“Digital Crossroads: New Directions in 3D Architectural Modeling in the Humanities” is the title of the December 2009 issue of Visual Resources: An International Journal of Documentation (published by Taylor & Francis/Routledge). This special issue, guest edited by Arne R. Flaten and Alyson A. Gill, includes essays covering a broad range of approaches, periods, regions, and projects that utilize 3D digital models to examine architectural forms.
After the editors’ brief overview of the papers, Gill presents synopses of various innovative programs nationally and worldwide employing digital modeling. Next, David Johnson’s article evaluates the methods of critically assessing the accuracy of computer reconstructions and proposes criteria for such appraisals. An article by Flaten follows with his description of the Ashes2Art program in which 3D models of ancient Delphi are built by undergraduates.
Sheila Bonde and Clark Maines examine movement and uncertainty in digital models and online paradigms through the virtual medieval monastery of Saint-Jean-des-Vignes. Paula Lupkin’s analysis of her reconstructed New York YMCA building raises questions about the diverse role(s) assumed by digital modelers. Finally, Christopher Johanson explores multiple realities and ontologies, and the problems and opportunities presented by geo-referenced models of Republican Rome.
Visual Resources is published in print and electronically. CAA members are eligible for the special reduced subscription rate for individuals.
Dissertation titles in art history and visual studies from US and Canadian institutions, both completed and in progress, are published annually in caa.reviews, making them available through web searches. Dissertations formerly appeared in the June issue of The Art Bulletin and on the CAA website.
PhD-granting institutions may send a list of doctoral students’ dissertation titles to email@example.com. Full instructions regarding the format of listings can be found at www.caareviews.org/about/dissertations. CAA does not accept listings from individuals. Improperly formatted lists will be returned to sender. For more information, please write to the above email address. Deadline: January 15, 2010.
William A. Peniston is librarian at the Newark Museum in Newark, New Jersey.
Karl Lunde, art historian and professor emeritus at William Paterson University, died peacefully at his home in New York City on December 27, 2009. He was 78.
He was born on Staten Island on November 1, 1931, to Karl and Elisa Lunde, who had emigrated to America from Norway in the 1920s. He was educated at Columbia University, where he received his BA in 1952 and MA in 1954, in the field of art history. From 1957 to 1970 he was an instructor in the School of General Studies at Columbia.
Lunde directed the Contemporaries, an art gallery on Madison Avenue devoted to modern painting and sculpture, from 1956 to 1965. While there, he was among the first to encourage the collecting and appreciation of modern fine prints and to introduce Americans to the work of Fernando Botero, Jose de Creeft, Antonio Music, and Ricardo Martinez. He was an early champion of several young American artists, now much celebrated, including Robert Kipniss, Richard Anuszkiewicz, and Lorrie Goulet.
In 1970 Lunde received his PhD in art history from Columbia University. His dissertation on Johan Christian Dahl was the first English-language study of this influential nineteenth-century Norwegian landscape painter. That same year, Lunde became a professor of art history at William Paterson University of New Jersey, where he taught until his retirement in 1996. Over the years, Lunde developed a wide-ranging repertoire of courses, including classes on American painting and sculpture, Asian art, prehistoric art, and European Neoclassicism and Romanticism. A mesmerizing lecturer, Lunde received a university award for teaching excellence. He also assembled an impressive collection of over 30,000 personally annotated color slides, which he used in teaching and which he later donated to Columbia University’s Avery Architectural and Fine Arts Library.
A frequent contributor to professional and scholarly journals, Lunde also wrote several books devoted to the works of twentieth-century American artists, including Isabel Bishop (1975), Anuszkiewicz (1977), Robert Kipniss: The Graphic Work (1980), and John Day (1984). He also amassed a large and important collection of rare books, art objects, and antiques and donated paintings to the Smithsonian American Art Museum and the Newark Museum.
Lunde was predeceased by his partner, the artist and arts administrator Roy Moyer, and is survived by his brother, Asbjorn Lunde of New York.
CAA announces today the recipients of its 2010 Awards for Distinction. These annual awards honor outstanding achievements in the visual arts and reaffirm CAA’s mission to encourage the highest standards of scholarship, practice, and teaching.
