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Summer Deaths in the Arts

posted by Christopher Howard


In its semimonthly roundup of obituaries, CAA recognizes the lives and achievements of the following artists, scholars, curators, collectors, museum directors, and other men and women whose work has had a significant impact on the visual arts. Of special note is Adrian Hicken’s text on the Hungarian-born British art historian George Thomas Noszlopy, written especially for CAA.

  • Tadek Beutlich, a teacher, printmaker, and textile artist whose experiments with three-dimensional weaving toured internationally in the 1960s, passed away on April 16, 2011, at 88. Beutlich authored The Technique of Woven Tapestry (1967) and pushed the boundaries of his medium further with “free-warp” tapestries, a technique that created wall hangings and freestanding pieces that resembled living organisms
  • Robert Breer, an artist and animator who cofounded the Film-makers’ Cooperative in New York and taught the medium at Cooper Union from 1971 to 2001, passed away on August 13, 2011, at age 84. A major figure in Experiments in Art and Technology (E.A.T.), Breer began animating his own abstract paintings, which he referred to as “Form Phases,” in the 1950s, successfully derailing narrative and assaulting the viewer with movement and speed through glitchy imagery
  • Charles E. Buckley, director of the Currier Museum of Art (1955–64) and the Saint Louis Art Museum (1964–75) who helped enlarge the collections of both institutions with American and European works, furniture, and wares, died on June 26, 2011, at age 86. He served as president of the American Association of Museums from 1972 to 1974, helping to establish the organization’s important accreditation system
  • Duncan Campbell, a London art dealer who championed modern British printmaking and promoted the White Stag group of the 1930s, died on February 14, 2011, at the age of 66
  • Edmund Carpenter, an archeologist and anthropologist who with Marshall McLuhan at the University of Toronto laid the foundation for modern media studies, died on July 1, 2011, at age 88. Carpenter’s work considered the effects of media on human interactions, supported by investigations of tribal peoples in Papua New Guinea in the 1970s and further research at the Museum of Ethnology in Basel in the 1980s. He also edited the journal Explorations and gathered the papers of the art historian Carl Schuster, published in twelve volumes
  • Irene Chou (born Zhou Luyun), a prominent artist of the New Ink Painting movement in Hong Kong who reinvigorated the Zen and Tao-derived “one stroke” technique in oil, acrylic, and watercolor, died on July 1, 2011, at the age of 87. She was a founding member of two collectives, the In Tao Art Association (Yuan Dao huahui) and the One Art Group (Yi huahui), which sought new ways to combine Eastern and Western techniques while maintaining the principles of traditional Chinese art
  • Roger Davies, the chief book designer for the British Museum from the 1970s through the 1990s whose work won numerous awards, has passed away at the age of 72
  • Biren De, an internationally exhibited Indian artist who depicted universal energies through geometry, light, and traditional Hindu or Buddhist symbols, died on March 12, 2011. He was 85 years old
  • Fred Dubery, a figurative painter known for his quietly colorful and off-kilter oils and a longtime professor at the Royal Academy Schools, passed away on April 8, 2011, at the age of 84. He was also a lifetime member of the New English Art Club
  • T. Lux Feininger, a painter and photographer who documented the daily lives of the German avant-garde and the Bauhaus in particular, died on July 7, 2011, at the age of 101. After emigrating to the United States in 1936, he taught at Sarah Lawrence College, the Fogg Museum at Harvard University, and the School of the Museum of Fine Arts, Boston
  • Virginia Fields, a distinguished scholar, educator, and the first curator of Precolumbian art at the Los Angeles County Museum of Art, died on June 15, 2011, at the age of 58. In her twenty two years at the museum, Fields helped acquire more than three thousand ancient objects for the  collection, organized blockbuster shows on Mayan and Olmec art, and allocated new resources for the study of ancient American art
  • Gunnar Fischer, Ingmar Bergman’s cinematographer who shot twelve of the director’s films between 1948 and 1960, including The Seventh Seal (1957), Wild Strawberries (1957), and The Devil’s Eye (1960), passed away on June 11, 2011. He was 90 years old
  • Trevor Frankland, a British painter of abstract scenes who served as president of the Royal Watercolor Society from 2003 to 2006, died on April 17, 2011, at the age of 79
  • Lucian Freud, a major twentieth-century artist whose dedication to painting the human figure kept stark realism alive throughout an era of modernist abstraction, died on July 20, 2011. He was 88 years old. He was also the grandson of the founder of psychoanalysis, Sigmund Freud
