CAA News Today
Projectionists and Room Monitors at the New York Conference
posted by Lauren Stark — September 13, 2012
Working as a projectionist or room monitor at the 101st Annual Conference, taking place February 13–16, 2013, in New York, is a great way to save on conference expenses. All candidates must be US citizens or permanent US residents. CAA encourages students and emerging professionals—especially those in New York, New Jersey, and Connecticut—to apply for service.
Projectionists
CAA seeks applications for projectionists for conference program sessions. Successful applicants are paid $12 per hour and receive complimentary conference registration. Projectionists are required to work a minimum of four 2½-hour program sessions, from Wednesday, February 13 to Saturday, February 16; they must also attend a training meeting on Wednesday morning at 7:30 AM. Projectionists must be familiar with digital projectors. Please send a brief letter of interest to Lauren Stark, CAA manager of programs. Deadline: December 14, 2012.
Room Monitors
CAA needs room monitors for two Career Services mentoring programs (the Artists’ Portfolio Review and Career Development Mentoring), several offsite sessions, and other conference events, to be held from Wednesday, February 13 to Saturday, February 16; they must also attend a training meeting on Thursday morning at 7:30 AM. Successful candidates are paid $12 per hour and receive complimentary conference registration. Room monitors are required to work a minimum of eight hours, checking in participants and facilitating the work of the mentors. Please send a brief letter of interest to Lauren Stark, CAA manager of programs. Deadline: December 14, 2012.
September 2012 Issue of The Art Bulletin
posted by Christopher Howard — September 10, 2012
The September 2012 issue of The Art Bulletin, the leading publication of international art-historical scholarship, presents the third installment of its new feature series that will continue for two more volume years. In Regarding Art and Art History, Richard Shiff analyzes the role of interpretation in writing about art through the prism of Meyer Schapiro and Clement Greenberg’s different approaches to the topic. The subject of this issue’s Notes from the Field is contingency, with texts by eleven artists, scholars, professors, and philosophers: Linda Connor, Giovanna Borradori, Marcia Brennan, Mary Ann Doane, Angus Fletcher, Peter Geimer, Gloria Kury, Mark Ledbury, C. Brian Rose, Frances Spalding, and Chris Spring. A photograph based on Connor’s 2010 film Fireworks for the Virgin, shot in Peru, appears on the cover.
In the issue’s Interview, James Ackerman converses with Cammy Brothers about how recent trips to Turkey, Egypt, and India have affected his outlook on teaching architectural history. Ackerman, editor of The Art Bulletin from 1956 to 1959, also describes his formative years as a student at Yale University and his teaching career at Harvard University.
The September issue also features four essays that cover a wide range of art-historical topics and time periods. Jaś Elsner explores a transformative moment in the eighth century, when the icon was considered entirely as representation, and analyzes the debates that precipitated this moment among Christians, Jews, Muslims, and pagans. In her essay “Francesco Rosselli’s Lost View of Rome: An Urban Icon and Its Progeny,” Jessica Maier reconstructs Rosselli’s monumental engraving of Rome and analyzes the work as a marker of high innovation in Renaissance print culture. Elizabeth Kindall discusses how the seventeenth-century Chinese artist Huang Xiangjian moved to an experiential reading of the handscroll format and how this shift from a traditional, linear reading culminated in a panoramic “grand view.” In his essay “Architecture and Crime: Adolf Loos and the Culture of the ‘Case,’” Frederic J. Schwartz takes a close look at two widely publicized trials involving the modern Viennese architect Adolf Loos, demonstrating the implications of these encounters with criminality for Loos’s architecture practice and theory and their importance in the wider public sphere.
The books under review in this issue represent a broad cross-section of art-historical scholarship. Philippe Morel assesses Alessandro Nova’s The Book of the Wind: The Representation of the Invisible, and Carl Brandon Strehlke reviews eight books published within the last seven years on the Italian Renaissance painter Giotto. Ariella Azoulay looks at Martin A. Berger’s Seeing through Race: A Reinterpretation of Civil Rights Photography. Finally, Matthew Simms reviews two new volumes on Willem de Kooning, Richard Shiff’s Between Sense and de Kooning and the catalogue for the Museum of Modern Art’s 2011 retrospective of the artist, edited by John Elderfield, the exhibition’s curator.
