posted by Nora Griffin
In its monthly roundup of obituaries, CAA recognizes the lives and achievements of the following artists, scholars, architects, photographers, and others whose work has significantly influenced the visual arts. This month was marked by the loss of the conceptual artist Michael Asher, the Belgian abstract painter Raoul De Keyser, the sculptor and activist An Dekker, and the English gallery director Michael Stanley. CAA has published a special obituary of Jeffrey R. Hayes, a professor of art history at the University of Wisconsin in Milwaukee.
- Michael Asher, the trailblazing Los Angeles conceptual artist and beloved CalArts professor, passed away on October 15, 2012. He was 69 years old. Active since the early 1970s, Asher was one of the first artists to engage in institutional critique by altering the norms that define galleries, museums, and schools. His contribution to the 2010 Whitney Biennial, which requested that the museum be free and open for twenty-four-hours, earned him the prestigious Bucksbaum Award
- Bruno Bobak, a Polish-born Canadian “war artist” during the Second World War, passed away on September 24, 2012, at the age of 88. Bobak enlisted in the Canadian Army at the age of 18, making him the youngest soldier to create artwork during the war. His watercolors and drawings were evocative and disturbing, showing the bare reality of life on the front lines
- Melvin Charney, a Montreal-based architect and teacher, died on September 17, 2012. He was 75 years old. Charney created bold public works that blurred the lines between art and architecture, such as the garden for the Canadian Centre for Architecture and the world’s first human-rights monument in Ottawa, Canada. He was also instrumental in establishing the architecture program at the University of Montreal
- Raoul De Keyser, a Belgian abstract painter, died on October 5, 2012. He was 82 years old. In an ever-expanding art world that prizes the brashest statement, De Keyser’s compositions stood out as examples of forceful gentleness, muted and lyrical. Long admired as a “painter’s painter,” he came to greater prominence during the 2000s with a series of major exhibitions in Germany, France, and England. He is represented by David Zwirner in New York
- An Dekker, a socially conscious sculptor of biomorphic forms, died on September 14, 2012, at the age of 80. Dekker was born in the Netherlands and traveled extensively throughout Europe and Africa. Residing in London the 1970s and 1980s, she was a cofounder of the Hackney Flashers’ photography workshop (with her fellow artist Jo Spence, also recently deceased) and the Women’s Graphic Workshop
- Préfète Duffaut, a Haitian muralist and painter, passed away on October 6, 2012, at the age of 89. Duffaut created brilliantly colored murals of imaginary cities for hospitals and churches. His imagery was inspired by the Haitian religion of voodoo and a personal mysticism
- Gilbert Warren Einstein, an art dealer who founded G. W. Einstein Company in New York, passed away on September 21, 2012, at the age of 70. Einstein’s gallery specialized in twentieth-century works on paper, and he was a member of the International Fine Print Dealers Association of America
- Robin Fior, a British graphic designer at the forefront of the 1960s print revolution, died on September 19, 2012. He was 77 years old. Fior made a name for himself as a designer for radical newspapers, such as Black Dwarf and Peace News. He was political to the bone, active in the Campaign for Nuclear Disarmament, and in later years served as the art director at the left-wing Pluto Press
- Ulrich Franzen, a polarizing German-born architect whose projects exemplified the modernist architecture ethos of “form follows function,” passed away on October 6, 2012. He was 91. Franzen’s most visible project was the skywalks at Hunter College in New York, an enclosed pedestrian walkway connecting the school’s buildings; other prominent commissions included Houston’s Alley Theater in 1968
- Richard Gordon, a photographer and writer based in Berkeley, California, died on October 6, 2012. He was 67 years old. Gordon’s black-and-white street photography followed the tradition of Henri Cartier-Bresson, Helen Levitt, and Robert Frank. An exhibition devoted to his 1970s photographs of American cities is on view at Gitterman Gallery in New York until November 7, 2012
- Pedro E. Guerrero, a photographer who gained recognition for his dynamic images of Frank Lloyd Wright’s architecture, died on September 13, 2012, at the age of 95. Guerrero’s working relationship with Wright, which began in the late 1930s, led to magazine assignments and book projects. In the 1960s and 1970s he embarked on a new photography series documenting the work and personality of the artists Alexander Calder and Louise Nevelson