  • Ussman Ghauri, a celebrated Pakastani printmaker known for his investigations of alphabets, symbolic narratives, and societal distress, died on April 9, 2011, at the age of 41. Ghauri was also an associate professor at the Indus Valley School of Art and Architecture and served as a curator for the IVS Gallery and the Koel Gallery
  • Selwyn Goldsmith, an advocate for the functional evolution of architecture in England and the author of Universal Design (2000) and Designing for the Disabled (1963), a pioneering guidebook that suggested adjustments for facilities and buildings to better accommodate handicapped people, died on April 3, 2011. He was 78
  • Dov Gottesman, the president of the Israel Museum, a collector of art, and the recipient of the 2005 King Solomon Award for art patronage, died on February 22, 2011, at age 82. Gottesman founded the Artist’s Portfolio Project, a program and workshop that published twenty series of prints by Israeli artists and that turned into the Gottesman Etching Center
  • Fred Griffin, an artist based in the Pacific Northwest who taught graphic design at the Art Institute of Seattle and the Burnley School of Professional Art, passed away on April 23, 2011. He was 79 years old
  • Nancy Hamon, a passionate philanthropist and cultural advocate in Dallas who served on the board of trustees at the Dallas Museum of Art, passed away on July 31, 2011, at age 92. Hamon helped fund the acquisition of the Nora and John Wise Collection of ancient American artworks and objects, the construction of new exhibition spaces and a library at the museum, and the Jake and Nancy Hamon Art Library at Southern Methodist University
  • Melissa Hines, the director of cultural partnerships at the Seattle Office of Arts and Cultural Affairs since 2004 and a member of the King County Arts Commission (now called 4Culture) from 1996 to 2001, died on April 8, 2011. She was 63 years old
  • John Hoyland, an English painter and printmaker who created emotionally charged abstract imagery that favored size, pigment, and form over visual references, passed away on July 21, 2011. He was 76 years old
  • Freda Koblick, a prominent San Franciscan sculptor who in the 1960s produced abstract work in cast acrylic, passed away June 18, 2011, at the age of 90. Before using the new medium, she designed functional objects in plastic, often collaborating with architects
  • Owen Land, an American teacher and filmmaker associated with the Fluxus movement who was keen on disregarding narrative in exchange for a more essentially visual experience of film, died on June 8, 2011, at the age of 67. Born George Landow, he was the founder of the Experimental Theatre Workshop in the Performance Department at the School of the Art Institute of Chicago
  • Lawrence Lee, a master glass artisan responsible for creating large public stained-glass compositions throughout Britain, Canada, New Zealand, and Australia, died on April 25, 2011, at age 101. He was the author of several books, among them Stained Glass (1967), Stained Glass, an Illustrated Guide (1976), and The Appreciation of Stained Glass (1977)
  • Jerome Liebling, a member of the Photo League, a collective of photojournalists documenting the social climate in New York, in the 1930s and 1940s and the founder of photography and film programs at the University of Minnesota and Hampshire College, died on July 27, 2011. He was 87
  • Gilbert Luján aka Magú, a teacher, painter, sculptor, muralist, and pioneer of the Chicano art movement in California since the 1960s, died on July 24, 2011, at the age of 70. Magu was a founding member of the art collective Los Four, responsible for enhancing the political and aesthetic aims of Chicano art
  • Norma “Duffy” Lyon, the official Iowa State Fair butter cow sculptor from 1960 to 2006, died on June 26, 2011, at the age of 81. Lyon also created likenesses of celebrities and presidents, and even produced a life-size reproduction of Leonardo’s The Last Supper from two thousand pounds of butter
  • Ján Mančuška, an experimental writer, painter, and video artist who challenged traditional presentations of art within architectural environments and was notorious for his conceptually playful installations, died on July 1, 2011. He was 39 years old
  • Rachel Maxwell-Hyslop, a teacher, archaeologist, and president of the British School of Archaeology in the 1990s, died on May 9, 2011, at age 97. A scholar of jewelry, Maxwell-Hyslop wrote extensively on Bronze Age weapons and tools from West Asia
  • Eddy G. Nicholson, an industrialist who was an avid collector of early American art and furniture, passed away on June 16, 2011, at the age of 73
  • Christiane Desroches Noblecourt, a French Egyptologist who rescued antiquities from southern Nubia in the 1960s and mounted the groundbreaking King Tut exhibition at the Musée du Louvre in 1967, died on June 23, 2011. She was 97 years old