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 2012, will feature Rebecca Zorach’s reflections on politics and teaching in Regarding Art and Art History, the texts collected in Notes from the Field will be on the topic of detail, and the Interview will feature a conversation between the German art historian Horst Bredekamp and Christopher Wood. The long-form essays include a new interpretation of the Judgment of Paris myth as it is depicted in Roman wall paintings; a close reading of the Italian Renaissance sculptor Filarete’s Hilaritas, a bronze relief on the doors of Saint Peter’s Basilica in the Vatican; a consideration of Caravaggio’s signature in Beheading of Saint John the Baptist; an analysis of a Central American painting from the mid-1680s; and an exploration of the unpublished papers of the nineteenth-century English connoisseur George Scharf. The Reviews section will include analyses of books on Islamic museum installation, Inka stonework, Andean architecture, European painterly virtuosity, Rajput painting, and a new American museum.
Affiliated Society News for September 2012
posted by CAA — September 09, 2012
Art Libraries Society of North America
Windows on the War: Soviet Tass Posters at Home and Abroad, 1941–1945, edited by Peter Kort Zegers and Douglas W. Druick, won the 2011 George Wittenborn Memorial Book Award
The 2012 George Wittenborn Memorial Book Award Committee of the Art Libraries Society of North America (ARLIS/NA) welcomes submissions of notable art books published in North America during 2012. This prestigious award is presented annually to publications demonstrating excellence in art publishing. Established by ARLIS/NA in 1980, the award honors the memory of George Wittenborn (1905–1974), a premier New York art-book dealer and publisher who was a strong supporter of ARLIS/NA in its formative years. Each year, eligible titles are evaluated for excellence in standards of content, documentation, layout, and format. From these titles, one exemplary publication will be chosen to receive the George Wittenborn Memorial Book Award. Titles eligible for consideration include books (print and electronic), exhibition catalogues, and new periodical titles in any language, published in 2012 and originating from a North American publisher. Publications submitted by foreign publishers with North American offices must have been authored or edited in North America. The book-selection guidelines, entry form, and application address can all be found online. The deadline for consideration is December 31, 2012; the presentation of the awards will take place in April 2013 during the ARLIS/NA forty-first annual conference in Pasadena, California.
Association for Modern and Contemporary Art of the Arab World, Iran, and Turkey
The Association for Modern and Contemporary Art of the Arab World, Iran, and Turkey (AMCA) held its second annual conference, “The Longevity of Rupture: 1967 in Art and Its Histories,” at the American University in Beirut. Lebanon, on June 1–2, 2012.
AMCA is currently accepting submissions for the Rhonda A. Saad Prize for Best Graduate Paper in Modern Arab Art, 2012. In its second year, the award aims to recognize and promote excellence in the field of modern and contemporary Arab art. The prize is offered to a graduate student working in any discipline whose paper is judged to provide the most significant contribution to Middle Eastern studies and art history. Submissions must have been produced between June 2011 and September 2012, must not exceed thirty-five pages (excluding notes and bibliography), and must not have been previously published or be currently under consideration for publication. Submissions are due by September 30, 2012, and should be emailed to info@amcainternational.org. The winner will be announced during the AMCA members meeting, held at the Middle East Studies Association annual meeting in Denver, Colorado, in November 2012.
Association of Historians of American Art
Join the Association of Historians of American Art (AHAA) on October 11 to 13, 2012, for its second symposium, “American Art: The Academy, Museums, and the Market,” in Boston, Massachusetts. The keynote speaker is Holland Cotter, art critic for the New York Times. The Boston Athenaeum and Boston University will host the sessions; additional events include a special viewing of the newly installed Art of the Americas wing at the Museum of Fine Arts, Boston, and a reception at the Boston University Art Gallery. The full symposium schedule of speakers and registration information can be found at the conference website. Hurry! Registration is only open until September 15, 2012, and there are a limited number of spaces available. For more information, please contact the symposium cochairs, David Dearinger and Melissa Renn.
Historians of British Art
The Historians of British Art (HBA) has moved up the application deadline of its annual travel grant in order to give the successful applicant more lead-up time to plan his or her travel in calendar year 2013. This grant of $750 is intended to help offset travel costs incurred by a graduate-student member of HBA who will be presenting a paper on British visual culture at an academic conference. To apply, please send a letter of request, a copy of the letter of acceptance from the organizer of the conference session, an abstract of the paper to be presented, a budget of estimated expenses (noting what items may be covered by other resources), and a CV to Renate Dohmen, grant committee chair. The deadline for the 2013 application is September 15, 2012, with notification to the winner by October 15, 2012. An annual student membership in HBA is only $15; consider joining today.