CAA President Paul B. Jaskot will formally recognize the honorees and present the awards at Convocation, to be held during CAA’s 98th Annual Conference on Wednesday evening, February 10, 2010, 5:30–7:00 PM, at the Hyatt Regency Chicago. The Annual Conference—hosting scholarly sessions, panel discussions, career-development workshops, art exhibitions, a book and trade fair, and more—is the largest gathering of artists, art historians, students, and arts professionals in the United States.
With these awards, CAA honors the accomplishments of individual artists, art historians, authors, conservators, curators, and critics whose efforts transcend their individual disciplines and contribute to the profession as a whole and to the world at large.
Distinguished Artist Award for Lifetime Achievement
The continuum of Suzanne Lacy’s career mirrors the history of contemporary art: performance, installation, activism, social practice, and public engagement. An internationally regarded artist whose work includes installations, video, and performance, Lacy has addressed issues of sexual violence, aging, incarceration, illness, poverty, and a range of social-justice issues for almost four decades. Beginning in the early 1970s as a student at University of California, Fresno, and then in the Feminist Art Program at California Institute for the Arts, she was an integral and pioneering member of the Women’s Studio Workshop, Woman’s Building, and other important landmarks of feminist art. Since then, Lacy has maintained a career resolute in its commitment to feminism and social change.
Artist Award for Distinguished Body of Work
Emory Douglas and Barkley L. Hendricks
Emory Douglas and Barkley L. Hendricks have long challenged the art world’s boundaries and received definitions in different but historically important ways. While working on opposite coasts and in different mediums, they transformed how African Americans saw themselves, and how they were seen. Emerging during the mid-1960s at a time of intense social upheaval, the two made work that was confrontational and incendiary, subversive and sly. While Douglas worked outside the confines of the art world as the Black Panther Party’s minister of culture, contributing to the Black Panther newspaper, Hendricks worked inside it without succumbing to the pressures and proscriptions against painting, particularly observational painting, and, to go one step further, portraiture.
Distinguished Lifetime Achievement Award for Writing on Art
As a staff art critic at the New York Times for more than ten years, Holland Cotter has been remarkable for his unwavering attention to the work of those less recognized—including women artists, artists of color, and artists from all five boroughs of New York—giving important visibility to work of all kinds. His subjects have ranged from Italian Renaissance painting to street-based communal work by artist collectives. Writing widely about non-Western art and culture as well, Cotter has introduced readers to a broad range of contemporary Chinese art and helped bring contemporary art from India to wider critical notice.
Frank Jewett Mather Award
Terry Smith is that rare art and social historian able to write criticism at once alert to the forces that contextualize art and sensitive to the elements and qualities that inhere to the works of art themselves. His most recent book, What Is Contemporary Art? (Chicago: University of Chicago Press, 2009), contains a series of interrelated essays that unpack a vast range of topics and issues and take the reader on a theoretical tour through some of the world’s most influential art museums, laying bare their conflicted missions and studying the heightening distinction, and dispute, between modern and contemporary art.
Distinguished Feminist Award
Griselda Pollock has earned a reputation not only as an influential scholar of modern and contemporary art and cultural studies, but also as a pioneer of feminist art, scholarship, and criticism. Her writings—including her groundbreaking 1980 monograph on Mary Cassatt and the pioneering volume Old Mistresses: Women, Art, and Ideology (New York: Pantheon Books, 1981), coauthored with Rozsika Parker—have had a major influence on feminist theory, feminist art history, and gender studies. Teaching at Leeds University since 1977, she was appointed chair in social and critical histories of art in 1990 and has served as director of the Centre for Cultural Analysis, Theory, and History.
Distinguished Teaching of Art Award
Dean Nimmer, professor emeritus at the Massachusetts College of Art, has had a distinguished, dynamic, and astonishing career as an educator, empowering generations of artists through his enthusiasm and unbridled creativity. After thirty-four years of teaching painting, drawing, and printmaking in Boston, Nimmer thwarted all expectations for a retired professor by embarking on a second career as community arts educator, author, and provocateur. His recently published book, Art from Intuition: Overcoming Your Fears and Obstacles to Making Art (New York: Watson-Guptill, 2008), is a vehicle for him to share his wisdom with a new generation of artists and educators.
