DeWitt Godfrey, professor of art and art history at Colgate University in Hamilton, New York, is president of the CAA Board of Directors.
CAA is moving ahead on several strategic goals. After a year of investigation and discussion with over 200 artists, art historians, curators, editors and reproduction rights officers, Professors Patricia Aufderheide and Peter Jaszi are drafting the new Code of Best Practices in Fair Use in the Visual Arts which will be reviewed by the Task Force on Fair Use, the Committee on Intellectual Property, the Professional Practices Committee, and an independent Legal Advisory Committee. We anticipate that the code will be presented at the Annual Conference in February 2015.
At the October 26th Board meeting, the formation of two task forces was approved: one to review CAA’s governance structure, and one to review its professional committees. As a greater number of faculty are now part-time, the board and committee requirements have to be adjusted so that the best expertise is brought to CAA within the most economical timeframes. The Board also had a lively discussion on the best directions to be taken regarding advocacy and how CAA can respond quickly and efficiently to issues that affect members’ daily work. We are exploring the creation of a task force on advocacy.
The CAA Board and senior staff held a day-long retreat which focused on a vision for the future of the annual conference—a more flexible structure, greater opportunities for interdisciplinary discussion, serving the needs and interests at each stage of a career in the visual arts, and the ability to quickly address issues that arise in the field, have an international perspective and participation, and reach those members who are not able to attend the conferences.
New, updated volumes of the Directories of Graduate Programs are now available through CAA’s website. From the data published in the directories, CAA will draw statistical information about all the visual-arts subdisciplines, mapping important changes in the field regarding enrollment and employment. We plan to make information from the past four years available to members in the coming months.
The September issue of The Art Bulletin features the third essay in the “Whither Art History?” series, as well as essays on Jan van Eyck and commemorative art, Hans Burgkmair and recognition, Watteau and reverie, and contemporary Indian Art from the 1985-86 Festival of India. The latest issue of Art Journal includes a forum called “Red Conceptualismos del Sur/Southern Conceptualisms Network,” featuring articles printed in their original Spanish and Portuguese alongside new English translations—this is the first foray into multilingual publishing for CAA. Art Journal Open’s first web editor, Gloria Sutton, associate professor at Northeastern University, has commissioned features from the artist Karen Schiff and the new-media historian Mike Maizels, as well as a dialogue between the curator Becky Huff Hunter and the artist Tamarin Norwood. The vision for this website is to provide an online space for artists’ works, experimental scholarship, and conversations among arts practitioners. And caa.reviews, now open access, includes nearly 2,500 reviews of books, exhibition catalogues, and conferences on art, as well as an annual list of completed and in-progress art history dissertations. Thirty-four field editors commission reviewers to address new publications, exhibitions, and exhibition catalogues and videos in every area of the visual arts. The new copublishing relationship between CAA and Taylor & Francis that supports all three CAA journals will complete its first year this month with a marked increase in readership. We are encouraging authors to use the multimedia resources offered at Taylor & Francis Online as well as its citation app.
The Andrew W. Mellon Foundation has awarded CAA and the Society for Architectural Historians a grant to cooperatively carry out research and develop guidelines in digital art and architectural history for promotion and tenure in the workforce. With the increased use of digital platforms in research and publishing there is a need for guidelines that reflect the best practice in evaluating digital art and architectural history. A task force will be formed of two art historians, two architectural historians, a librarian, a museum curator, a scholar from another humanities or social science field with expertise in digital scholarship, and a graduate student or emerging professional in art history or architectural history. CAA will hire a part-time researcher to gather information on current practices from faculty members throughout the country. Please see the Online Career Center for the listing.
CAA, like other learned, membership societies, faces significant challenges and opportunities for the future. The changing landscape of publication, academic workforce issues, advocating for the arts and humanities, serving a changing membership and the field are areas where CAA has and will continue to make a difference, by building on our legacy of leadership and embracing the necessary changes required to meet our mission and vision.
Each week CAA News publishes summaries of eight articles, published around the web, that CAA members may find interesting and useful in their professional and creative lives.
Judge OKs Bankruptcy Plan: A “Miraculous” Outcome
A federal judge approved a plan to end Detroit’s historic Chapter 9 bankruptcy, giving the Motor City an unprecedented shot at recovering from decades of economic despair and municipal mismanagement that left the city awash in debt and struggling to provide basic public services. Judge Steven Rhodes ruled that Detroit’s comprehensive restructuring plan is fair and feasible, providing the legal authority for the city to slash more than $7 billion in unsecured liabilities and reinvest $1.4 billion over ten years in public services and blight removal. (Read more from the Detroit Free Press.)
“Grand Bargain” Saves the Detroit Institute of Arts
With his decision approving this city’s federal bankruptcy plan, Judge Steven W. Rhodes—aided by nearly a billion dollars in private and state rescue money—ended an unprecedented threat to the Detroit Institute of Arts, whose world-class paintings and sculpture could have been parceled off at auction to help pay city debt. (Read more from the New York Times.)
Warburg Institute Safe as High Court Rules Contents Not the Property of University of London
To the benefit and relief of scholars worldwide, the High Court has rejected the University of London’s claims that all additions to the Warburg Institute since 1944 belong to the university, and instead agreed that they form part of the institute. Furthermore, Justice Proudman held that the University is obliged to provide funding for the activities of the Warburg Institute. (Read more from the Warburg Institute.)
Help Desk: Crowd Funding
I have many friends who are running crowd-funding campaigns. Part of me wants to contribute because these people are my friends, but I would never think to ask others to fund my art practice. Should I give to these campaigns or pretend I never saw the emails? Should I run one myself the next time I need to travel or buy a new laptop? (Read more from Daily Serving.)
Emerging Artists and the New Spirit of Capitalism
Pointing to the avarice of the art world, to its entanglement with big money, is an old game. Concerns about the “corrupting influence” of the market are likely as old as the market itself, and are still voiced with some frequency. Most recently David Bryne caused a surprising ripple of ire by describing how the big money of the Chelsea art scene was making it difficult for him to give the work itself a fair viewing. However, the issue of contemporary art’s relationship to capitalism is more complicated and thorny than being merely a matter of the staggering prices demanded at elite galleries. (Read more from Public Seminar.)
What Can You Really Do with a Degree in the Arts?
Is my BA in creative writing of any use to me at all? It’s hard to say. I sort of have a career in the arts in that I write and think about art all the time. But the relationship between my arts career and my actual career is tenuous. I earn my living writing, but it’s not exactly the type of writing they were preparing me for back at Oberlin. Rather than poetry or fiction or even creative nonfiction, I write entries for business encyclopedias, create items for high school and elementary standardized tests, and do the occasional online study guide for Stephen King novels. (Read more from the Atlantic.)
