posted by Christopher Howard
In its semimonthly roundup of obituaries, CAA recognizes the lives and achievements of the following artists, scholars, teachers, curators, museum and gallery directors, art dealers, auction-house administrators, and other men and women whose work has had a significant impact on the visual arts.
- Keith Aoki, a professor of law at the University of California, Davis, who helped create Bound by Law? Tales of the Public Domain, a comic book about copyright law and fair use, died on April 26, 2011. He was 55
- Jackson Burnside, a Bahamian artist, architect, and activist who was a cultural icon in his country, died on May 11, 2011, at the age of 62
- Matthew Carr, a figurative artist who drew portraits of Tom Stoppard and Diana Ross, died on February 23, 2011, at the age of 57
- Nimai Chatterji, a collector of postwar avant-garde art and literature, including artist’s books, posters, and audiovisual material, died on December 25, 2010. He was 77
- Polly K. Evans, an artist, teacher, and graphic designer who worked in the Byzantine studies program at the Dumbarton Oaks Research Library, died on December 28, 2010. She was 53 years old
- Jack Franses, a specialist in and dealer of textiles, tapestries, and oriental carpets who once led a department of Islamic art at Sotheby’s in London, died on December 10, 2010, at age 83. He also designed and taught classes at the University of London’s School of Oriental and African Studies
- Creighton Gilbert, a historian of Italian Renaissance art who taught for many years at Yale University, died on April 6, 2011, at the age of 90. CAA’s longest standing member, Gilbert was editor-in-chief of The Art Bulletin from 1980 to 1985 and shared the Frank Jewett Mather Award with Harold Rosenberg in 1964
- Sam Green, a promoter of Pop art who as director of the Institute of Contemporary Art in Philadelphia gave Andy Warhol his first retrospective in 1965, died on March 4, 2011. He was 70
- Stephen Hahn, a connoisseur, collector, and dealer of modern art who was a past president of the Art Dealers Association of America, died on April 2, 2011. He was 90
- John Hinchcliffe, a weaver, potter, printmaker, and designer who in 1991 had a retrospective at the Russell-Cotes Art Gallery and Museum in Bournemouth, England, died on December 20, 2010. He was 61
- Erlund Hudson, an artist who documented the home front in England in painting and drawing during World War II, died on March 9, 2011. She was 99 years old
- Gwyneth Johnstone, a British painter whose work absorbed the influences of Western art from the Italian Renaissance to modernism, died on December 8, 2010, at the age of 95
- Nancy Kominsky, an artist and the star of the television program Paint Along with Nancy, shown in the United Kingdom from 1974 to 1978 and rebroadcast in the United States in the 1980s, died on March 11, 2011. She was 95
- Suzanne Lang, a potter who expressed her Marxist beliefs on plates, pots, and jugs, died in March 2011. She was 69 years old
- Gordon Lebredt, a Canadian conceptual artist and writer who also fixed and raced motorcycles, died on February 26, 2011, at age 62. A monograph on unrealized projects, Gordon Lebredt: Nonworks 1975–2008, was published earlier this year
- Craig “Pirate” Lucas, a painter, associate professor emeritus at Kent State University, and the winner of the Cleveland Arts Prize’s 2008 Lifetime Achievement Award for Visual Arts, died on April 1, 2011. He was 69 years old
- Ioana Nemes, a Romanian artist who showed across Europe and was on a residency at Art in General in New York, died on April 23, 2011. She was 32
- Christopher Pemberton, an English painter, teacher, and translator of Joachim Gasquet’s Cézanne: A Memoir with Conversations, died on December 1, 2010. He was 87 years old
- Jane Phillips, a painter turned curator and director who led the Mission Gallery in Swansea, Wales, died on February 6, 2011. She was 53 years old
- John Pitson, a British typographer who had directed the Australian Government Publishing Service and helped author the influential Style Manual for Authors, Editors, and Printers (1966), died on November 25, 2010. He was 92
- Lancelot Ribeiro, an Indian artist who settled in Great Britain whose abstract and representational work covered a range of styles and subject matter, from figuration to landscape to still life, died on December 25, 2010. He was 77 years old
- Harold Rotenberg, an American artist who worked in an Impressionistic style and taught at the Museum School and School of Practical Arts (now the Art Institute of Boston), died on April 2, 2011. He was 105
- Heather Ann Sackett, an artist based in Syracuse, New York, who worked in sculpture and ceramics, died on March 17, 2011. She was 56 years old
- Tessa Sidey, a curator of modern and contemporary art for the Birmingham Museum and Art Gallery in England, died on January 1, 2011, at age 55. Among her career highlights is the exhibition Surrealism in Birmingham 1935–1954 and its catalogue
- Julian Thompson, a leading expert in Chinese porcelain who was chairman of the London branch of Sotheby’s from 1982 to 1990, died on January 16, 2011. He was 69
- Robert Vickrey, a Magic Realist painter who appeared in nine Whitney Museum Annuals in the 1950s and 1960s, died on April 17, 2011. He was 84 years old
posted by Nia Page
CAA has received a $25,000 from the National Endowment for the Arts (NEA) to support the next ARTspace, taking place during the 100th Annual Conference and Centennial Celebration in Los Angeles, February 22–25, 2012.