Distinguished Teaching of Art History Award
The impact of Richard Shiff, who holds the Effie Marie Cain Regents Chair in Art and directs the Center for the Study of Modernism at the University of Texas at Austin, on the teaching of art history comes not only through his many scholarly contributions to the field, but also through his extraordinary forty years of active teaching and mentorship. Students and colleagues alike praise his long and influential career, describing how he teaches art history within many contexts, weaving together elements of formal analysis, connoisseurship, and theory within the larger web of human history and experience. Shiff’s talent for merging the sometimes-uncomfortable process of learning with playfulness and adventure instills a love of discovery and thought in all who have experienced his charisma, no matter their chosen life path.
Charles Rufus Morey Book Award
When one considers the vast bibliography on Michelangelo, it is a tribute to Cammy Brothers that her book is such a readable and masterful work of new scholarship and substantial insight into both the artist’s working methods and his modes of thinking. Remarkably erudite, Michelangelo, Drawing, and the Invention of Architecture (New Haven: Yale University Press, 2008) marshals compelling visual evidence along with literary, historical, and philosophical support on behalf of a fresh and persuasive argument.
See the shortlist for the Morey award.
Alfred H. Barr, Jr., Award
Debra Diamond, Catherine Glynn, and Karni Singh Jasol, Gardens and Cosmos: The Royal Paintings of Jodhpur
Gardens and Cosmos: The Royal Paintings of Jodhpur (Washington, DC: Arthur M. Sackler Gallery, Smithsonian Institution, 2008) documents an exhibition that dramatically debuted to wide audiences a body of nineteenth-century Jodhpur painting little known even to experts in the field. The authors Debra Diamond, Catherine Glynn, and Karni Singh Jasol, with their fellow contributors Jason Freitag and Rahul Jain, are to be commended for this publication, which makes a major contribution to the study of the art of Southeast Asia through the production of breathtaking color plates and a text that impressively grounds the work in the context of Jodhpur history and the Nath religious sect.
See the shortlist for the Barr award.
Arthur Kingsley Porter Prize
Michael Schreffler, “‘Their Cortés and Our Cortés’: Spanish Colonialism and Aztec Representation”
In his methodologically sophisticated and skillfully argued article, published in the December 2009 issue of The Art Bulletin, Michael Schreffler examines a key moment of cultural exchange and the misunderstandings to which it gave rise. Bravely departing from the consensus that Spanish conquistadors’ accounts of Aztec painting they saw at Antigua in 1519 constitute objective primary evidence about Aztec art, he offers instead a complex, nuanced, yet always clear explanation of what the accounts reveal about the colonizers and their subjective attitudes toward Aztec culture.
Art Journal Award
Joanna Grabski, “Urban Claims and Visual Sources in the Making of Dakar’s Art World City”
Joanna Grabski’s fascinating and ambitious essay, published in Art Journal in Spring 2009, is rich in first-hand information from her years of experience with the artists and institutions that make up this West African metropolis. Understanding the Senegalese capital as both site for innovative art practices, research, and international exchange, the author effectively demonstrates that in the hands of the city’s artists found objects have produced artworks and environments that meld their histories with languages of local form that reverberate with each other to piercing levels of impact.
CAA/Heritage Preservation Award for Distinction in Scholarship and Conservation
David Bomford, currently associate director for collections at the J. Paul Getty Museum, is celebrated for more than forty years of scholarship, practical application, and leadership in the field of paintings conservation. Beginning in 1968 as an assistant restorer at the National Gallery in London, he assumed the role of senior restorer by 1974, a position he held until 2005. In the course of his work, Bomford has advanced the study of art conservation to new levels by combining science, art history, and practical conservation knowledge in his extraordinary list of publications, and by spearheading the influential interdisciplinary study of technical art history. He wrote the single-most useful book for introducing both students and the public to the profession of paintings conservation, Conservation of Paintings (London: National Gallery Publications, 1997), which has become a standard reference guide for the discipline.
posted by Christopher Howard — January 04, 2010
The Appraisers Association of America and CAA cordially invite you to a presentation of “Authenticating Art: Current Problems and Proposed Solutions,” which will include a discussion of CAA’s recently published guidelines on Authentication and Attributions. The panel will be held at the Levin Institute in New York (116 East 55th Street in Manhattan) on Wednesday, January 20, 2010, 6:00–9:00 PM; it can also be seen via live webcast.