NCIS: Provence: The Van Gogh Mystery
For many decades, suicide was the unquestioned final chapter of Vincent van Gogh’s legend. But in their 2011 book, the Pulitzer Prize-winning biographers Steven Naifeh and Gregory White Smith offered a far more plausible scenario—that van Gogh was killed—only to find themselves under attack. Now, with the help of a leading forensic expert, the authors take their case a step further. (Read more from Vanity Fair.)
Culture War: The Case against Repatriating Museum Artifacts
Repatriation claims on the national identity of antiquities are at the root of many states’ cultural property laws, which in the last few decades have been used by governments to reclaim objects from museums and other collections abroad. Despite UNESCO’s declaration that “no culture is a hermetically sealed entity,” governments are increasingly making claims of ownership of cultural property on the basis of self-proclaimed and fixed state-based identities. (Read more from Foreign Affairs.)
posted by CAA — November 11, 2014
A new collaboration with Designers & Books will bring special discounts for an array of books and journals on art, architecture, design, and photography to CAA members. This ongoing program, called the Online Book Fair, features new and backlisted books as well as rare and out-of-print titles released by important publishers in the visual arts.
Designer & Books, a website that advocates for books as important sources of creative inspiration, will update the Online Book Fair with new publishers, books, and book dealers every month. The following participants have signed up already and offer various special discounts for their products, new and used, to CAA members:
- AMMO Books: 50 percent
- Applied Research and Design Publishing: 50 percent
- Carnegie Hill Books: 10 percent (rare and out of print)
- DoppelHouse Press: 40 percent
- F. A. Bernett Books: 10 percent (rare and out of print)
- Gestalten: 35 percent
- Goff Books: 50 percent
- Lars Müller Publishers: 35 percent
- Laurence King Publishing: 50 percent
- MIT Press: 40 percent
- Modernism101 (rare and out of print): 10 percent
- Optos Books (rare and out of print)
- ORO Editions: 50 percent
- Paintbox Press: 20 percent
- Prestel Publishing: 35 percent
- Princeton Architectural Press: 50 percent
- Schiffer Publishing: 35 percent
- Strelka Institute: no discount
- Wolfsonian–Florida International University: 40 percent
Payment and checkout occur on the website of each individual publisher, which gives you the chance to browse for additional books and sign up for email newsletters and social-media updates. To receive the special discounts noted above, use this CAA code when checking out: 14BJXAA.
Designers & Books hope you will find the Online Book Fair to be an enjoyable place to browse and discover books and to build your personal library. If publishers or books that you are interested do not appear on the site, you can send an email with your suggestions.
The Online Book Fair will be featured on the Membership Partners page of the CAA website with an updated list of participants and discounts.
posted by CAA — November 10, 2014
Each month, CAA’s Committee on Women in the Arts selects the best in feminist art and scholarship. The following exhibitions and events should not be missed. 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.
Ciara Phillips: Turner Prize Nominee
Millbank, London SW1P 4RG, United Kingdom
September 30, 2014–January 4, 2015
Ciara Phillips has been nominated for the Turner Prize 2014. The nomination was based on her solo exhibition presented at the Showroom, London. Workshop was an installation made up of multiple screen prints on newsprint and large-scale works on cotton set as a two-month temporary print studio within the gallery space over the course of the exhibition. Along this project, Phillips collaborated with invited artists, designers, and local women’s groups to produce new screen prints. Guests contributed to Workshop their diverse knowledge and experiences of working collectively. These collaborations initiated conversations and actions that aren’t contained within specific disciplines of art, community action, design, or activism, leaving the workshop/exhibition structure open for development as the project progresses.
By making prints in these new collaborative groupings, Phillips explores the potential of “making together” as a way of negotiating ideas and generating discussions around experimental and wider uses of print. Her long-term commitment to collaborative production underpins her expansive printing practice that makes use of screen printing, wall drawing, and photography to create context-specific installations.
Phillips (born in Canada, 1976) lives and works in Glasgow. She acknowledges having been inspired by Corita Kent in her collaborative approach to art practice. Corita Kent (a.k.a. Sister Mary Corita, 1918–1986) was a pioneering artist, educator, and activist who reinterpreted the advertising slogans and imagery of 1960s consumer culture.
A piece to be highlighted from the exhibition is New Things to Be Discussed (2014), a circular booth installation including screen prints on paper and audio recording based on her conversations with fellow artists and with Justice for Domestic Workers, a self-organized group of migrant domestic workers who work in private houses in the United Kingdom. Engagements and discussions among J4DW, artists, curators, and curatorial projects have sought to address making domestic work visible in British society and the employment of artistic and aesthetic strategies to this end.
Someday Is Now: The Art of Corita Kent
Artis—Naples, Baker Museum
5833 Pelican Bay Boulevard, Naples, FL 34108
September 27, 2014–January 4, 2015
The Baker Museum presents Someday Is Now: The Art of Corita Kent. Corita Kent (Iowa, 1918–Boston, 1986), also known as Sister Mary Corita, was a pioneering Los Angeles–based artist, designer, educator, and activist. She has experimented in printmaking, producing a groundbreaking body of work that combines faith, activism, and teaching with messages of acceptance and hope. Through vibrant, Pop-inspired prints, Corita posed philosophical questions about racism, war, poverty, and religion through work that has been described as saucy, funny, and yet deeply devotional.
Mixing street signs, scripture, poetry, philosophy, advertising, and pop-song lyrics, Corita developed her own version of Pop art. Exploring printmaking as a collaborative and popular medium to communicate with the world, her bright and bold imagery, along provocative texts drawn from a range of secular and religious sources, were widely disseminated as billboards, book jackets, illustrations, and posters.
As a Sister of the Immaculate Heart of Mary, Corita taught at the Art Department at Immaculate Heart College from 1947 through 1968. She lectured extensively and appeared on television and radio talk shows across the country and on the cover of Newsweek in 1967. As an educator, Corita inspired her students and international artists for many generations (See Ciara Phillips at Turner Prize 2014) to discover new ways of experiencing the world and search for revelations in the everyday. Sister Mary Corita left her order in 1968 and was thereafter known as Corita Kent. She continued to make art, producing prints and carrying out many commissions. In 1985 Kent designed the celebrated Love stamp for the US Postal Service.
Her passionate creative practice made us aware that she walked a bumpy road after the Vatican criticized her work has been infected by “radical feminism.” Corita believed that “women’s liberation is the liberation of the feminine in the man and the masculine in the woman.”