Historians of Netherlandish Art
The next formal deadline for submitting manuscripts to the Journal of Historians of Netherlandish Art, the peer-reviewed, open-access ejournal published by the Historians of Netherlandish Art (HNA), is March 1, 2013. In addition to longer articles, the journal now welcomes shorter notes on archival discoveries, iconographical issues, technical studies, and rediscovered works. Please review the submission guidelines or contact the journal’s editor-in-chief, Alison Kettering, for more information.
Historians of Islamic Art Association
The Historians of Islamic Art Association (HIAA) would like to remind fellow CAA affiliates and members that registration for our third biennial symposium, “Looking Widely, Looking Closely,” hosted by the Metropolitan Museum of Art in New York, October 18–20, 2012, remains open. HIAA is pleased to offer a reduced rate for student members ($35). For more information about the symposium program, and about travel accommodations in New York, please visit the HIAA website.
International Sculpture Center
The International Sculpture Center (ISC) is accepting nominations for the 2013 Outstanding Educator Award, which recognizes individual artist-educators who have excelled at teaching sculpture in institutions of higher learning. Candidates for this award are master sculptors who have devoted their careers to the education of the next generation and to the advancement of the sculpture field as a whole. Nominations for the award will be accepted from September 3 through October 26, 2012. Anyone can nominate a qualified educator: submissions are not limited to United States participants, and international submissions are welcomed and encouraged. Award recipients receive benefits such as a featured article in Sculpture, a lifetime ISC professional-level membership, and an award ceremony to be held at their academic institution. Educational institutions of awardees also receive benefits, including recognition in Sculpture and a one-year ISC university-level membership.
Leonardo Education and Art Forum
The Leonardo Education and Art Forum (LEAF) has welcomed David Familian as its new chair-elect. Familian, an artist and educator, has served as the artistic director of the Beall Center for Art and Technology at the University of California, Irvine, since 2005. He has curated one-person exhibitions of Shih Chieh Huang, Golan Levin, Rafael Lozano-Hemmer, Chico MacMurtrie, Jennifer and Kevin McCoy, Nam June Paik, and Victoria Vesna.
LEAF seeks contributions to a scholarly project that examines interdisciplinary curricula that span the art, science, and humanities fields. Interested participants should send examples of courses and curricula in areas such art and biology, music and mathematics, art and chemistry, dance and environmental sciences, and similar pairings. The project, a relaunch of a similar call issued in 2009, is spearheaded by Roger Malina, Leonardo executive editor, and Kathryn Evans, a doctoral student at the University of Texas at Dallas. Please address all questions and syllabi or curricula information to Kathryn Evans.
Jill Scott of Z-Node and Ellen K. Levy, former chair of LEAF and an advisor for the Institute for Doctoral Studies in the Visual Arts, are cochairs of a panel for the eighteenth International Symposium on Electronic Art (ISEA), taking place September 19–24, 2012, in Albuquerque, New Mexico. Their panel, “Synaptic Scenarios for Ecological Environments,” will addresses cognitive issues in relation to ecology with the goal of gaining a greater embodied sense of place within the ecological environment. Another ISEA panel is “Eco-Art + the Evolving Landscape of Social and Situated Practices,” moderated by Patricia Olynyk, an artist and LEAF chair. The panel will focus on education and the complex triad of ecoart, situated practices, and project-based public work that embrace various democratic processes and inspire progressive social, cultural, and environmental change. “Breaking Tradition: Rethinking the Economy of Learning,” an education workshop for ISEA 2012 convened by Nina Czegledy, former chair of LEAF, will discuss the latest developments of educational policy investigations and evaluate the role of educational research and existing educational business strategies, financial modeling, and risk management. Olynyk and Adrienne Klein, incoming LEAF cochair, will moderate the panel “Art and Medicine: Reciprocal Influence” at the 2013 CAA Annual Conference in New York, taking place February 13–16, 2013. Their panel will explore the impact of medicine on artistic practice, of creative process on medical research, and of the idea of the artist’s body as subject matter. Joseph Lewis III of the University of California, Irvine, will moderate a second panel at the CAA conference, called “Re/Search: Art, Science, and Information Technology (ASIT): What Would Leonardo da Vinci Have Thought?”.
Mid-America College Art Association
Save the date for the Mid-America College Art Association (MACAA) biannual conference, taking place October 3–6, 2012, in Detroit, Michigan. The James Pearson Duffy Department of Art and Art History at Wayne State University will host the conference in downtown Detroit. Programming will include three featured speakers; panel presentations in art, design, art history, and visual resources; and studio workshops, MACAA member exhibitions, and museum visits. The conference will have two content areas, “Meaning and Making” and “Community and Collaboration.” Visit the conference website to learn more about the event, to check travel and hotel information, and to become an MACAA member.