  • George Thomas Noszlopy, a Hungarian-born scholar and longtime professor at Birmingham Polytechnic in England who produced novel explorations on early-twentieth-century art, Renaissance art, and British art and crafts, passed away on June 5, 2011, at age 78. Adrian Hicken has written a special text on him for CAA
  • Breon O’Casey, a modernist jeweler, weaver, printmaker, painter, and sculptor who was a member of the St. Ives School in England, which included Barbara Hepworth, died on May 22, 2011. He was 83
  • Roman Opalka, a Polish painter recognized for his series Opalka 1965/1 — ∞, which numerically annotated his days starting in 1965 with the number one, passed away on August 6, 2011. He was 79 years old
  • Ruth Perelman, a cultural patron in Philadelphia who contributed to the expansion of the Philadelphia Museum of Art and funded the Perelman Building, which opened in 2007, died on July 31, 2011. She was 90
  • Edward Carlos Plunkett, an Irish abstract painter known as Lord Dunsany who emerged in the 1960s but traded in art for design in the 1980s, died on May 24, 2011, at the age of 71. He helped found de Marsillac Plunkett, for which he created furniture and decorative vessels to complement his wife’s architectural work, yet returned to painting in the 1990s
  • Wonil Rhee, a prolific South Korean curator who organized numerous exhibitions and biennials around the world, died on January 11, 2011, at the age of 50. Working at several musuems and independently, Rhee diligently promoted contemporary Asian artists and evoked broader international dialogue via exhibitions such as Thermocline of Art: New Asian Waves (2007) at the ZKM Center for Art and Media in Germany
  • Albert M. Sack, a New York–based antique dealer and the author of Fine Points of American Furniture: Good, Better, Best (1950), an important criterion for aesthetic judgment of furniture for collectors and nonspecialists alike, died on May 29, 2011. He was 96
  • Stanley Seeger, a coy patron of art known for a stunning collection of homes in the United Kingdom and an expansive collection of work by Pablo Picasso, Joan Miró, Egon Schiele, and Francis Bacon, died on June 24, 2011. He was 81 years old
  • Robert Sklar, a professor of cinema studies at New York University from 1977 to 2009 and the author of several publications exploring how film influences morals, beliefs, and social context, including Movie-Made America: A History of American Movies (1975), died on July 2, 2011, at age 74. An active member of the National Film Preservation Board, Sklar served on the New York Film Festival selection committee during the 1990s
  • Geoffrey Squire, a designer and an educator at the Victoria and Albert Museum and Sotheby’s Institute of Art, both in London, died in June 2011 at the age of 86. Squire was the author of Dress, Art, and Society, 1560–1970 (1974) and The Observer’s Book of European Costumes (1975)
  • Alex Steinweiss, an art director at Columbia Records who in 1940 invented the modern album cover when he packaged a Rodgers and Hart 78 RPM record with a grandly lit marquee on the sleeve rather than a flat monochrome packaging, died on July 17, 2011. He was 94
  • Zdenek Sykora, a Czech artist whose computer-generated compositions in the 1960s garnered attention for their relentless mathematical method and abstraction within predetermined rules, died on July 12, 2011, at age 91. He was also a professor at Charles University in Prague
  • Prince Twins Seven-Seven, a Nigerian painter associated with the Oshogbo School in Ibadan who focused on Yoruban myths through intricate patterns and bright colors, died on June 16, 2011, at the age of 67. His work was shown internationally, including the controversial 1989 exhibition Magiciens de la Terre in Paris
  • James Earnest Vivieaere, a New Zealand–based artist whose multimedia and video work demonstrated the multifarious identity of Pacific Islanders outside their enforced exoticism, died on June 3, 2011, at age 63. As a curator, Vivieaere produced the survey exhibitions Bottled Ocean (1994) in his home country and The Great Journey: In Pursuit of the Ancestral Realm (2009) in Taiwan
  • Shelagh Wakeley, an installation artist who focused on integrating continuity and sensation into public spaces in Britain while contrasting nature and artifice, died on March 19, 2011, at the age of 78. She met the Brazilian artist Tunga in 1989 and collaborated with him on video projects in the 1990s
  • George White, architect of the American Capitol from 1971 to 1995 who was responsible for maintaining the Supreme Court, Library of Congress, and the surrounding grounds, died on June 17, 2011, at the age of 90. White oversaw the complete restoration of the Capitol Building’s rotunda, renovations of the Supreme Court and Senate Chamber, and the revitalization of the electrical and transportation systems in Congressional office buildings