22 Women: A Project by Alfredo Jaar
SKMU Sørlandets Kunstmuseum
Skippergata 24B, Kristiansand, Norway
October 10, 2014–February 15, 2015
SKMU Sørlandets Kunstmuseum presents 22 Women, a project by Alfredo Jaar (b. 1956, Santiago de Chile) that casts light on brave activists women who, despite being active in the world today, remain unknown to the wider public.
Jaar is an international artist, architect, and filmmaker whose work explores art’s possibilities for conveying perceptions and interpretations of real historical events and situations. His uncompromising, innovative, and captivating large installations explore and discuss themes such as war, corruption, social injustice, and imbalances in global power structures. Reacting to specific events in real life, Jaar examines and reflects on the position that art can and should have in a global social debate for sharing opinions in ways that mass media and politics cannot.
Jaar’s 22 Women follows Three Women (2010), a project that cast light on Graça Machel, Ela Bhatt, and Aung San Suu Kyi. The new installation means the first iteration of Jaar’s ongoing project that aims to shine light on the life and work of at least one hundred remarkable women. Here, twenty-two minuscule portraits are illuminated by a multitude of light projectors. Spotlighting on the portraits of 22 Women, Jaar acknowledge their invisibility, while their stories are told in a separate booklet accompanying the exhibition. Amira Hass (Israel/Palestine), Bertha Oliva (Honduras), Camila Vallejo (Chile), Hawa Abdi (Somalia), Jenni Williams (Zimbabwe), Kalpona Akhter (Bangladesh), Lina Ben Mhenni (Tunisia), Lydia Cacho (Mexico), Mahnaz Mohammadi (Iran), Malalai Joya (Afghanistan), Mathilde Muhindo (Democratic Republic of the Congo), Nawal El Saadawi (Egypt), Ni Yulan (China), Olayinka Koso-Thomas (Nigeria/Sierra Leone), Razan Zaitouneh (Syria), Sandra Gomes Melo (Brazil), Susan Burton (United States), Svetlana Gannushkina (Russia), Ta Phong Tan (Vietnam), Tetyana Chornovol (Ukraine), Vandana Shiva (India), and Zainab Alkhawaja (Bahrain) are outstandingly achieved women whose crucial work is underrecognized, suppressed, or ignored. Jaar’s project aims to pay homage to these women who are models of resistance that fight human-rights violations, sexual violence, censorship, ethnic persecution, and social injustice.
Jaar’s 22 Women is following up on a series of exhibitions at SKMU that focus on women, equality, and women rights, looking critically at the museum collection and how it represents women.
Judith Lauand: Brazilian Modernist, 1950s–2000s
Driscoll Babcock Galleries
525 West 25th Street, New York, NY 10001
October 23–December 20, 2014
Judith Lauand:Brazilian Modernist, 1950s–2000s is the first New York solo exhibition of one of the most celebrated—and yet overlooked in North America—Brazilian artists of the postwar era. Lauand developed her formative career in São Paulo, alongside prolific debates and investigations into the critical definitions of the planar surface and abstraction, and is justifiably known as the “first lady of Concretism.” Seeking to illuminate and establish Lauand’s critical significance as a pioneer of modernism and qualifying as a mini survey, this exhibition brings together over thirty works that span the critical periods of Lauand’s career from the 1950s to 2007; it is accompanied a fully illustrated book by the curator of the show, the art historian Aliza Edelman, that investigates the artist’s prolific achievements in postwar abstraction, geometry, and feminism.
As put by Edelman, Lauand’s “modernist geometric abstractions actively unhinge the rational and seemingly impersonal grid of Concretism. Her objective, mathematical, and precise constructions—primary components of Arte Concreta—introduced new geometries aligned with contemporary ideas on space, time, and matter. Lauand was the only female artist invited to join Grupo Ruptura, an artist group initially formed in São Paulo in 1952, and her successful demonstration of postwar Concretism led in the following decades to further experimentations, with figural and popular representation, assemblage, and optical color contrasts. Thus, Lauand successfully negotiated the development of Brazilian avant-garde tendencies after World War II—including the influence and reception of Pop art and New Figuration in the 1960s and 1970s, as well as the political disruption initiated during the military dictatorship—continually buttressing Concretism’s critical ideas while formulating her own meaningful intersections with notions of rupture.”
Works from her early groundbreaking work in the exhibition include Concreto 88, Acervo 186 (1957), a gouache on paper that evokes the photographically inspired architectural façades in Geraldo de Barros’s Fotoformas (Photoforms) and exemplifies the way in which “horizontal bands across shifting chains that link positive and negative space rupture the Concrete grid with rhythmic motion and the perception of subtle contradictions.” Conversely, Sem título (Untitled) (2007) illustrates the diverse ways in which Lauand continues exploring her geometric systems of the 1960s by reworking her principle set of shapes and networks and using color to expand her vision of infinite constructions and her exploration of the endless permutations of structure.
Lauand had her first solo exhibition after being a gallery monitor in the second Bienal de São Paulo in 1953–54. She has participated in significant group shows, including the III Bienal de São Paulo in 1955; the I Exposição Nacional de Arte Concreta (First National Exhibition of Concrete Art) in 1956; and the international retrospective on Concretism, Konkrete Kunst: 50 Jahre Entwicklung (Concrete Art: 50 Years of Development), organized by Max Bill in Zurich in 1960. A recipient of multiple prestigious awards and an exhibitor in numerous editions of the Bienal de São Paulo, as well as the Salão Nacional de Arte Moderna, Lauand was the subject of a major retrospective, Judith Lauand: Experiências (Judith Lauand: Experiences), at the Museu de Arte Moderna de São Paulo in 2011.
Aikaterini Gegisian: Is This Why I Cannot Tell Lies?
107 Essex Road, London N1 2SL United Kingdom
November 19–December 13, 2014
Is This Why I Cannot Tell Lies? is the first solo exhibition in London of work by the multimedia Greek Armenian artist Aikaterini Gegisian. Although she is better known for her films, including the recent Pink City (2014), filmed in Yerevan and exploring gendered divisions in the experience of the city, this exhibition brings together new samples of her extensive collage practice along with photographs and a sound installation based on a dream diary and a textbook on how to become a male escort.