National Council of Arts Administrators
From November 7 to 10, 2012, Ohio State University and Columbus College of Art and Design in Ohio will host “Granting Permission“ the fortieth annual conference of the National Council of Arts Administrators (NCAA). The event will focus on a reexamination of the importance of arts and art education as professionals face “occasions piled high with difficulty.” The conference will also spotlight current trends in arts administration; offer forums, speakers, and workshops; and create opportunities to network within a diverse community of higher-education arts professionals. You can expect top-notch speakers, timely and forward-looking sessions, an engaging administrator’s workshop, and much more. NCAA enthusiastically welcomes new members and any interested parties to its events.
Northern California Art Historians
The Northern California Art Historians (NCAH) has inaugurated an annual travel award for promising emerging scholars. Cheyanne Cortez, a master’s degree candidate at San José State University in California, received the award in recognition of her paper, “The Ladies’ American Girl: Delineating an Age through the Ladies Home Journal,” presented at the Women in Magazines conference held at Kingston University in London, June 22–23, 2012. The NCAH gives its sincere thanks to the anonymous donor who generously contributed $300 for this year’s award.
Public Art Dialogue
Public Art Dialogue (PAD) has announced Penny Balkin Bach as the 2013 recipient of the PAD award in recognition of her longstanding and continuing contributions to the field of public art. Join the dialogue with PAD’s newest awardee at the 2013 CAA Annual Conference in New York. More information will be available soon.
Public Art Dialogue is now accepting submissions for its upcoming special issue, “Memorials: The Culture of Remembrance.” This issue seeks to explore memorials in regard to their range of subjects, various formal and conceptual strategies, and critical issues pertaining to their study. PAD welcomes submissions that address related topics (except war or peace, covered in the previous issue) from any time period or place. Please see the journal website for guidelines. The submission deadline is September 15, 2012.
Society for Photographic Education
The Society for Photographic Education (SPE) seeks curators, professors, gallerists, art historians, and scholars to review student and/or professional member portfolios at SPE’s fiftieth annual conference, taking place March 7–10, 2013, in Chicago, Illinois. Portfolio reviewers receive a discounted admission to the four-day event in exchange for their participation. For more information on the conference offerings and to express interest in serving as a portfolio reviewer, please contact SPE. The deadline for portfolio review is November 15, 2012; the deadline for conference registration is February 22, 2013.
Society of North American Goldsmiths
The Society of North American Goldsmiths (SNAG) will hold their forty-second annual conference on May 15–18, 2013, in Toronto, Canada. Titled “Meta-Mosaic,” the event will celebrate the multiple industries within jewelry and metal-smithing in the twenty-first century. Toronto is a mosaic of peoples and cultures as well as the center of Canada’s jewelry industry. This conference will examine a fluid identity within art, craft, and design and inspire attendees to embrace our collective mosaic. Join SNAG for presentations and panels featuring industry luminaries from across the globe, rapid-fire presentations by international designers and artists, and over twenty exhibitions.
Southeastern College Art Conference
The sixty-eighth annual meeting of the Southeastern College Art Conference (SECAC), hosted by Meredith College, will be held in historic Durham, North Carolina, from October 17 to 20, 2012. SECAC membership is required to attend and to participate in the conference; registration opened on August 1, 2012. Please visit the website for registration fees, travel and accommodation details, and local information on Durham. Questions? Please contact Beth Mulvaney, conference chair for SECAC 2012.
Women’s Caucus for Art
The Women’s Caucus for Art (WCA) will present “Honoring Women’s Rights,” a conference and exhibition in celebration of WCA’s fortieth anniversary, taking place September 7–9, 2012, at the National Steinbeck Center in Salinas, California. The conference will feature a celebrated roster of speakers and panelists, including Malissa Feruzzi Shriver, California Arts Council chair, as well as Louise Bernikow, Sandra Fluke, Judy Baca, Flo Oy Wong, Kim Abeles, Ani Zonneveld, Emelia Fuentes Grant, Enid Blader, Geri Montano, Jane Schonberger, Laurie Frank, Linda Bynoe, Marta Donayre, Martha Richards, Melanie Cervantes, Pia Guerrero, and Thea Iberall. The speakers will cover a wide range of topics related to art, activism, and women’s rights. Works of art were juried by Ruth Weisberg, Joyce Aiken, and Patricia Rodriguez and will remain on view through November 25, 2012.