Read all past obituaries in the arts in CAA News, which include special texts written for CAA. Please send links to published obituaries to Christopher Howard, CAA managing editor, for the September listing.



Filed under: Obituaries, People in the News

2012 Distinguished Scholar Session Honors Rosalind Krauss

posted by Christopher Howard


The 2012 Distinguished Scholar Session, taking place at the 100th Annual Conference in Los Angeles, will honor Rosalind Krauss, University Professor at Columbia University in New York. Yve-Alain Bois of the Institute for Advanced Studies will chair a session, called “The Theoretical Turn,” in which five to six participants—among them Harry Cooper, Jonathan Crary, Benjamin H. D. Buchloh, and Hal Foster—will explore and celebrate Krauss’s many contributions to the history of art. The Distinguished Scholar Session will be held in Room 515B at the Los Angeles Convention Center on Thursday, February 23, 2:30–5:00 PM.

Krauss’s acute observation of twentieth-century art began at Wellesley College in Massachusetts, where she received her undergraduate degree in 1962. She began writing criticism in 1966, mostly for Artforum, while working on her PhD at Harvard University, which she earned in 1969. MIT Press published an expanded version of her dissertation as Terminal Iron Works: The Sculpture of David Smith in 1971.1

Krauss continued writing criticism and generating art-historical essays that challenged steadfast analyses of Auguste Rodin, the Surrealists, and Jackson Pollock, to name a few topics. She joined the Artforum editorial board in the late 1960s and appeared on the masthead as assistant editor from 1971 to 1974. Krauss and her colleague Annette Michelson left the magazine in 1975 to establish the scholarly October, which strove to forge a relationship between contemporary concerns and scholarship, with particular emphases on the history of modernism, its fundamental premises, and the ability of writing to reinvigorate the era. For Krauss and others, October was an opportunity to integrate artists such as Richard Serra and Sol LeWitt into their theoretical convictions and investigative criticism.

Krauss collected her essays into several influential books, including Passages in Modern Sculpture (1977), The Originality of the Avant-Garde and Other Modernist Myths (1985), and Bachelors (1999). She has also written monographs on David Smith and Cindy Sherman, among others, as well as shorter books such as The Optical Unconscious (1993) and A Voyage on the North Sea (New York: Thames and Hudson, 2000). Her curatorial work—which includes Joan Miro: Magnetic Fields (1971) and Robert Morris: The Mind/Body Problem (1994) at the Solomon R. Guggenheim Museum and Richard Serra/Sculpture at the Museum of Modern Art in 1986—has resulted in significant advances in art history while relaying her amorous relationship with the provocations of Minimalism and the tactility of sculptural mediums. Most recently, she organized L’Informe: Mode d’emploi with Bois at the Centre Georges Pompidou in 1996.

For the last decade, Krauss has battled what she calls the “post-medium condition”—the claim that a momentous shift from a singular artistic medium (such as canvas, plaster wall, or metal armature) to work that amalgamates various materials has only advanced ambiguity in art. In contrast, she suggests that the specificity of the aesthetic medium vitalizes modernism’s strengths, and that contemporary work that integrates text and technology has the capacity to triumph in similar terms. Perpetual Inventory (2011) is Krauss’s most recent publication intent on restoring logic and scrutinizing specificity in the history of art. A personal meditation on the relationships between aesthetics and memory, called Under Blue Cup, is forthcoming.