- Jeffrey R. Hayes, a professor of art history and director of the master’s degree program in liberal studies at the University of Wisconsin in Milwaukee, passed away on June 18, 2012. He was 65 years old. A specialist in outsider art, Hayes wrote several books on the artist Oscar Bluemner. CAA has published a special obituary of Hayes
- Mick Jones, a British illustrator, teacher, and dedicated socialist, died in August 2012 at the age of 68. Jones took part in the Prague Spring of 1968, an experience that revealed to him how art can be a force for social change. Back in England he shared his devotion to politics through community murals and trade-union banners. He spearheaded the Camden Mural Project (1978), which instructed young people in the art of mural painting in public spaces and housing projects
- Jeremy Le Grice, an English painter inspired by the landscape of his native Cornwall, died on August 9, 2012. He was 75. As a young man he studied with the Cornish painter Peter Lanyon and took classes at the Slade School of Art in London. Le Grice’s paintings, a cross between abstraction and representation, have a rough-hewn quality, fitting for an artist who lived for most of his life in close proximity to the sea
- Howard R. Moody, a reverend with a love for radical art and social justice, passed away on September 12, 2012, at the age of 92. For over thirty years Moody was the minister of Judson Memorial Church in New York’s Greenwich Village. No ordinary congregation, the church became famous as an alternative space for experimentation in visual art, theater, and dance; likewise establishing itself as a safe haven for the marginalized poor and drug-addicted inhabitants of the neighborhood
- Harris Savides, a cinematographer who worked closely with young directors, died on October 9, 2012. He was 55 years old. Independent filmmakers depended on Savides’s exacting vision and technical skill to achieve the perfect look for their films. Notable films include Sofia Coppola’s Somewhere (2010) and Noah Baumbach’s Margot at the Wedding (2007), both of which benefited from Savides’s moody and poetic atmosphere
- Serge Spitzer, a Romanian-born installation artist whose work addresses the passing of time and collective memory, died on September 9, 2012, at the age of 61. The artist participated in Documenta and the Venice Biennale. One of his best-remembered works was a 2010 installation at the Palais de Tokyo in Paris, a labyrinthine network of plastic tubing that evoked earlier forms of communication in the city
- Michael Stanley, the director of Modern Art Oxford, a contemporary art gallery in England, passed away on September 22, 2012. He was 37 years old. As the director of both Modern Art Oxford and the Milton Keynes Gallery, Stanley championed young artists, including Jenny Saville, Phil Collins, and Pawel Althamer. This year he served as a judge for the prestigious Turner Prize
- John Steiger, a Chicago-based illustrator and artist known for his educational drawings, died on September 5, 2012, at the age of 89. A veteran of World War II, Steiger contributed work to Encyclopaedia Britannica Films and the children’s magazine Highlights; he also maintained a separate studio practice as a realist painter
- Albin Trowski, a Polish-born artist and illustrator who made his home in Manchester, England, following World War II, passed away on September 12, 2012. He was 93 years old. A gifted draftsman, Trowski realized charming city scenes and landscapes in watercolor and oil paint
- Rodney Uren, an Australian architect known for his large-scale urban projects, passed away on September 9, 2012, at the age of 63. He was a principal designer at the international design firm Hassell Practice; notable projects include the Olympic Park Station, a majestic, environmentally friendly structure that was built for the Sydney Olympics in 2000
Read all past obituaries in the arts in CAA News, which include special texts written for CAA. Please send links to published obituaries, or your completed texts, to Christopher Howard, CAA managing editor, for the November list.
posted by Christopher Howard
This week CAA will begin mailing Conference Information and Registration, which provides important details, instructions, and deadlines for attending and participating in the 101st Annual Conference, to all individual and institutional CAA members. Nonmembers and those wanting a digital file now can download a PDF of the booklet. The conference will take place February 13–16, 2013, in New York.
Following sections on registration and CAA membership, Conference Information and Registration describes travel, lodging, and transportation options and explains the basic processes for candidates seeking jobs and employers placing classifieds and renting booths and tables in the Interview Hall. In addition, the publication lists topics for eleven Professional-Development Workshops. If you want to connect with former and current professors and students, consult the Reunions and Receptions page. The booklet includes paper forms for CAA membership, conference registration, workshops, special events, and mentoring enrollment.