NEW ART JOURNAL REVIEWS EDITOR
posted by Christopher Howard — September 04, 2012
Michael Corris (2013–16)
Michael Corris, incoming Art Journal reviews editor
Michael Corris, professor of art and chair of the Division of Art in the Meadows School of the Arts at Southern Methodist University in Dallas, Texas, has been appointed reviews editor of Art Journal. He will serve one year as reviews editor designate, taking over from Howard Singerman of the University of Virginia in July 2013.
As both an artist and an author of many works on postwar and contemporary art and theory, Corris is looking forward to bringing new voices and perspectives into the conversation that surrounds the literature of art. For Corris this means a thorough investigation into myriad ways in which scholars and artists are reading art history today, both inside the classroom and in the larger art world. He writes, “I’d like to know what artists are reading and why; what goes into the construction of a bibliography for students at all levels; and how technology and social media alter the way we reflect critically on art and culture. In short, how the dialogue on art is authorized, shaped, and sustained through all sorts of textual means.” The social reality of art making and writing about art has always been present in Corris’s work. In his new role as reviews editor he is committed to seeking out non-Western art practices and those that merge with political activism.
With a comparative perspective on studio-art and art-history programs from his substantial teaching record in the United States and England, Corris sees both countries as “facing a crisis in higher education” and laments the fact that programs in art education and art history “are constantly under threat to justify their existence in purely economic terms.” However, the academic intensity of art schools in England holds a great appeal for Corris: “The British higher-education system places great emphasis on individual and small-group tutorials; it also demands a great deal more of students in terms of written output. Studio-art undergraduates are generally required to produce a research paper of up to 10,000 words; master’s level students may have to produce a research paper of up to 20,000 words. This is all in addition to their artwork.”
As a visual artist who slips easily into the role of critic, and as a critic who is equally at home in academia, Corris is long familiar with the fluidity of all three roles. He also recognizes the importance of a playful attitude as a way to explore new spaces of thought production. “It’s no longer surprising to find an artist who writes, a writer who draws, or a studio-art professor who curates art. The challenge here is to find ways to destabilize all these terms: visual artist, editor, writer, and educator. I turned my office at Southern Methodist University into the Free Museum of Dallas to offset the drudgery and power of academic bureaucracy. I’m constantly seeking ways to collectivize the various activities that I engage in or fall into. When it comes to my role as educator, my current concern is trying to figure out the precise shape of this Faustian bargain called tenure and my limits of tolerance to the trend to subject the arts and humanities to a corporate logic. My great joy is that the students remain engaged and delightfully open.”
Concurrent with his position at Art Journal, Corris will remain an editor at Transmission Annual, a peer-reviewed journal of contemporary art and culture, cofounded in 2008 with Sharon Kivland and Jaspar Joseph-Lester, both professors at Sheffield Hallam University in England. “We came up with the idea to publish an annual collection of essays, structured correspondence, and artist’s projects that revisited the themes of the school’s weekly artist and theorist lecture series, while allowing academics the luxury to experiment with forms of exposition. Our first issue was based on the theme of hospitality, the second on the theme of provocation, and the third on the theme of catastrophe. We anticipate a fourth issue on the theme of agency, so you see there is a glimmer of reality amongst the poetry.” Corris hopes his Transmission Annual experience will inspire new formats for Art Journal devoted to the critical review of literature on art.
Corris received a BA from Brooklyn College, City University of New York, in 1970. Two years later he earned an MFA in painting and media from the Hoffberger School of Painting at Maryland Institute College of Art in Baltimore, and later was awarded a scholarship to attend the Skowhegan School of Painting and Sculpture in Maine. In 1971 he began participating in the Conceptual-art collective Art & Language (whose transatlantic members included Terry Atkinson, Joseph Kosuth, Mel Ramsden, and Charles Harrison) and contributed to the group’s journal, Art-Language. As a member of the collective, and as a solo artist, Corris has exhibited his artwork in galleries and museums across the United States and abroad, including the Museum of Modern Art and the Whitney Museum of American Art, both in New York, and the Victoria and Albert Museum in London.
Michael Corris, ed., Conceptual Art: Theory, Myth, and Practice (New York: Cambridge University Press, 2004)
The relationship of writing and language to the visual arts has been a paramount concern of Corris’s throughout his career. His editorial experience began with cofounding the artist-run journals The Fox in 1975 and Red-Herring in 1977. The move from art making into publishing was a natural extension of his essayistic art practice. For Corris, and for the other Art & Language artists, these journals served as “sites of artistic production and were intentionally set in opposition to the values and institutions that sustained a managerial culture of art.” His early essays, such as “The Organization of Culture under Monopoly Capitalism,” published in The Fox in 1976, and “Frameworks and Phantoms,” written with Mel Ramsden for Art-Language in 1973, reflect this radical ethos. Since then Corris has written essays and reviews for Artforum, Art History, and Art Monthly that cover a wide spectrum of artists working today, from Jeff Koons to Alfredo Jaar and Tracey Emin.