The integration of literary and philosophical references in her writing, combined with an enthusiasm for ravaging stagnant theories, has made Krauss a tenacious teacher and mentor. She joined Hunter College in New York in 1974, rising to Distinguished Professor both there and at the Graduate Center. In 1995 she transitioned to the Department of Art History and Archaeology at Columbia, where she became Meyer Shapiro Professor of Modern Art and History and then, ten years later,  University Professor. Krauss’s experiences as a scholar and educator culminated in the textbook Art since 1900: Modernism, Antimodernism, Postmodernism (New York: Thames and Hudson, 2004), a didactic yet vital interpretation of modern art that was coauthored by Bois, Buchloh, and Foster. (A revised edition is expected soon.) As a further testament to her academic success, Krauss was an honorary degree from the Courtauld Institute of Art in 2008 and another from Harvard University in 2011.

CAA inaugurated its Distinguished Scholar Session in 2001, first honoring James S. Ackerman of Harvard University. Since then, the organization has recognized the most illustrious writers, teachers, and curators, including Leo Steinberg (2002), John Szarkowski (2006), Linda Nochlin (2007), Svetlana Alpers (2009), and Jonathan Brown (2011).

1. MIT Press in Cambridge, Massachusetts, has published Krauss’s books mentioned in this article, unless indicated otherwise.




The September 2011 issue of The Art Bulletin, the leading publication of international art-historical scholarship, features an essay on Michelangelo’s drawings, in particular his cartoon for The Battle of Cascina (1504), and an article on urban scenes by the twentieth-century American painter John Sloan. Two additional contributions explore women and portraiture in postrevolutionary France and Roman mosaic labyrinths in North Africa. Book reviews on the art of Byzantium and imperial China, Mamluk culture, and the impact of modernist primitivism round out the issue.

In “Michelangelo, Drawing, and the Subject of Art,” Joost Keizer uncovers Michelangelo’s zeal for disegno, evasion of iconography, and emphasis on educational models for pupils—all of which contribute to art history via visual commentary on historical moments. In his study, Michael Lobel examines the significant body of work generated by John Sloan in 1907 that experiments with spatial orientation and pigment while challenging the artist’s identity as a painter, illuminated by meditations on New York as a shifting metropolis and his background in illustration.

Amy Freund’s cover essay for The Art Bulletin elucidates the importance of portraiture in France after 1789 in which female portraits, like that of Thérésia Cabarrus by Jean-Louis Laneuville in 1796, incorporated women into the French Revolution’s political presence and momentum toward engaged citizenship in the new republic. In “Roman Labyrinth Mosaics and the Experience of Motion,” Rebecca Molholt explores the effects of a transitory viewing experience within Roman baths in North Africa and the intermingling of architecture, myth, and the spectator.

The Reviews section has a particular emphasis on ancient cultures, starting with Jessica Rawson’s discussion of ancient commercial artists in China and Anthony J. Barbieri-Low’s book, Artisans in Early Imperial China. Charles Barber highlights the complexities of the Byzantine icon through the lens of innovations in fifteenth-century Cretan painting, as well as the sensory experience in Byzantium as described by Clemena Antonova in Space, Time, and Presence in the Icon and Bissera V. Pentcheva’s The Sensual Icon. Several books on the history of the Mamluk period, where military slaves became soldiers and eventually rulers of an empire across Egypt, the Arabian Peninsula, the Levant, and greater Syria, are reviewed by Heghnar Zeitlian Watenpaugh, including Cairo of the Mamluks by Doris Behrens-Abouseif. The final review is an analysis of the tension between African art and Western modernism by Elizabeth Harney, in which she sites Man Ray, African Art, and the Modernist Lens by Wendy A. Grossman and Picasso’s Collection of African and Oceanic Art by Peter Stepan as the newest sources to investigate the legacy of primitivism.

Please see the full table of contents for September to learn more. CAA sends The Art Bulletin to all institutional members and to those individuals who choose to receive the journal as a benefit of their membership.

The next issue of The Art Bulletin, to be published in December 2011, will feature essays on the portraiture of nuns in colonial Mexico, on the sociological context of Hokusai’s famous print Under the Wave off Kanagawa, and on Federico Zuccari’s painting The Encounter of Christ and Veronica on the Way to Calvary, among other articles and reviews.