The contents of Conference Information and Registration also appear on the conference website, which is being updated regularly between now and the February meeting. You may also choose to join CAA and register online.
posted by Christopher Howard
Registration for CAA’s THATCamp has now closed.
CAA invites interested participants to attend its first Humanities and Technology Camp (THATCamp) “unconference” on digital art history, taking place on the two days immediately preceding the Annual Conference: Monday, February 11, NOON–5:00 PM, and Tuesday, February 12, 9:00 AM–3:00 PM. The event will take place at Macaulay Honors College, City University of New York, located at 35 West 67th Street in Manhattan.
CAA’s THATCamp is free and open to graduate students and scholars at all career stages. The only requirements for attendance are an active interest in how digital technology is affecting the discipline of art history and the humanities in general and a willingness to share your questions and ideas. Space is limited! Register today to secure your place. Graduate students may apply for a limited number of fellowships funded by the Samuel H. Kress Foundation to lessen the cost of travel expenses to New York.
The purpose of the CAA unconference is manifold: to increase awareness of existing digital projects in art history, architectural history, and archeology; to foster a community of scholars invested in digital art history; to identify digital tools that may be used to improve future CAA conferences; to facilitate technology workshops and training sessions; and to provide support for art-history professionals pursuing nontraditional career paths.
“Unconference” is a term that may be new to people in art and academia but has, in fact, been around since the late 1990s. It is used to describe a participant-driven meeting that in many respects is the opposite of a traditional academic conference. Formal presentations or a set program of speakers are not determined beforehand. Unconferences generate productive encounters among diverse groups of people, an experience that can be compared to being a member of an improvisational acting troupe.
THATCamp itself, however, is a recent invention, founded in 2008 at the Center for History and New Media at George Mason University in Fairfax, Virginia, as a meeting for technology and humanities professionals—including professors, librarians, and museum curators—to share ideas and collaborate on projects. The camps have since sprung up in locations across the United States and internationally.
posted by Alyssa Pavley
Dissertation titles in art history and visual studies from American and Canadian institutions, both completed and in progress, are published annually in caa.reviews, making them available through web searches. PhD-granting institutions may send a list of their doctoral students’ dissertation titles for 2012 to email@example.com. The complete Dissertation Submission Guidelines regarding the format of listings are now available. 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 or visit the guidelines page. Deadline: January 16, 2013.
posted by Helen Bayer
Registration is now open for the 101st Annual Conference, taking place February 13–16, 2013, in New York. Register before the early deadline, December 14, 2012, to ensure the lowest rate and your place in the online Directory of Attendees.
Registration includes access to all conference sessions and to the Book and Trade Fair. Each registrant will receive a copy of the Conference Program and access to the online Directory of Attendees, along with online access to Abstracts 2013 and free admission to selected museums and galleries throughout greater New York during the conference.
Those interested in Career Services should sign up now to secure a place in several high-demand activities. Register for a variety of Professional Development Workshops covering topics ranging from grant writing to tenure issues. Sign up for Mentoring Sessions that include the Artists’ Portfolio Review and Career Development Mentoring.
Making travel plans and hotel reservations? Check out the special discounts available to conference attendees. Students can take advantage of further reductions on accommodations at select conference hotels.
You may also purchase tickets for a variety of Events taking place in the New York area, including:
- Opening Night Reception at the Solomon R. Guggenheim Museum
- Chelsea Gallery District Walking Tour
- Montclair Art Museum Tour and Reception
Space is limited, so please register early.
CAA will regularly update the conference website over the next few months, with additional details on the program, awards, tours, and more. A list of session names and chairs has been posted, with the names of all speakers and the titles of their presentations coming in November.
The CAA Annual Conference is the world’s largest international forum for professionals in the visual arts, offering more than two hundred stimulating sessions, panel discussions, roundtables, and meetings. CAA anticipates more than six thousand artists, art historians, students, curators, critics, educators, art administrators, and museum professionals to attend the meeting, which brings CAA’s Centennial year to a close.