Gegisian’s work is largely concerned with challenging received notions of cultural and sexual identity, as manifested in her multifaceted and ongoing investigation of the identity of Ottoman Woman. Formally structured around the idea of movement and the cinematic device of the jump cut, the collages featured in this show are assembled from heterogeneous material, such as Soviet and Western photo albums and magazines, and feature incongruous images, such as female gymnasts and space missions, scientific illustrations of Eisenstein’s theory of relativity, flower patterns, and home interiors. As such, the works reflect upon female sexuality by referencing a set of spaces in which ideological and gender conflicts are played out, from the outer space to the female body, from the natural world to the space of dream. Repossessing photographic representations of female gymnasts that foreground the highly disciplined form of their activity, and juxtaposing them with photographs of space rockets, scientific illustrations, botanical imagery, and pornographic material, Gegisian conjurs the radical potential of the jump cut in order to suggest the possibility of transformation. She negotiates contrasting ideologies that have restricted female imagination to ignite release from conventional narratives and eventually questions how women are positioned—literally and symbolically—in the space of the future by deconstructing and articulating female sexuality.
Represented byKalfayan Galleriesin Greece, Gegisianstudied at the University of Brighton and Chelsea College of Art and Design and holds a PhD from the University of Westminster in London (2014). She is currently visiting research scholar-artist at the University of Pennsylvania in Philadelphia. She has participated in numerous group shows—the most recent include Re-Tracing the Land at NARS Foundation in Brooklyn (2014); Visualising the Ottoman City at Peltz Gallery at Birkbeck College in London (2014); and Sensible Action at Vladikafkaz Fine Arts Museum in North Ossetia, Russia (2013)—and in international residencies in Russia, Armenia, Egypt, and Turkey. Gegesian’s films have been screened in several film festivals around the world, and her work is represented in public collections, such as the National Centre of Contemporary Art (North Ossetia), the State Museum of Contemporary Art (Thessaloniki), and the Macedonian Museum of Contemporary Art, as well as in many private collections in Greece.
Sonia Delaunay: Les Couleurs de l’Abstraction
Musée d’art de la ville de Paris
11 avenue du Président Wilson, 75116 Paris, France
October 17 2014–February 22 2015
Highlighting the agelessness of Sonia Delaunay’s work that, while always of its time, remains fresh and relevant in its formal explorations and quest for a synthesis of the arts even today, this touring survey (curated by Anne Montfort et Cécile Godefroy) is surprisingly the first major retrospective of the artist in Paris since 1967. Bringing together three re-created environments and over four hundred works that include paintings, wall decorations, gouaches, prints, fashion items, and textiles, Les Couleurs de l’Abstraction traces the artist’s evolution since the beginning of the twentieth century to the late 1970s.
As aptly put in the press release, while her husband Robert Delaunay was busy conceptualizing abstraction as a universal language, Sonia was testing it out in painting, posters, garments, bookbinding, and household items, and collaborating with the poet Blaise Cendrars on the artist’s book Prose of the Trans-Siberian and of Little Jehanne of France. Her Spanish and Portuguese years during the First World War saw her first ventures into theater and commercial fashion design in Madrid before her return to Paris in the 1920s. The following decade brought a pared-down abstraction in the International Style that harmonized with the architecture of the time, as in the big mural decorations for the Air Transport Pavilion at the International Exhibition of Art and Technology in Modern Life, on view here for the first time since 1937. Her role as a “go-between” for the pioneers of abstraction and the postwar generation is pointed out through her contributions to the Salons des Réalités Nouvelles, her involvement in various architecture projects, and her exhibitions at the Denise René Gallery in Paris. After the war her painting underwent a profound renewal, culminating in the late 1960s in an intensely poetic form of abstraction. Her formal and technical gifts found expression in monumental paintings, mosaics, carpets, and tapestries, and her late work was marked by the albums of etchings she produced for Editions Artcurial.
It is by exploring her work in the applied arts, her distinctive place in Europe’s avant-garde movements, and her idiosyncratic approach to color (which relates to her childhood in Russia and art study in Germany) that this exhibition promises to effect a rigorous and lasting reassessment of Delaunay’s major and pioneering role as an abstractionist.
Women in Visual Arts 1960–1980: Their Contribution to the Greek Avant-Garde
9a Valaoritou Street, 106 71 Athens, Greece
October 16, 2014–January 10, 2015
The contemporary Greek art institute ISET presents the exhibition Women in Visual Arts 1960–1980: Their Contribution to the Greek Avant-Garde. Assessing the contributions of female artists in the formation of various avant-garde manifestations in Greece, this exhibition is remarkable for its focus on female artists in a country where gender and feminism have not yet played an important role in the discourse of art.
Curated by Charis Canelopoulou and accompanied by an in-depth catalogue, the exhibition claims the marginalized importance of female artists in various avant-garde experimentations that took place in Greece during the military junta and the tumultuous period that followed it. While castigating the secondary place female artists have played in the historiography of Greek art as “women artists,” it sheds new light on the work of a great assortment of artists whose diverse practices—which range from feminist performance to political Pop, Minimalism to multimedia and conceptual practices—variously contributed to the formation of a multifaceted postwar Greek avant-garde scene and its politics.
The included artists are: Celeste Polycroniadi, Eleni Zerva, Nausica Pastra, Sosso Houtopoulou-Kontaratou, Alex Mylona, Ioanna Spiteris-Veropoulou, Chrysa Romanos, Bia Davou, Niki Kanagini, Aspa Stassinopoulou, Celia Daskopoulou, Rena Papaspyrou, Maria Karavela, Vasso Kyriaki, Opy Zouni, Diohandi, and Leda Papaconstantinou.
A nonprofit civil company, ISET was founded in February 2009 by the senior partners of Nees Morfes Art Gallery, in collaboration with art professionals and consultants (such as artists and art historians). ISET’s main objective is to collect and preserve a comprehensive archive of contemporary Greek art (1945 to the present). It’s archival database was originally based on the archives of the Nees Morfes and Desmos art galleries and is being complemented and enriched continuously with archival material generously donated by public and private institutions, artists, art historians, and individuals.
posted by Vanessa Jalet — November 10, 2014
The 2014–15 Nominating Committee has announced a slate of six candidates for the annual election of four new CAA members to serve on the Board of Directors for a four-year term (2015–19). Voting will begin on Monday, January 5, 2015. The webpages for the election, which will include the candidates’ statements, biographies, endorsements, and video presentations, will be published in late December 2014.
The six candidates are:
- Derrick Cartwright, Director of University Galleries, University of San Diego
- Jawshing Arthur Liou, Professor and Director, Hope School of Fine Arts, Indiana University, Bloomington
- Chika Okeke-Agulu, Associate Professor, Department of Art and Archeology and the Center for African American Studies, Princeton University
- Katerina Ruedi Ray, Director, School of Art, Bowling Green State University
- Rachel Weiss, Professor of Arts Administration and Policy, School of the Art Institute of Chicago
- Andrés Zervigón, Associate Professor, History of Photography, Art History Department, Rutgers University
If you have questions about the Nominating Committee, the candidates, or the voting process, please contact Vanessa Jalet, CAA executive liaison.