Corris’s PhD dissertation, completed in 1996 at University College London, formed the basis for a monograph, Ad Reinhardt, published by Reaktion Books in 2008. A 2006 winner of the first CAA Publication Grant, the book recontextualizes an overlooked aspect of Reinhardt’s art practice: the political cartoons and illustrations that were published in the 1930s through the 1950s in New Masses and Soviet Russia Today. Corris’s lifelong commitment to the intersection of art and politics is evident in Ad Reinhardt, as well as in two forthcoming books: The Artist Out of Work: Selected Writings on Art (Les Presses du Reel/JRP Ringier) and What Do Artists Know? Art’s Encounter with Philosophy (Reaktion). Corris is also the author of a volume on the painter David Diao, published by TimeZone8 Books in 2005, and coauthor, with John Dixon Hunt and David Lomas, of Art, Word, and Image: 2,000 Years of Visual/Textual Interaction, published by Reaktion in 2010.
A selection of Corris’s academic appointments include visiting lecturer in history of art at the Courtauld Institute of Art in London (1999–2001); head of the Department of Art and Photography at the University of Wales, Newport (2003–7); visiting professor of art theory at the Bergen National Academy of Art in Norway (2005–7); and professor of fine art at Art and Design Research Center, Sheffield Hallam University (2007–9).
Show Your Art at the 2013 Annual Conference
posted by Lauren Stark — August 31, 2012
CAA’s Services to Artists Committee invites artist members to participate in ARTexchange, an open forum for sharing work at the 2013 Annual Conference. Free and open to the public, ARTexchange will be held on Friday, February 15, 5:30–7:30 PM, in a central location at the Hilton New York. 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 New York, 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: December 14, 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.
Image: the artists Jeff Schmuki and Wendy DesChene, founders of PlantBot Genetics, demonstrate their products during ARTexchange at the 2012 Annual Conference in Los Angeles (photograph by Bradley Marks)
New Call for Alternative Formats and Invitational Sessions for the 2014 Chicago Annual Conference
posted by Paul B. Jaskot — August 31, 2012
Art of Turkey: An Exclusive Tour for CAA Members
posted by Nia Page — August 30, 2012
CAA has partnered with Tutku Tours to provide an exclusive offer for its members to spend thirteen days exploring the ancient and contemporary sides of Turkey, from April 26 to May 10, 2013. Highlights of the Art of Turkey trip include stops in Istanbul, Izmir, Cappadocia, Troy, Ephesus, and Pamukkale. The tour begins with three full days in Istanbul—the “city located on two continents”—where travelers will visit the major attractions, including the Blue Mosque and Hagia Sophia, and also get to know the city’s vibrant street life and local art scene.
Next, the tour will visit the ancient city of Troy and the Pergamum acropolis, and also the less-trodden destination of Ayvalık, a small town on the northwestern Aegean coast of Turkey. After several days of immersion in the ancient world, the group will pay a visit to the second International Izmir Art Biennial, one of the largest international art events in the country that will include more than three hundred artists; Seba Uğurtan, the biennial’s founder, will give tour participants an exclusive overview of the exhibition.
The Art of Turkey Tour will also provide CAA members with time for rest and relaxation. It will stop at the port city of Ephesus to visit a carpet school, along with an overnight stay at a spa hotel at the Pamukkale hot springs. The trip will conclude with a full day in Cappadocia, where travelers will explore the Goreme Open Air Museum, a vast collection of painted cave-churches dating from 1000 AD.
Getting There: Turkish Airlines provides nonstop, direct flights from the United States and Canada, leaving from New York, Los Angeles, Chicago, Washington, DC, and Toronto.
Land and Air Rates: $3,990 per person for a double room; $4,780 per person for a single room.
The Art of Turkey Tour features include:
- International flight from New York, Los Angeles, Chicago, Washington, DC, or Toronto
- Thirteen nights in superior hotels
- Meals (thirteen dinners, four lunches, daily breakfasts)
- All entry fees to museums and sites, including the Izmir Art Biennial
- Transportation and tour guide
- Hot-air balloon flight and a whirling-dervishes ceremony in Cappadocia
For a detailed, day-by-day tour itinerary, please download and review the Art of Turkey brochure. Tutku Tours will host demonstrations and lectures on art in Turkey at its exhibit booth (#100) in the Book and Trade Fair at CAA’s 2013 Annual Conference in New York.