Designed to engage CAA’s artist members and the general public, ARTspace offers program sessions free of charge and includes diverse activities such the Annual Artists’ Interviews, screenings of film, video, and multimedia, performances, and presentations that facilitate a conversational yet professional exchange of ideas and practices. Held at each conference since 2001, ARTspace is intended to reflect the current state of the visual arts and arts education.
The grant, which is the NEA’s third consecutive award to CAA for ARTspace programming, will help fund, among other things, ARTexchange, a popular open-portfolio event for artists, as well as [Meta] Mentors programming, which has covered topics such as do-it-yourself curatorial and exhibition practices, international networks for artists, and assistance with grants, taxes, and promotion.
Image: ARTexchange participants at the 2011 Annual Conference in New York (photograph by Bradley Marks)
posted by Christopher Howard
CAA and other learned societies are increasingly aware of the complex demands and responsibilities entailed by scholarly publishing today. In an era of globalization and digitization, organizations must revisit long-standing assumptions and carefully reconsider the process of developing and reviewing publications. Among the critical issues are copyright, competing political and cultural sensitivities, and even differing international legal standards for what may and may not appear in print or online. In the fall of 2009, Paul Jaskot, then CAA president and in conjunction with the Board of Directors, formed a task force to study the organization’s editorial procedures and safeguards.
The seven-person Task Force on Editorial Safeguards included representation from CAA’s three editorial boards and the Publications Department staff. Meeting monthly by telephone from March to October 2010, and with continued consultation through January 2011, the group carefully documented and studied editorial procedures for each journal. It also gathered information about practices at similar academic periodicals—including those published commercially and by other scholarly associations. Ultimately, the task force was pleased to find that CAA’s editorial safeguards were already among the most through and progressive, though it recognized that they could be strengthened further. Based on its research, the task force made a series of recommendations, which the CAA board adopted at its February 2011 meeting.
The task force’s recommendations focused on three primary areas: identifying conflict of interest, establishing transition protocols, and enhancing training for editors. The group also instituted a clear protocol for responding to editorial concerns. Revised author packets will further clarify the responsibilities for those writing for CAA’s journals. Fact checking, for example, remains the province of the contributor, although peer reviewers and other editors will raise questions when warranted. The guidelines also established the retention of documents by editors, in consultation with the Publications Committee.
At its May 2011 meeting, the board added a further safeguard to those approved at its previous meeting. CAA now requires all new editors, editorial-board members, and committees members, including the board itself, to certify their adherence to the newly revised Statement on Conflict of Interest and Confidentiality.
The Task Force on Editorial Safeguards, led by then CAA vice president for publications, Anne Collins Goodyear of the Smithsonian Institution’s National Portrait Gallery, comprised the following: Laura Auricchio, Parsons the New School for Design; Ikem Okoye, University of Delaware; Judith Rodenbeck, Sarah Lawrence College; and Rachel Weiss, School of the Art Institute of Chicago. CAA’s codirectors of publications, Betty Leigh Hutcheson and Joe Hannan, served as ex-officio members. The editors-in-chief and reviews editors of CAA’s three journals provided invaluable assistance to the task force, as did members of the Publications Committee. Alan Gilbert, CAA editor, also provided critical input.
posted by Helen Bayer
Every year CAA collaborates with publishers to offer special discounts on forty-seven magazines and journals covering art and culture. This longstanding member benefit encourages the exchange and dissemination of artistic and scholarly viewpoints and complements CAA’s three journals to which members have access.