American Society of Appraisers
The Personal Property Committee of the American Society of Appraisers invites you to its annual spring conference, “Current Issues in Determining Authenticity in Visual Art and Objects, the Catalogue Raisonné, Art Scholarship, and Value in the Marketplace,” to be held March 25–28, 2015, at the Yale Club in New York. This scholarly conference will gather highly regarded and renowned experts to discuss timely and relevant topics, including authentication of jade objects, certificates of authenticity, conservation issues, connoisseurship in collecting, authenticity of American paintings, who is an expert, and much more. Field trips to the Princeton University museum and library collections and gallery visits in New York will also be part of conference activities. Accommodations have been reserved at the Yale Club for this event. Early-bird registration pricing will be available. This will be a not-to-miss conference! There is limited space for this event, which is expected to sell out. Stay tuned for additional details.
Art, Literature, and Music in Symbolism and Decadence (ALMSD) will host the session “Symbolist Art and the Unconscious” at the CAA Annual Conference on Saturday, February 14, 2015, 12:30–2:00 PM. This session will feature papers on art and related disciplines that were influenced by the studies of hysteria and the unconscious conducted by the French neurologist Jean Martin Charcot, Sigmund Freud’s teacher.
ALMSD is organizing a conference on angst in visual arts, literature, and philosophy in Paris, to be held June 4–6, 2015, at Univ. Paris IV. The organization is also accepting the submission of articles on mental illnesses and the Symbolist movement for the first issue of its journal, to be published in fall 2015.
Association of Academic Museums and Galleries
This past summer, the Association of Academic Museums and Galleries (AAMG) and the Kellogg School of Management’s Center for Nonprofit Management held its second Academic Museum Leadership Seminar on the campus of Northwestern University (June 23–27, 2014). Forty-two museum leaders from throughout the United States, Canada, Qatar, and Ireland participated in the leadership-training program. Loyola University Museum of Art and Northwestern’s Block Museum also hosted dinners for seminar fellows during the weeklong program. Funding for the seminar was generously provided by the Institute of Museum and Library Services and the Samuel H. Kress Foundation.
New AAMG board and staff members are: Craig Hadley, DePauw University, board member at large (communications); Katie Kizer, Vanderbilt University, membership coordinator; and Joseph Mella, Vanderbilt University, executive board member
Historians of Islamic Art Association
The Historians of Islamic Art Association (HIAA) has established a permanent fund in memory of Professor Oleg Grabar and in support of the annual award of Grabar Grants and Fellowships. These competitive grants and fellowships, open to all nationalities, are intended to encourage and further the professional development of PhD students and postdoctoral scholars in the history of Islamic art, architecture and archaeology. The next deadline for the Grabar Travel Grant and Post-Doctoral Fellowship is December 15, 2014.
The International Association of Art Critics (AICA-USA), in collaboration with the Vera List Center for Art and Politics, will present the eighth AICA/USA Distinguished Critic Lecture at the New School featuring Carolyn Christov-Bakargiev, curator of the fourteenth Istanbul Biennale (2015). In addition to her other positions, Christov-Bakargiev has been appointed as a guest scholar at the Getty Research Institute for 2015. Her lecture will be held at the New School, 12th Street Auditorium, 66 West 12th Street, New York, on Thursday, November 20, 2014, 6:30–8:00 PM. Admission is free.
International Sculpture Day, or IS Day, is an annual celebration event held worldwide on April 24, 2015, to further the International Sculpture Center (ISC) mission of advancing the creation and understating of sculpture and its unique, vital contribution to society. IS Day will include a wide range of events, openings, and educational and promotional activities around the world to include, but not limited to: open day at museum/sculpture park; open studios tours; demonstrations and workshops; panels, talks, presentations, and discussions; parties and openings; sculpture exhibits and shows; tours of private and public collections; pop-up shows; exhibitions; and more. Visit www.sculpture.org/isday to learn more about the event and how to participate.
Italian Art Society
The Italian Art Society (IAS) will sponsor a CAA annual meeting session in New York, organized by Christopher Bennett and Elizabeth Mangini entitled “Di politica: Intersections of Italian Art and Politics since WWII” (February 11, 2015, 12:30–2:00 PM). IAS will also cosponsor a related two-day conference entitled “Untying the Knot: The State of Postwar Italian Art History Today” at the Center for Italian Modern Art in New York on February 9–10, 2015. IAS encourages members and prospective members to attend the IAS business meeting on February 11, 7:30–9:00 AM. In March 2015, IAS will sponsor five sessions at the March annual meeting of the Renaissance Society of America in Berlin.
IAS is pleased to provide a research and publication grant (deadline: January 10, 2015). In addition, the society seeks proposals of papers from senior scholars for the sixth annual 2015 IAS/Kress Lecture, scheduled for May 20, 2015, in Naples, Italy, on a Neapolitan topic (deadline: January 4, 2015).
National Council of Arts Administrators
The forty-second annual conference of the National Council of Arts Administrators (NCAA) convened September 23–26, 2014 in Nashville, Tennessee. The organization is indebted to Mel Ziegler and Heather Rippetoe of Vanderbilt University for organizing a provocative, powerful conference. Featured speakers included: Pablo Helguera, artist, writer, and raconteur; Jon Rubin, artist and social practitioner; Steven J. Tepper, a sociologist focused on creativity in education; and Ruby Lerner, founding director of Creative Capital.
The membership elected three new board members: Lynne Allen, Boston University; Elissa Armstrong, Virginia Commonwealth University; and Cathy Pagani, University of Alabama. They join these returning directors: Leslie Bellavance, Alfred University (secretary); Steve Bliss, Savannah College of Art and Design; Cora Lynn Deibler, University of Connecticut; Andrea Eis, Oakland University (treasurer); Amy Hauft, University of Texas at Austin (president); Jim Hopfensperger, Western Michigan University (past president); Lydia Thompson, Texas Tech University; and Mel Ziegler, Vanderbilt University. Special thanks goes to Sergio Soave of Ohio State University for his excellent service; he rotates off the board this year.
Activities at the 2015 CAA Annual Conference in New York include the annual NCAA reception (February 12, 5:00–8:00 PM) and an affiliated-society session, “Hot Problems/Cool Solutions in Arts Leadership,” a fast paced series of presentations on leadership (February 12, 12:30–2:00 PM). NCAA welcomes new and current members as well as all interested parties.