Appraisers Association of America Presents “On and Off the Road,” an Evening with America’s Most Popular Appraisers
posted by Christopher Howard
The Appraisers Association of America, an affiliated society, invites CAA members to attend “On and Off the Road,” an evening with America’s most popular appraisers, to be held at the Grolier Club in New York on Tuesday, October 16, 2012. Experts from television’s Antiques Roadshow—Lee Dunbar, Kathleen Harwood, Daile Kaplan, Leigh Keno, Betty Krulik, Kevin Zavian, and Alasdair Nichol—will share their experiences on and off camera. Attendees will have the rare opportunity to hear some of the country’s leading appraisers discuss the process of evaluating everything from fine art to memorabilia. You also have the chance for private appraisal consultation to find out if you own a hidden gem. Meet and speak with some of the most trusted experts in the business.
Tickets are $85 for individuals and $75 for CAA members, staff, and guests ; $200 for patrons and $175 CAA members, staff, and guests; and $350 for a patron duo and $300 CAA members, staff, and guests. Tickets are tax deductible, with the proceeds benefiting the association’s Appraisal Institute to support educational programs on connoisseurship, assessment, and valuation.
Doors open at 6:00 PM. The panel discussion begins at 6:30 PM, followed by a reception at 7:30 PM. Free appraisal consultations are offered to those with patron tickets; please RSVP by October 9 by calling 212-889-5404, ext. 11., or writing to firstname.lastname@example.org .
The Grolier Club is located at 47 East 60th Street , New York, NY 10065 (map). For the Appraisal Consultation Guidelines, and for information about the Appraisers Association of America, please visit www.appraisersassociation.org or call 212-889-5404, ext. 11.
posted by Christopher Howard
The Samuel H. Kress Foundation has awarded CAA a start-up grant to support the development of a Code of Best Practices for Fair Use of Copyrighted Images in the Creation and Curation of Artworks and Scholarly Publishing in the Visual Arts. The project will address all areas of the visual arts and involve participants from the fields of art history, studio art, print and online publishing, art museums and related areas.
CAA’s Board of Directors recognized the need for the development of a Code of Best Practices by establishing a Task Force on Fair Use at the May 7, 2012 meeting. The rationale for this undertaking is to address what amounts to a crisis in the visual arts field. At this time, there is significant evidence that concerns around the implications of copyright—and especially uncertainty surrounding the fair use doctrine (currently codified under section 107 of the Copyright Act)—is substantially inhibiting the ability of scholars and artists to develop new work requiring the use of images and other third-party copyrighted works. The visual arts field needs the opportunity to explore and better understand copyright and fair use law, come to a consensus on best practices in the use of third-party images, and adhere to a code that is within the law and practicable for visual arts scholarly publications and creative work.
This fall, with the support of the Kress Foundation, CAA will establish a research plan and administrative framework for developing a comprehensive Code of Best Practices for Fair Use. CAA’s newly-created Task Force on Fair Use will begin work with two recognized authorities on the subject: Peter Jaszi, Professor of Law, Washington School of Law, American University and Pat Aufderheide, Director, Center for Media Studies, American University. Jaszi and Aufderheide, the authors of Reclaiming Fair Use: How to Put Balance Back into Copyright (Chicago University Press, 2011) have worked with numerous disciplines—including documentary film makers, dance archivists, research librarians, and journalists—to develop best practices in fair use. CAA’s Task Force will be co-chaired by Jeffrey P. Cunard (CAA Counsel and Partner, Debevoise & Plimpton) and Gretchen Wagner (CAA Committee on Intellectual Property and ARTstor General Counsel); its other members include Anne Collins Goodyear (CAA President and Associate Curator, Prints and Drawings, National Portrait Gallery, Smithsonian Institute); Linda Downs (CAA Executive Director and CEO); Suzanne Blier (CAA Board Member and Allen Whitehill Clowes Professor of Fine Arts and of African and African American Studies, Harvard University); DeWitt Godfrey (CAA Vice President for Committees and Director, Institute for Creative and Performing Arts, Colgate University); Randall C. Griffin (ex-officio as CAA Vice President for Publications, Professor, Division of Art History, Meadows School of the Arts, Southern Methodist University); Paul Jaskot (CAA Past President and Professor of History of Art and Architecture, DePaul University); Patricia McDonnell (CAA Vice President for External Affairs and Director, Wichita Art Museum); Charles Wright (CAA Board Member and Chair, Department of Art, Western Illinois University). Throughout the project, CAA will involve its members and the larger visual arts community in building a comprehensive Code designed to serve all members of its constituency. CAA’s Committee on Intellectual Property will address CAA’s work on Fair Use at its upcoming public session at the Annual Meeting in February 2013 (Saturday, February 16, at 12:30 pm).