Filed under: Art Bulletin, Publications

CWA Picks for July–August 2011

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 July–August 2011 shine invigorating spotlights on two momentous forces that supported and inspired international artistic developments in the twentieth century: the Baltimore sisters Claribel and Etta Cone, and the writer and impresario Gertrude Stein. The Jewish Museum in New York hosts an exhibition dedicated to the Cones’ stunning collection of modern art, and the Contemporary Jewish Museum in San Francisco focuses on the Stein’s life and legacy.

If in New York, CWA also suggests viewing a new multichannel video work by Dara Birnbaum at Marian Goodman Gallery and taking a journey around the world via Ruth Gruber’s photographs at the International Center of Photography. Elsewhere, The Guerrilla Girls Talk Back is a recommended exhibition of newly acquired prints, multiples, and ephemera at the National Museum of Women in the Arts in Washington, DC, and Claude Cahun’s comprehensive retrospective at Jeu de Paume in Paris, France, addresses issues in feminist scholarship and turning points in the understanding of the female artist.

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: Claribel Cone, Gertrude Stein, and Etta Cone sitting a table in Settignano, Italy, June 26, 1903. Baltimore Museum of Art. Dr. Claribel Cone and Miss Etta Cone Papers, Archives and Manuscripts Collection, CG.12 (photograph provided by the Baltimore Museum of Art)



Filed under: Committees, Exhibitions

The Alliance for Downtown New York and the National September 11 Memorial and Museum are offering a special discount to CAA members for an upcoming symposium in New York, “Re-envisioning Lower Manhattan: Downtown after 9/11.” The program will take place on Thursday, September 15, 2011, at 6:30 PM at the Museum of the City of New York, 220 Fifth Avenue, New York, NY 10029.

In the aftermath of the terrorist attacks of 2001, many feared for the future of lower Manhattan. Today, residential occupancy in the neighborhood has doubled at the same time that commercial tenants have diversified to include creative industries and media, alongside the traditional financial industry of downtown. How will the neighborhood look as developers respond to the increased diversity of both the residential and business sectors? How will the completion of work at the World Trade Center site affect the neighborhood? What is the future of lower Manhattan? Elizabeth Berger, president of the Alliance for Downtown New York, will discuss the changes in the landscape of lower Manhattan with a group of planners, developers, and corporate executives who have chosen to relocate downtown.

Reservations are required; please call 917-492-3395 or write to programs@mcny.org to register. Admission is $6 when you mention the College Art Association or CAA; otherwise the symposium will cost $6 for museum members, $8 for seniors and students, and $12 for nonmembers.



Filed under: Membership

The Exhibitor and Advertiser Prospectus for the 2012 Annual Conference in Los Angeles, California, is now available for download. Featuring essential details for participation in the Book and Trade Fair, the booklet also contains options for sponsorship opportunities and advertisements in conference publications and on the conference website.

The Exhibitor and Advertiser Prospectus will help you reach a core audience of artists, art historians, educators, students, and administrators, who will converge in Los Angeles for CAA’s 100th Annual Conference and Centennial Celebration, taking place February 22–25, 2012. With three days of exhibit time, the Book and Trade Fair will be centrally located in the Los Angeles Convention Center, where most programs sessions and special events take place. CAA offers several options for booths and tables that can help you to connect in person with conference attendees.

In addition, sponsorship packages will allow you to maintain a high profile throughout the conference. Companies, organizations, and publishers may choose one of three packages, sponsor specific areas and events such as Convocation, ARTspace, and the Distinguished Scholar Session, or work with CAA staff to design a custom visibility package. Advertising possibilities include the Conference Program, distributed to over five thousand registrants, and the conference website, seen by thousands more.

The priority deadline for Book and Trade Fair applications is Friday, October 28, 2011; the final deadline for all applications and full payments, and for sponsorships and advertisements in the Conference Program, is Friday, December 9, 2011.

Questions about the 2012 Book and Trade Fair? Please contact Paul Skiff, CAA assistant director for Annual Conference, at 212-392-4412. For sponsorship and advertising queries, speak to Helen Bayer, CAA marketing and communications associate, at 212-392-4426.