The fifty-second national conference of the Society for Photographic Education (SPE), titled “Atmospheres: Climate, Equity and Community in Photography,” will take place March 12–15, 2015, in New Orleans, Louisiana. Connect with 1,600 artists, educators, and photographers from around the world for programming that will fuel your creativity—four days of presentations, industry seminars, and critiques to engage you! Explore an exhibits fair featuring the latest equipment, processes, publications, and photography/media schools. Participate in one-on-one portfolio critiques and informal portfolio sharing or attend as a student volunteer for free admission. Other highlights include a print raffle, silent auction, mentoring sessions, film screenings, exhibitions, receptions, a dance party, and more! The guest speakers will be Rebecca Solnit, Chris Jordan, and Hank Willis Thomas. Registration will open on November 3, 2014. Preview the conference schedule and register online at www.spenational.org/conference.
The Society of Historians of Eastern European, Eurasian, and Russian Art and Architecture (SHERA) looks forward to the ASEEES annual convention November 20–23, 2014, in San Antonio, Texas, where its members will participate on a dozen panels ranging from eighteenth-century prints to twentieth-century art and architecture in Eastern Europe and Russia. SHERA’s business meeting, to be held on Saturday, November 22, at 3:30 PM, is open to both members and nonmembers.
In recent months SHERA’s members have been busy organizing exhibitions, publishing new research, and planning conferences. To see their activities, go to www.shera-art.org and click on News; for members’ recent publications and work in progress, click on Research.
SHERA is delighted to welcome the Cambridge Courtauld Russian Art Centre (CCRAC) as a new institutional member. CCRAC is a joint initiative between the Department of History of Art at the University of Cambridge and the Courtauld Institute of Art in London to provide a forum for the investigation of Russian and Soviet art. It aims to stimulate debate, support collaborative work, and generate and disseminate research on all aspects of the visual arts, architecture, design, and exhibitions in Russia and the Soviet Union.
The Visual Resources Association (VRA) presented the organization’s highest honors at a membership and awards dinner on March 13, 2014, during the VRA’s thirty-second annual conference, held in Milwaukee, Wisconsin. Virginia Mason Green (Macie) Hall of the Center for Educational Resources at Johns Hopkins University received the Distinguished Service Award for her contributions to visual resources and image management. Her service as the VRA representative to the Conference on Fair Use and the National Information Infrastructure at the US Patent and Trademark Office from 1994 to 1999 was only the beginning of her contributions to the field of visual resources.
The Nancy DeLaurier Award for distinguished achievement in the field of visual resources was presented to Ann Baird Whiteside of Harvard University. Whiteside was honored for her leadership in the development and implementation of the Society of Architectural Historians’ SAHARA Project. Funded by the Andrew W. Mellon Foundation, SAHARA was developed by the Society of Architectural Historians in collaboration with ARTstor. It contains over 47,000 images of architecture and landscapes contributed by architects, scholars, photographers, graduate students, preservationists, and others who share an interest in the built environment. Nominator and recipient acceptance remarks are available on the VRA Awards website.
posted by CAA — November 09, 2014
The CAA Committee on Diversity Practices highlights exhibitions, events, and activities that support the development of global perspectives on art and visual culture and deepen our appreciation of political and cultural heterogeneity as educational and professional values. Current highlights are listed below; browse past highlights through links at the bottom of this page.
Museum of Latin American Art
Long Beach, California
November 22, 2014–February 15, 2015
“MOLAA is proud to present the first solo U.S. museum exhibition of pioneering contemporary artist Esterio Segura. Based in Cuba, Segura creates work that addresses topics of commercialization, migration, censorship and cultural isolation viewed from a contemporary Cuban perspective. Utilizing a variety of media; from drawing and painting to sculpture, photography and installation, he reflects upon contemporary Cuban anxieties. Segura delivers his social critique with humor and satire, at times evoking controversy. Embracing pop culture, Afro-Cuban influences, religious iconography and eroticism, he celebrates the beauty and ingenuity of the island while challenging the absurdity of the barriers that isolate and separate its people.
Esterio Segura studied at the prestigious Instituto Superior de Arte (ISA) of Cuba where he also taught professionally. He has had solo exhibitions in Havana, Berlin, London and New York, and has participated in group exhibitions in Argentina, Canada, Costa Rica, Ecuador, France, London, Mexico and Spain. His works can be found in numerous museum collections including the Museum of Modern Art in New York, Arizona State University Art Museum, Museo Nacional de Bellas Artes in Cuba, Bronx Museum of the Arts in New York, the Latin American Art Museum of the University of Essex, and the Museum of Latin American Art.” (http://www.molaa.org/Art/Exhibitions/upcoming-exhibitions/Esterio-Segura.aspx)
More information: http://www.molaa.org
Prospect.3: New Orleans
New Orleans, Louisiana
October 25, 2014–January 25, 2015
“In Walker Percy’s 1961 novel The Moviegoer, the protagonist Binx Bolling is consumed by “the search” in the week leading up to his thirtieth birthday. Pointedly, the birthday falls on Ash Wednesday—the day after the most important holiday in New Orleans, Mardi Gras. Though Binx’s attendance at the carnival is peripheral, there’s much to be learned from his vantage point at the margins of the crowd. Bolling, a solitary moviegoer, lives his life on the margin, slowly creeping closer to the center as he embraces “the search.” He begins the book in the isolated suburbs of New Orleans, comfortably away, and apart from other people’s lives, but finds solace in the contested city by its end. The novel, set in a time of heightened social awareness in the first half of the decade’s movement for civil rights in America, delves into the depths of existentialism in a world where people were legally segregated from each other, making it impossible to celebrate the individual. “The peculiar institution” of slavery and immigration during the 18th century created a city that, even in 1961, was a complex social arrangement, one that remains palpable today. The third Prospect biennial (P.3) is invested in and will explore ‘the search’ to find the self and the necessity of the other as part of that quest.