Extended Deadline for 2014 Conference Session Proposals
posted by Emmanuel Lemakis — August 23, 2012
CAA has extended the deadline for session proposals for the 2014 Annual Conference in Chicago to Friday, September 14, 2012. Conference sessions cover the breadth of current thought and research in art, art and architectural history, theory and criticism, pedagogical issues, museum and curatorial practice, conservation, and developments in technology.
The 2014 program is shaped by four broad submission categories: Historical Studies, Contemporary Issues/Studio Art, Educational and Professional Practices, and Open Forms. For Open Forms, members may submit themed panels that feature alternative formats such as panel discussions or interviews, or even sessions that provide alternate speaking lengths, rather than the usual five speakers in twenty-minute presentations.
You must be a current CAA member in order to submit a proposal. Please visit www.collegeart.org/proposals/2014 for complete details on the process.
Image: Anish Kapoor’s Cloud Gate, 2004, in Millennium Park (photograph by Bradley Marks)
Solo Exhibitions by Artist Members
posted by CAA — August 22, 2012
See when and where CAA members are exhibiting their art, and view images of their work.
Solo Exhibitions by Artist Members is published every two months: in February, April, June, August, October, and December. To learn more about submitting a listing, please follow the instructions on the main Member News page.
August 2012
Abroad
Two podographs by Mark Staff Brandl, 2012 (artwork © Mark Staff Brandl)Mark Staff Brandl. Saint Mangen Church and Exhibition Space, Saint Gallen, Switzerland, May 25–August 17, 2012. Podographs in Church. Monoprints.
Exhibition announcement in Art Guide Australia reproducing Dawn Roe, Goldfields, 2012, video still, three-channel HD video installation, 5:29 min (artwork © Dawn Roe)Dawn Roe. Screen Space, Melbourne, Victoria, Australia, June 29–July 21, 2012. Goldfields. Video installation.
Mid-Atlantic
Elise Dodeles, San Francisco Area Fighter 956, 2012, oil on linen, 30 x 40 in. (artwork © Elise Dodeles)Elise Dodeles. Quiet Life Gallery, Lambertville, NJ, August 10–September 30, 2012. Fearless: Fighters’ Portraits by Elise Dodeles. Painting.
Jan Wurm, Showgirls, 2012, mixed media on paper, approximately 18 x 14 in. (artwork © Jan Wurm)Jan Wurm. Christine Fréchard Gallery, Pittsburgh, Pennsylvania, August 18–September 21, 2012. Jan Wurm: Serious Play. Painting.
Midwest
Adriane Herman. Western Exhibitions, Chicago, Illinois, May 25–June 30, 2012. Adriane Herman. Mixed media.
Northeast
Francis Cape. ICA at MECA, Porteous Building, Maine College of Art, Portland, Maine, June 13-August 5, 2012. Utopian Benches. Sculpture.
Thomas Lail, Untitled (Map II), 2011, cut paper on paper, 30 x 40 in. (artwork © Thomas Lail)Thomas Lail. Architecture Omni, Omi International Arts Center, Ghent, New York, July 7–late 2012. Thomas Lail: Notes for the Future. Xerography painting, works on paper, and outdoor sculpture.
South
Reni Gower. Sawhill Gallery, James Madison University, Harrisonburg, Virginia, August 27–October 13, 2012. Strange Loops: Thirty Years of Painting. Painting.
Maria Lino, still from Drawn Stitches, 2012, color video with sound (artwork © Maria Lino)Maria Lino. Patricia and Philip Frost Art Museum, Florida International University, Miami, Florida, July 18–September 30, 2012. Shared Threads: Maria Lino’s Portrait of a Shipibo Healer. Video.
Jennifer Laura Palmer, Untitled I from the A Little World All to Myself series, 2012, mixed media on poplar, 3½ x 4¼ in. (artwork © Jennifer Laura Palmer)Jennifer Palmer. Westbrook Gallery, Ferst Center for the Arts, Georgia Institute of Technology, Atlanta, Georgia, July 2–August 31, 2012. Lost in the Sea. Painting and drawing.
West
Diane Burko, Petit Creuse, Wissahickon, 1995, oil on canvas, 65 x 92 in. (artwork © Diane Burko)Diane Burko. LewAllen Gallery, Santa Fe, New Mexico, June 8–July 15, 2012. Diane Burko: Water Matters. Painting.