posted by Nora Griffin
The painter and writer Mira Schor and the sculptor and multimedia artist Janine Antoni will participate in the Annual Artists’ Interviews, taking place in ARTspace during the 2013 Annual Conference in New York. This session will be the thirteenth installment of the popular series, which features two major practicing artists in back-to-back interviews. The talks will be held on Friday, February 15, 2013, from 2:30 to 5:00 PM at the Hilton in New York. Stuart Horodner, artistic director of the Atlanta Contemporary Art Center in Georgia, will interview Schor. Klaus Ottmann, director of the Center for the Study of Modern Art and curator at large at the Phillips Collection in Washington, DC, will interview Antoni.
Mira Schor is a painter, writer, and educator who was born in 1950 into a family of artists in Manhattan. Entering her fifth decade as an artist, she has used the medium of painting to address a wide range of issues: language, corporal materiality, feminist politics, art history, and critical theory. She has also worked in artist’s books and sculpture and has a longstanding engagement with works on paper.
As an art writer and editor, Schor works in the belletristic tradition of John Berger and Virginia Woolf, with her essays combining the candor of a village storyteller with the rigor of a critical approach and maverick fearlessness. Her latest book is A Decade of Negative Thinking: Essays on Art, Politics, and Daily Life (2009), and she writes regularly about the intersection of art and life for her blog A Year of Positive Thinking.
Schor is based in New York and Provincetown, Massachusetts. Read CAA’s full profile of the artist, which includes more images of her work.
Janine Antoni’s work is an amalgam of shamanistic ritual, quotidian task, and daredevil action. Her performances include using her dye-soaked hair to mop a gallery floor; sleeping in a bed set up in a gallery and then weaving a blanket based on the pattern of her rapid eye movements; and walking across a tightrope of hand-plied hemp that she made herself, suspended eight feet above the ground. The arduous process of the performance is often combined into installations with sculpture, photography, and video. It is Antoni’s desire that her artwork be understood as a felt experience, one that combines emotional content and intellectual engagement. In each piece, no matter the medium or image, a conveyed physicality speaks directly to the viewer’s body.
In a conversation published in 2011 in the Brooklyn Rail, she elaborates on the importance of this imagined relationship with her work’s audience: “When I’m making work I spend a lot of time fantasizing about what the viewer will do and think; I enter their body, and imagine them walking up to my sculpture. My work is a way for me to feel connected and to feel present in the world. I try to make work that elicits empathy. I’ve been known for chewing 600 pounds of chocolate, being dumped in tubs of lard, and mopping the floor with my hair. I do these extreme acts because I feel like it puts the viewer in a very emphatic relationship to my sculpture.”
Antoni lives and works in New York. She participated in the 2011 Annual Conference, speaking on the popular Centennial session “Parallel Practices: When the Mind Isn’t Focused on Art.” Read CAA’s full profile of the artist, with several photographs of her work.
Top: Mira Schor, The Dreams of All of Us, 2012, ink, rabbit skin glue, oil, and gesso on linen, 24 x 28 in. (artwork © Mira Schor; photograph provided by the artist)
Bottom: Janine Antoni, Lick and Lather, 1993, two self-portrait busts: one chocolate and one soap, 24 x 16 x 13 in. (artwork © Janine Antoni; photograph provided by the artist and Luhring Augustine, New York)
posted by Christopher Howard
Many of you began your CAA membership as students, so you know how important the Annual Conference is for young artists and scholars breaking into the field. From networking to interviewing to attending panels, the conference enables them to get more involved in the visual-arts community and fosters their professional aspirations. Every year, students apply for CAA’s travel grant to help them cover the costs of getting to the conference. In the past three years, though, CAA has only assisted about 30 percent of those who apply. Please help CAA’s student members to reap the benefits of the Annual Conference by increasing our travel-grant fund through Indiegogo, a crowd-funding website! Make a contribution yourself or share our campaign via Facebook, Twitter, or other social media by reposting this link: http://igg.me/p/230278?a=1266837. Every share increases the chance that we’ll meet our goal of raising $4,000!
We at CAA greatly appreciate your membership and commitment.