It is New Orleans’ distinct history that makes it an illuminating source of philosophical inquiry for the present. Percy, a student of Soren Kierkegaard and acolyte of Jean-Paul Sartre, was attempting to “explore the dislocation of man in the modern age,” and certainly the physical and psychological violence we do to each other is one of the continuing facets of our species’ ‘dislocation.’ The “search” in Prospect.3 (P.3) also aims to further explore a philosophical inquiry on humanity, an effort to interrogate human feelings and human relationships. Recognizing the position of P.3 as a biennial-type exhibition for the United States—passionately committed to being international in scope and weary of geographic location as something that is increasingly interchangeable in today’s world of contemporary art—Prospect.3 is, in the mode of past Prospect projects, vitally committed to the city of New Orleans. Placed at the foot of the Mississippi River on the Gulf of Mexico, New Orleans’ influx of people has been remarkable in its diversity, and unlike any other American city. As a node for thinking through global issues, New Orleans offers an example that is revelatory, generative and frictional.” (http://www.prospectneworleans.org/exhibition-description/)
Fort Worth, Texas
October 17–November 29, 2014
“Artspace111 looks forward to exhibiting the first major tour of Emirati artwork—which features over 50 paintings, photographs, sculptures, video installations, and other media by 25 Emirati artists—will showcase the creativity radiating throughout the Emirati art scene and highlight the development and history of the United Arab Emirates (UAE).The overarching theme of the exhibition highlights the balance between the UAE’s rapid development while maintaining its ties to its heritage and past and honoring traditional values. The exhibition features core elements of Emirati life and represents all seven emirates while emphasizing the importance of kinship and home, nature and landscape, as well as technology and innovation to Emirati culture. Artspace111 has partnered with the UAE Embassy to share the UAE’s compelling narrative and rich cultural heritage through this groundbreaking cultural diplomacy art initiative, which will be a powerful tool for finding common ground, building lasting relationships, and fostering respect. Past Forward will provide an opportunity for peer-to-peer exchanges of ideas, information, and experiential learning, as well as a framework for Americans and Emiratis to better understand one another through first-hand insight into life and culture in the UAE through these works of art. The exhibition will travel across the United States over the next 18 months, including stops in Texas, California, and Washington.” (http://www.artspace111.com/past-forward/ )
More information: http://www.artspace111.com
Rising Up: Hale Woodruff’s Murals at Talladega College
National Museum of African American History and Culture
November 7, 2014–March 1, 2015
“Talladega College in Alabama commissioned prominent African American artist Hale Woodruff to paint a series of murals for its newly built Savery Library in 1938. Woodruff painted six murals portraying significant events in the journey of African Americans from slavery to freedom. On Nov. 7, the Smithsonian’s National Museum of African American History and Culture will present “Rising Up: Hale Woodruff’s Murals at Talladega College,” an exhibition of murals and other significant works by the artist. The exhibition will be on view in the NMAAHC Gallery at the Smithsonian’s National Museum of American History through March 1, 2015.
This will be the first time the murals have been exhibited in the Washington metro area. The murals were removed from Talladega College for a five-year collaborative restoration project organized by the High Museum of Art in Atlanta, which also organized a multicity tour of the works. The murals are six monumental canvases arranged in two cycles of three, portraying heroic efforts of resistance to slavery and moments in the history of Talladega College, which opened in 1867 to serve the educational needs of a new population of freed slaves. The first cycle includes the murals “The Mutiny on the Amistad,” which depicts the uprising on the slave ship La Amistad; “The Trial of the Amistad Captives,” depicting the court proceedings that followed the mutiny; and “The Repatriation of the Freed Captives,” portraying the subsequent freedom and return to Africa of the Amistad captives.
The companion murals “The Underground Railroad,” “The Building of Savery Library” and “Opening Day at Talladega College” show themes of the Underground Railroad, the construction of Savery Library at Talladega College and the early days of the college campus, for which the murals were commissioned, respectively.
“Rising Up: Hale Woodruff’s Murals at Talladega College” is presented by the Smithsonian’s National Museum of African American History and Culture and is organized by the High Museum of Art in collaboration with Talladega College. The exhibition is co-curated by Jacquelyn Serwer, chief curator at NMAAHC, and Rhea Combs, museum curator. A full-color, 155-page catalog, published by the High Museum of Art, will be on sale in the National Museum of American History’s store during the exhibition.” (http://americanhistory.si.edu/exhibitions/rising-up)
More information: http://nmaahc.si.edu
Classical Nudes and the Making of Queer History
Leslie + Lohman Museum of Gay and Lesbian Art
New York, NY
October 17, 2014–January 4, 2015
“Classical Nudes and the Making of Queer History, curated by scholar Jonathan David Katz, investigates the continued centrality of the classical nude over centuries of art making. This exhibition explores how images of the classical past have acted as recurring touchstones in the historical development of same-sex representation, and as such, constitute a sensitive barometer of the shifting constructions of what we today call gay and lesbian or queer culture. The classical past is thus gay culture’s central origin myth, and its representation offers far more information about the culture that appropriates the classical past then it does about that past itself. In tracing this trajectory of the classical nude across history, this show concentrates on four major periods: Antiquity, the Renaissance, the eighteenth and nineteenth centuries, and the modern/contemporary periods.” (https://www.leslielohman.org/exhibitions/current.html)
More information: https://www.leslielohman.org
V. S. Gaitonde: Painting as Process, Painting as Life
Solomon R. Guggenheim Museum
New York, NY
October 24, 2014–February 11, 2015
“An artist of singular stature, modernist painter Vasudeo Santu Gaitonde (1924–2001) was known to fellow artists and intellectuals, as well as to later generations of students and admirers, as a man of uncompromising integrity of spirit and purpose. Born in Nagpur, India in 1924, Gaitonde was briefly affiliated with avant-garde collectives such as the Progressive Artists’ Group and the Bombay Group in the early ’50s. Nonetheless, he remained independent throughout most of his career. This exhibition draws an arc from Gaitonde’s early, figurative, mixed-medium compositions and watercolors inspired by Paul Klee, through his major bodies of signature canvases from the 1960s and ’70s, to his late works from the 1980s and ’90s. Departing from Klee, Gaitonde’s practice began in the late 1950s in a nonrepresentational mode—or, as he preferred to call it, a nonobjective style. This turn towards abstraction is in accordance with the artistic principles first espoused by Vasily Kandinsky, as is embodied by the Guggenheim’s origins as the Museum of Non-Objective Painting, and also dovetails with Gaitonde’s lifelong interest in Zen Buddhism.
Short, stocky, self-critical, and confident, Gaitonde scorned sentimentality in his biography and his artistic practice. As fellow painter Krishen Khanna has stated, “There’s a very strong correlation I see between the way Gaitonde thought, the way he lived, and the way he painted.” Alongside art, he was an avid admirer of Indian and Western poetry, cinema, literature, theater, and classical music. Stressing the importance of the present moment, the completeness and joy of the creative process, and the intimate relationship between painter and painting, “Gai,” as he was popularly known among peers, was an intrepid and influential artist whose career remains unequaled in the history of South Asian modern art. Yet Gaitonde remains sorely understudied in the genealogies of twentieth-century world art.
