts at the Massachusetts Institute of Technology in Cambridge, which she led for ten years.

Kris Ebeling, formerly assistant director of enrollment management for the Art Academy of Cincinnati in Ohio, has joined the exhibit crew at the Cincinnati Museum Center.

Alison Hardie, senior lecturer in Chinese studies at the University of Leeds in England, has retired.

Larry Hinz has stepped down from his position as president of the Santa Fe University of Art and Design in Santa Fe, New Mexico.

Mark Hoversten, currently dean of the College of Art and Architecture at the University of Idaho in Moscow, has been appointed dean of the College of Design at North Carolina State University in Raleigh. Hoversten will start his new job on July 1.

Patricia C. Phillips

Patricia C. Phillips, dean of graduate studies at the Rhode Island School of Design in Providence, has been appointed chief academic officer and academic dean of the Moore College of Art and Design in Philadelphia, Pennsylvania. She will begin her new position on July 1.

Charlie White, professor of fine art in the Roski School of Art and Design at the University of Southern California in Los Angeles, has become head of the School of Art at Carnegie Mellon University in Pittsburgh, Pennsylvania.

Museums and Galleries

Judy Ditner

Judy Ditner has been appointed Richard Benson Assistant Curator of Photography and Digital Media at the Yale University Art Gallery in New Haven, Connecticut.

Laura Fry

Laura Fry, the inaugural Haub Curator of Western American Art for the Tacoma Museum of Art in Tacoma, Washington, has joined the Gilcrease Museum in Tulsa, Oklahoma, as curator of art.

Francesca Giani

Francesca Giani, guest curator for the University of Oklahoma’s Fred Jones Jr. Museum of Art in Norman, has been named curator of modern and contemporary art at the Oklahoma City Museum of Art.

Christine Giviskos, associate curator for the Zimmerli Art Museum at Rutgers University in New Brunswick, New Jersey, has been promoted to curator of prints, drawings, and European art.

Sarah Johnson (photograph by Sarah Murray)

Sarah Johnson has been appointed director of the Cahoon Museum of American Art in Cotuit, Massachusetts.

Hannah Klemm

Hannah Klemm, formerly Fisher Collection Graduate Curatorial Fellow at the San Francisco Museum of Modern Art in California, has joined the Saint Louis Art Museum in Missouri as assistant curator of modern and contemporary art.

Brett Knappe, formerly associate professor of art history at Baker University in Baldwin City, Kansas, has been appointed executive director of the Albrecht-Kemper Museum of Art in Saint Joseph, Missouri.

Robert Mintz

Robert Mintz, previously chief curator and curator of Asian art at the Walters Art Museum in Baltimore, Maryland, has joined the Asian Art Museum of San Francisco in California as deputy director of art and programs.

Jennifer Stettler Parsons

Jennifer Stettler Parsons has become the new assistant curator at the Florence Griswold Museum in Old Lyme, Connecticut.

John R. Stomberg (photograph by Gary Westcott)

John R. Stomberg, formerly Florence Finch Abbott Director of the Mount Holyoke College Art Museum in South Hadley, Massachusetts, has become director for Dartmouth College’s Hood Museum of Art in Hanover, New Hampshire.

Martha Tedeschi

Martha Tedeschi, previously deputy director for art and research at the Art Institute of Chicago in Illinois, has been appointed Elizabeth and John Moors Cabot Director of the Harvard Art Museums in Cambridge, Massachusetts.

Jacqueline Terrassa (photograph by Rachel Herman)

Jacqueline Terrassa, managing museum educator for gallery and studio programs at the Metropolitan Museum of Art in New York since 2011, has become the new Woman’s Board Endowed Chair of Museum Education at the Art Institute of Chicago in Illinois.

Julia Tulovsky, associate curator for Rutgers University’s Zimmerli Art Museum in New Brunswick, New Jersey, has been promoted to curator of Russian and Soviet Nonconformist Art.

Jonathan Frederick Walz has left his position as curator of American art at the University of Nebraska’s Sheldon Museum of Art in Lincoln.

Claire Whitner

Claire Whitner has been promoted to assistant director of curatorial affairs and senior curator of collections at Wellesley College’s Davis Museum in Wellesley, Massachusetts.

Organizations and Publications

Jenny Norton-Wright has left her position at the Islamic Manuscript Association, based in Cambridge, England.

 

Filed under: Uncategorized — Tags: Member News, Member Spotlight, People in the News —

2016–2017 Nominating Committee Members

posted by CAA — May 31, 2016

CAA is pleased to announce the members of the 2016–2017 Nominating Committee, which is charged with identifying and interviewing potential candidates for the Board of Directors and selecting the final slate of candidates for the membership’s vote. The committee members, their institutional affiliations, and their positions are:

• Jim Hopfensperger, Vice President for Committees and Nominating Committee Chair, Professor, Frostic School of Art, Western Michigan University
• Jesús Escobar, Harold H. and Virginia Anderson Chair, Department of Art History, Northwestern University
• Helen C. Frederick, Professor, School of Art and Design, George Mason University
• Carmenita D. Higginbotham, Associate Professor, Program in American Studies, University of Virginia, Department of Art
• Thomas Lawson, Dean, School of Art, Jill and Peter Kraus Distinguished Chair in Art, California Institute of the Arts
• Sarah A. Lichtman, Assistant Professor, Director, Design-Curatorial Studies, Parsons School of Design
• Gunalan Nadarajan, Professor and Dean, Stamps School of Art and Design, University of Michigan
• David C. Terry, Director of Programs, Curator, New York Foundation for the Arts

Hunter O’Hanian, CAA’s incoming executive director and CEO, will also serve on the Nominating Committee as an ex-officio member.

CAA publishes a call for nominations and self-nominations for Nominating Committee service on the website in late fall of every year and publicizes it in CAA News and via social media. Please direct all queries regarding the committee to Vanessa Jalet, CAA executive liaison.

Filed under: Committees, Governance, People in the News, Uncategorized —

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