Established magazines such as Artforum, Art in America, and October join more eclectic publications like Cabinet, McSweeney’s Quarterly Concern, and the Believer in a diverse stable of printed matter. CAA welcomes Critical Inquiry and History of Photography back into the fold and introduces West 86th, formerly known as Studies in the Decorative Arts. The discount program even includes a quarterly DVD series, called Wholphin.
If you are interested in starting a new subscription or renewing an existing one, please log into your CAA account and click the Member Benefits link at left. On the following page, click the link under the Subscription Discounts header to download the PDF file with the contact information and order coupon for each journal or magazine. If you have questions about this benefit, please contact Member Services at 212-691-1051, ext. 12.
posted by Christopher Howard
The Getty Foundation has awarded a $100,000 grant to CAA in support of international travel for twenty applicants to attend the 100th Annual Conference and Centennial Celebration, taking place February 22–25, 2012, in Los Angeles. Through the new CAA International Travel Grant Program, CAA will provide funds for travel expenses, hotel accommodations, per diems, and conference registrations. Recipients will also receive one-year CAA memberships. Applicants may be art historians, artists who teach art history, and art historians who are museum curators; those from developing countries or from nations not well represented in CAA’s membership are especially encouraged to apply.
The goal of the project is to increase international participation in CAA and to diversify the organization’s membership (presently sixty-five countries are represented). CAA also wishes to familiarize international participants with the submission process for conference sessions and to expand their professional network in the visual arts. Members of CAA’s International Committee have agreed to host the participants, and the National Committee for the History of Art will also lend support to the program.
CAA will publish an official call for grant applications on its website on Friday, July 8, 2011; the program will also be publicized in CAA News. A jury will select the twenty grant recipients.
posted by Nia Page
Update from April 2015: CAA no longer participates in the Club Quarters program.
In an effort to enhance member benefits, CAA recently joined Club Quarters, a group that offers reasonable room rates at full-service hotels for partnering organizations and companies. The Club Quarters system extends nationwide, with four participating hotels in New York, two in Chicago, and one each in Boston, Houston, San Francisco, Philadelphia, and Washington, DC. You also have a choice of three hotels in London.
CAA’s section on the Club Quarters website explains your benefits. Click “Your Member Rates” to download a PDF with the hotels’ names, addresses, and daily rates. The section also publishes detailed information regarding the amenities and services available to you and offers maps, travel directions, and area attractions.
CAA hopes that you will find Club Quarters useful in your personal or professional life.
Image: A Club Quarters hotel in San Francisco
posted by Christopher Howard
Each month, CAA’s Committee on Women in the Arts produces a curated list, called CWA Picks, of recommended exhibitions and events related to feminist art and scholarship in North America and around the world.
The CWA Picks for May 2011 include an exhibition of new work by Uta Barth at the Art Institute of Chicago, a career-spanning survey for Loïs Mailou Jones at the Women’s Museum in Dallas, and a show at the Rock and Roll Hall of Fame and Museum in Cleveland, called Women Who Rock: Vision, Passion, Power.
In addition, two events—a graduate-student symposium and a lecture by Gail Levin—will take place next weekend (May 14–15) at the Brooklyn Museum in New York.
Check the archive of CWA Picks at the bottom of the page, as several museum and gallery shows listed in previous months may still be on view or touring.
Image: Chrissie Hynde’s jacket for the cover of the Pretenders’ self-titled debut album from 1980 (photograph provided by the Rock and Roll Hall of Fame and Museum)
posted by Christopher Howard
Art Journal has just published timely new features by two artists on its recently launched website.
Liz Magic Laser’s InterAct is an interview-performance hybrid. For Act I, the artist and her crew took part in a conversation with Christopher Y. Lew, a curator at MoMA PS1, at the East River Park Amphitheater in New York. The group then transcribed the discussion and staged it in the same outdoor space several weeks later, as Act II. Art Journal’s website features the full script along with photographs of the event and other works by Laser. This Friday and Saturday in New York (May 6–7), the Times Square Alliance is presenting Laser’s Flight (2010), a compilation of reenacted scenes on staircases from two dozen classic films, including Battleship Potemkin and American Psycho.