As current scholarship revisits non-Western traditions of mid-twentieth-century modern art, this seminal retrospective exhibition presents an unparalleled opportunity to explore the context of Indian modern art as it played out in the metropolitan centers of Bombay (now Mumbai) and New Delhi from the late 1940s through the end of the twentieth century. It comprises forty-five major paintings and works on paper drawn from thirty leading public institutions and private collections, forming the most comprehensive overview of Gaitonde’s work to date. Including many pieces that have never been seen by the public, the exhibition reveals Gaitonde’s extraordinary use of color, line, form, and texture, as well as symbolic elements and calligraphy, in works that seem to glow with an inner light.
A transnational set of references and influences provides an art historical context for Gaitonde’s work and defines this exhibition. Gaitonde’s work spans the traditions of nonobjective painting and Zen Buddhism as well as Indian miniatures and East Asian hanging scrolls and ink paintings. When looking at Gaitonde’s oeuvre within the wider related context of international postwar art, one can also draw parallels to artists working within the contemporary School of Paris, as well as movements such as Art Informel, Tachisme, and Abstract Expressionism. Yet Gaitonde’s output continues to be defined by the particular ethos of India, where the artist lived and worked his entire life.
A scholarly catalogue and series of public programs accompanies the exhibition, which is organized by Sandhini Poddar, Adjunct Curator at the Solomon R. Guggenheim Museum, with Amara Antilla, Curatorial Assistant, Solomon R. Guggenheim Museum.” (http://www.guggenheim.org/new-york/exhibitions/on-view/v-s-gaitonde-painting-as-process-painting-as-life)
More information: http://www.guggenheim.org
posted by Alyssa Pavley — November 07, 2014
“A Fine Line: Drawing and the Digital Ground in the Work of Tamarin Norwood,” a conversation between the writer and curator Becky Huff Hunter and the artist Tamarin Norwood, has been published on the Art Journal website. In this exchange, Hunter speaks with Norwood about the relationship between video and drawing, and negotiating digital and analogue forms. The two also discuss artistic practice as a form of research, since Norwood is currently pursuing a PhD in fine art at the University of Oxford. This feature is part of Conversations, a new series on the Art Journal website that asks arts professionals in a variety of fields to discuss issues related to their practices.
The Art Journal website welcomes submissions and project proposals from artists, scholars, critics, curators, and others who share an interest in modern and contemporary art, design, pedagogy, and visual culture. Submission guidelines are available on the website, and queries can be sent to firstname.lastname@example.org.
Each week CAA News publishes summaries of eight articles, published around the web, that CAA members may find interesting and useful in their professional and creative lives.
Working Artists and the Greater Economy has launched W.A.G.E. Certification, a paradigm-shifting model for the remuneration of artistic labor in the nonprofit sector. W.A.G.E. Certification is a program that publicly recognizes nonprofit arts organizations that demonstrate a history of, and commitment to, voluntarily paying artist fees—it is also the first of its kind in the US that establishes a sector-wide minimum standard for compensation, as well as a clear set of guidelines and standards for the conditions under which artistic labor is contracted. (Read more from e-flux.)
Tenure Track Wisdom, Part 3
In the third of this series of faculty interviews, we hear from Steph Hinnershitz, who just started her second year as an assistant professor of history at Valdosta State University in southern Georgia. (Read more from Vitae.)
Indicting Higher Education in the Arts and Beyond
There’s one very clear take-away from the latest report released by the collective BFAMFAPhD: people who graduate with arts degrees regularly end up with a lot of debt and incredibly low prospects for earning a living as artists. Or, as they put it in the report, titled Artists Report Back: A National Study on the Lives of Arts Graduates and Working Artists, “the fantasy of future earnings in the arts cannot justify the high cost of degrees.” (Read more from Hyperallergic.)
Unbound: The Politics of Scanning
The romanticized image of the scanner is based on the assumption that by scanning and uploading we make information available, and that that is somehow an invariably democratic act. Scanning has become synonymous with transparency and access. But does the document dump generate meaningful analysis, or make it seem insignificant? (Read more from Rhizome.)
Conferences are not cheap. They are exhausting and usually require you to travel. You are taking time away from work, which means risking feeling behind when you return. You arrive home sleep-deprived, information-overloaded, and struggling to play catch-up. So why do we go? We attend conferences to learn, network, and take new ideas back to our institutions. Does this always happen? (Read more from Inside Higher Ed.)
Teaching and the University of Tomorrow
Last week, I attended the De Lange Conference held at Rice University every other year, this time on “Teaching in the University of Tomorrow.” The future-oriented theme had both intrigued me, and left me a little skeptical. But ultimately I was won over by the chance to attend, for the first time, a conference exclusively focused on teaching. I would be able to talk shop about learning and pedagogy. Like many other academics, I’m concerned about what the university of tomorrow might become. (Read more from Vitae.)
Everybody’s an Art Curator
This winter, the Santa Cruz Museum of Art and History will feature an exhibit of works relating to the ocean, with paintings and sculptures by established artists alongside works by local residents. According to a call for submissions, that includes not just watercolors of Pacific sunsets, but “that awesome GoPro footage you took while surfing” and “your two-year-old’s drawing of the beach that’s been on the fridge for five months.” Museums are increasingly outsourcing the curation of their exhibits to the public—sometimes even asking the crowd to contribute art, too. (Read more from the Wall Street Journal.)
Seeking a Postdoc
An advice seeker writes, “My adviser tells me not even to bother applying for postdocs—the competition is too intense. Is that true?” Of course you can apply for postdocs. Yes the competition is fierce, but that doesn’t mean you shouldn’t try. As you craft your application, make sure that it proves four key things: that your research is legitimate, necessary, and viable, and that it meets the needs (or advances the mission) of the hosting laboratory, department, campus, or program. (Read more from Vitae.)
The International Art Materials Association, better known as NAMTA, asks CAA members to contribute to the Artists and Art Materials Survey, a major international study that should take about ten minutes to complete. NAMTA is an association of hundreds of independent and family-owned art materials manufacturers and retailers. The survey deadline is November 25, 2014.
This survey is anonymous—you will not receive marketing spam after taking it. Results will be published in the third edition of the NAMTA Artists and Art Materials Study, which will be freely available to nonprofit arts organizations, colleges and universities, art school, and NAMTA members in January 2015.
By taking this survey you will help artist organizations, art schools, and businesses serve you better, as well as tell art-supply stores and suppliers what artists want. You may also receive free digital issues of The Artist’s Magazine and Professional Artist and get the chance to win one of five $100 art supply store gift cards. Please forward this webpage to your colleagues and students, as their contributions to the survey are essential.
NAMTA will make the 2015 NAMTA Artists and Art Materials Study available free of charge to college art organizations and institutions. If you work for an educational institution or arts nonprofit, please sign up at https://www.surveymonkey.com/s/NAMTAresults. NAMTA will send you the survey results in early 2015.