When it comes to art, “Is it real?” is a question that interests everyone from casual museum-goers to arts professionals. Answering the question can involve historical research, connoisseurship, sophisticated scientific analysis, and more. The question, however, is not only an academic or philosophical one. (Is a Warhol a “Warhol” if the artist himself never touched it?) In an art market where millions—and sometimes tens of millions—can hang in the balance, who is willing to risk being wrong in offering an opinion about authenticity? For those who do offer opinions and even warranties, what are they risking, and what—if anything—should they be risking? What of those who create fakes?
Please join our expert panel of appraisers, attorneys, conservators, and scientists in a frank and lively discussion of these issues. Speakers include: John Cahill of Lynn & Cahill; Jane C. H. Jacob of the Appraisers Association of America and Jacob Fine Art; James S. Martin of Orion Analytical; and Jane Levine of Sotheby’s. Michele Marincola of New York University’s Institute of Fine Arts is the moderator.
This program may interest appraisers, artists, attorneys, dealers, auction specialists, collectors, conservators, curators, financial advisors, insurers, scholars, and others in, or interested in, the art world.
Seating is limited; advance registration is required for both formats. Kindly RSVP to 212-889-5404, ext. 11. Cost is $25 per person for live attendance or streaming video. To complete the process, download and submit the registration form. Deadline: January 13, 2010.
CAA is committed to supporting and advancing the careers of arts professionals. As a CAA member, you have access to a diverse range of mentors at Career Services during the 2010 Annual Conference in Chicago. All emerging, midcareer, and even advanced arts professionals can benefit from one-on-one discussions with dedicated mentors about career-management skills, artists’ portfolios, and professional strategies.
You can enroll in either the Artists’ Portfolio Review or Career Development Mentoring. These sessions are offered free of charge.
Artists’ Portfolio Review
The Artists’ Portfolio Review offers artist members the opportunity to have slides, digital images, or DVDs of their work reviewed by curators and critics in personal twenty-minute consultations at the 2010 Annual Conference. You may bring battery-powered laptops; wireless internet, however, is not available in the room. Sessions are filled by appointment only and are scheduled for Thursday, February 11, and Friday, February 12, 8:00 AM–NOON and 1:00–5:00 PM each day.
All applicants must be current CAA members. Participants are chosen by a lottery of applications received by the deadline; all applicants are notified by email. To apply, download, complete, and return the Career Development Enrollment Form or use the form in the 2010 Conference Information and Registration booklet, which was mailed in October. Please send the completed form to: Artists’ Portfolio Review, CAA, 275 Seventh Ave., 18th Floor, New York, NY 10001; fax: 212-627-2381. Deadline: January 11, 2010.
Career Development Mentoring
Artists, art historians, art educators, and museum professionals at all stages of their careers may apply for one-on-one consultations with veterans in their fields at the 2010 Annual Conference. Career Development Mentoring offers a unique opportunity for participants to receive candid advice on how to conduct a thorough job search, present work, and prepare for interviews. Sessions are filled by appointment only and are scheduled for Thursday, February 11, and Friday, February 12, 8:00 AM–NOON and 1:00–5:00 PM each day.
All applicants must be current CAA members. Participants are chosen by a lottery of applications received by the deadline; all applicants are notified by email. To apply, download, complete, and return the Career Development Enrollment Form or use the form in the 2010 Conference Information and Registration booklet, which was mailed to you in October. Please send the completed form to: Career Development Mentoring, CAA, 275 Seventh Ave., 18th Floor, New York, NY 10001; fax: 212-627-2381. Deadline: January 11, 2010.
Become a Mentor
CAA also seeks mentors for the Artists’ Portfolio Review and Career Development Mentoring at the 2010 Annual Conference. Participating as a mentor is an excellent way to serve the field while assisting the professional growth of the next generation of artists and scholars.