CAA’s Services to Artists Committee invites artist members to participate in ARTexchange, an open forum for sharing work at the 2012 Annual Conference. Free and open to the public, ARTexchange will be held on Friday, February 24, 5:30–7:30 PM, in a central location at the Los Angeles Convention Center. A cash bar will be available.

ARTexchange is an annual event showcasing the art of CAA members, who can exhibit their paintings, drawings, prints, photographs, sculptures, and digital works using the space on, above, and beneath a six-foot folding table. Artists may also construct temporary mini-installations and conduct performance, sound, and spoken-word pieces in their space. In the past, many ARTexchange participants found the event to be their favorite part of the conference, with the table parameter sparking creative displays.

To be considered for ARTexchange in Los Angeles, please send your full name, your CAA member number, a brief description of the work you want to exhibit (no more than 150 words), and a link to your website to Lauren Stark, CAA manager of programs. Artists presenting performance or sound art, spoken word, or technology-based work, including laptop presentations, must add a few sentences about their plans. Accepted participants will receive an email confirmation. Because ARTexchange is a popular venue with limited space, early applicants will be given preference. Deadline extended: January 6, 2012.

Participants are responsible for their work; CAA is not liable for losses or damages. Sale of work is not permitted. Participants may not hang artworks on walls or run power cords from laptops or other electronic devices to outlets—bring fully charged batteries. For the first time, CAA will provide wireless internet to ARTexchange participants free of charge.

Top image: The artist Dennis Olsen chats about his work with a fellow printmaker, Pantea Karimi, at ARTexchange in 2011 (photograph by Bradley Marks)

Bottom image: The interdisciplinary artist Rachel Hines performs a work called Interview during ARTexchange in New York (photograph by Bradley Marks)



2012 Annual Conference Website Goes Live

posted by Helen Bayer


The website for the 100th Annual Conference and Centennial Celebration, taking place February 22–25, 2012, at the Los Angeles Convention Center, is now live. Get a taste of conference highlights and read about what you receive with registration, such as access to all program sessions and admission to the Book and Trade Fair.

You may also begin thinking about your travel plans: American Airlines, Amtrak, and Avis provide promotional codes for special reduced rates, and CAA offers three travel stipends for attendees, including twenty awards through the newly established CAA International Travel Grant Program, generously funded by the Getty Foundation. Companies and organizations interested in exhibiting in the Book and Trade Fair will find application materials, booth descriptions, and preliminary schedules.

Between now and February, CAA will update the website regularly, with new information on the Awards for Distinction presentation, special receptions, postconference tours, and more. Later this month, CAA will publish the names of the three conference hotels and list room rates and reservation instructions. The titles of program sessions, events in ARTspace, biographies of the Convocation speaker and Distinguished Scholar, participants in the Annual Artists’ Interviews, and topics of professional-development workshops will come later this fall.

Online registration will open in early October 2011, with the lowest rates available for members and nonmembers alike between then and early December.



CAA Seeks Nominations for the 2012 Awards for Distinction

posted by Christopher Howard


To conclude the Centennial year, CAA encourages members to nominate colleagues for ten of the twelve Awards for Distinction for 2012, to be awarded next February at the 100th Annual Conference in Los Angeles, California. The different perspectives and anecdotes from multiple personal letters of recommendation provide award juries with a clearer picture of the qualities and attributes of the nominees.

In the letter, state who you are; how you know (of) the nominee; how the nominee and/or his or her work or publication has affected your practice or studies and the pursuit of your career; and why you think this person (or, in a collaboration, these people) deserves to be recognized. You should also contact up to five colleagues, students, peers, collaborators, and/or coworkers of the nominee to write letters.

All submissions must include a completed nomination form and one copy of the nominee’s CV (limit: two pages); book awards do not require a CV. Nominations for book and exhibition awards should be for the authors of books published or works exhibited or staged between September 1, 2010, and August 31, 2011. No more than five letters per candidate are considered.

Please read the descriptions of the twelve awards, the names of all past recipients, and the full instructions for nominations. You may also write to Lauren Stark, CAA manager of programs, for more information. Deadline: August 31, 2011. The deadline for the Charles Rufus Morey Book Award and the Alfred H. Barr Jr. Award passed on July 31.



Filed under: Annual Conference, Awards, Centennial

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