For his quizzically titled “X jxm vlr rpb pelria ilpb vlr,” Paul Chan discusses five conceptual maps from his 2007 project Waiting for Godot in New Orleans, staged on the post-Katrina streets of that city. The Art Journal piece coincides with the publication this week of Chan’s e-book, Waiting for Godot in New Orleans: A Field Guide (Badlands Unlimited and Creative Time Books). The artist’s images and text open a window onto his process in creating this major work.
Image: Performers for Liz Magic Laser’s Flight in Times Square (photograph by Ka-Man Tse for the Times Square Alliance)
posted by Christopher Howard
This month CAA debuts several new sections of its website, gathering previously published material and adding new historical content. Read about the Distinguished Scholars, review a full list of Annual Conference dates and locations, see who served as a CAA president, and browse obituaries written especially for the website since mid-2008.
Established in 2001, the Distinguished Scholar Session illuminates and celebrates the contributions of senior art historians who emerged in the wake of World War II. Not intended as a static honor, the event can be viewed as the equivalent of a living Festschrift: an occasion for applauding, examining, and extending a distinguished career in art history and an opportunity for encouraging dialogue between and among several generations of scholars.
The first three Distinguished Scholars are James S. Ackerman, Leo Steinberg, and Phyllis Pray Bober. CAA honored the current recipient, Jonathan Brown of the Institute of Fine Arts at New York University, at the 2011 Annual Conference in New York.
CAA held its first gathering in 1911 in Urbana, Illinois, as the College Art Section of the Western Drawing and Manual Training Association. After adopting a constitution in May 1912, the newly formed organization held its second meeting seven months later in Pittsburgh, Pennsylvania. Subsequent Annual Conferences have been held across North America, from Boston to San Francisco, Toronto to San Antonio, and Atlanta to Seattle.
The CAA president leads the Board of Directors and represents the organization as a whole for a single two-year term. CAA’s first president, Holmes Smith, was a professor of art at Washington University in St. Louis, where he taught drawing and designed his school’s official sea in 1896. For many decades, though, an art historian led the organization—Henry Radford Hope and Lamar Dodd were notable exceptions. In 1990, visual artists began filling the role more often, with five of the last eleven presidents—including the current one, Barbara Nesin—being practitioners instead of scholars.
In the Obituaries, CAA recognizes the lives and achievements of the men and women whose work has had a significant impact on the visual arts. In addition to publishing a semimonthly roundup of recent deaths in the arts, CAA accepts texts written especially for the newsletter and website. Authored obituaries from mid-2008 are collected online, with earlier texts to be published over the coming months.
What is CAA doing today? Read more about important dates and deadlines for the organization’s programs, events, and services in Deadlines. Find out how you can get involved!
Image: Leo Steinberg was the 2002 Distinguished Scholar (photograph by Pamela Blackwell)
posted by Christopher Howard
Lucille A. Roussin, an attorney with a background in art history, reports on a recent daylong program that took place at the Cardozo School of Law in New York on March 31, 2011. The first two paragraphs are below; you may also read the full article.
Human Rights and Cultural Heritage: From the Holocaust to the Haitian Earthquake
The Benjamin N. Cardozo School of Law at Yeshiva University in New York hosted an all-day conference, entitled “Human Rights and Cultural Heritage: From the Holocaust to the Haitian Earthquake,” on March 31, 2011. The program brought together experts in both human-rights law and Holocaust-era restitution law. Its organizers also invited specialists in the same areas who had not previously engaged this important topic.
The program commenced with opening remarks by Allan Gerson, chairman of AG International Law PLLC, a Washington, DC–based law firm specializing in complex issues of international law and politics. During his talk on “Civil Litigation to Secure Cultural Property as a Human Right,” he spoke of the continuing debate over the existence of a recognized human right to secure restitution of cultural property and, when a victim is deprived of actual possession, the right to just compensation. Gerson included news about his current litigation against the Metropolitan Museum of Art over Paul Cézanne’s Madame Cézanne in the Conservatory (1891) and Yale University over Vincent van Gogh’s The Night Café (1888). Both cases involve major issues in international law, including the Act of State Doctrine and the Foreign Sovereign Immunities Act.
Read the full article in the Features section.