Ellen Carey, Pulls with Filigrees and Pod Mixes, 2005, three Polaroid 20 x 24 color positive prints, 80 x 22 each or 80 x 66 total (artwork © Ellen Carey)Ellen Carey. Joseph Bellows Gallery, La Jolla, California, June 2–July 14, 2012. Ellen Carey: Photography Degree Zero. Polaroid lens-based art.
People in the News
posted by CAA — August 17, 2012
People in the News lists new hires, positions, and promotions in three sections: Academe, Museums and Galleries, and Organizations and Publications.
The section is published every two months: in February, April, June, August, October, and December. To learn more about submitting a listing, please follow the instructions on the main Member News page.
August 2012
Academe
Sinclair BellSinclair Bell, assistant professor of art history at Northern Illinois University in Dekalb, has been granted tenure and promoted to the rank of associate professor. Bell is a specialist in ancient Roman and Etruscan art.
Charles S. BuchananCharles S. Buchanan, associate professor of art and architectural history at Ohio University in Athens, has been named interim director of the School of Interdisciplinary Arts, a doctoral program within the university.
Jonathan FinebergJonathan Fineberg, the Gutgsell Professor of Art History Emeritus at the University of Illinois in Urbana-Champaign, has been appointed the Visiting Presidential Professor at the University of Nebraska in Lincoln for academic year 2012–13. Fineberg will deliver four lectures that address modern art, neuroscience, and the “origin of the image.”
Amy HauftAmy Hauft, an artist and chair of the Sculpture Department at Virginia Commonwealth University in Richmond, has joined the University of Texas at Austin as the Leslie Waggener Professor of Art in the College of Fine Arts.
Kriszta Kotsis, an assistant professor of ancient and medieval art, has been granted tenure by the University of Puget Sound in Tacoma, Washington.
Sara M. Picard has accepted a position as assistant professor of art history at Rhode Island College in Providence.
Jack RisleyJack Risley, an artist and associate dean of academic affairs at Virginia Commonwealth University in Richmond, has been hired by the University of Texas at Austin to be Ruth Head Centennial Professor and chair of the school’s Department of Art and Art History.
Karen M. Wirth (photograph by Rik Sferra)Karen M. Wirth, an artist, professor, and former chair of the Fine Arts Department at the Minneapolis College of Art and Design in Minnesota, has been appointed vice president of academic affairs at her school.
Museums and Galleries
Lisa Hostetler, curator of photographs at the Milwaukee Art Museum in Wisconsin, will join the Smithsonian American Art Museum in Washington, DC, as its new curator of photography. In her seven years at the Milwaukee Art Museum, Hostetler was responsible for many critically acclaimed exhibitions, including the first major survey of the photographer Taryn Simon.
Barbara Buhler Lynes, curator at the Georgia O’Keeffe Museum in Santa Fe, New Mexico, has resigned her position at the museum. Lynes was the museum’s first curator as well as its Emily Fisher Landau Director of the museum’s research center.
Patricia McDonnellPatricia McDonnell, director of the Ulrich Museum of Art at Wichita State University in Kansas, has accepted a position as the executive director of the Wichita Art Museum. A member of the CAA Board of Directors, McDonnell succeeds Charles K. Steiner, who stepped down as executive director at the end of 2011 after twelve years of service.
Amy MeyersAmy Meyers, director of the Yale Center for British Art in New Haven, Connecticut, has been reappointed for a third five-year term as director.
Matthew PalczynskiMatthew Palczynski, staff lecturer for Western art at the Philadelphia Museum of Art in Pennsylvania, has been appointed curator of the Woodmere Art Museum, also in Philadelphia.
Daniel H. Weiss, a scholar of medieval art and the president of Lafayette College in Easton, Pennsylvania, has been chosed to lead Haverford College in Haverford, Pennsylvania, as president, He begins the new position in July 2013.
Namita Gupta WiggersNamita Gupta Wiggers, a curator at the Museum of Contemporary Craft, in partnership with Pacific Northwest College of Art in Portland, Oregon, has been named the director and chief curator of the museum.
Organizations and Publications
Thomas W. Lollar, a ceramicist and scholar of fine-art prints, has left his position as director of the Brodsky Center for Innovative Editions at Rutgers University in New Brunswick, New Jersey. He will join Paul Limperopulos as codirector of the Benefit Print Project in New York.
Dena Muller has been appointed to the newly established position of director of new initiatives at the New York Foundation for the Arts, based in Brooklyn. Previously, Muller was the executive director at ArtTable in New York, an organization that promotes women in the arts through outreach programs and mentorship.
