During a conference call on July 9, 2015, with representatives of learned societies, auction houses, and government agencies, the Federal Bureau of Investigation (FBI) confirmed that looting of antiquities in Syria and Iraq has taken place. They have also received confirmation from informants and found evidence of industrial levels of looting from satellite photos. The FBI asked the participants on the call to ask their constituents to follow due diligence and to reach out if anyone suspects objects to have been looted. They emphasized that most of the art market is relatively “clean,” meaning that most objects bought and sold have not been looted or illegally sold. However, it usually takes two years for looted items to begin to flood the market.
The FBI requested expert cooperation. Trafficking in cultural property is covered by the Hague Convention for the Protection of Cultural Property and by the US Criminal Code, in which it is considered criminal to “providing material support” if an expert in antiquities even suspects that objects have been looted and a report is not made to the FBI. one can call 855-835-5324.
The responsibility of the FBI is to dismantle illegal trafficking networks, not to provide data or set policy. The FBI is currently working on outreach that will better inform the public, create more awareness, and address reporting procedures.
CAA has invited FBI to address CAA members at the 2016 Annual Conference in Washington, DC, on February 4, 2016, on what antiquities experts should be aware of if they suspect they have found looted objects, and if reporting to the FBI would involve antiquities experts in legal processes and disclosure to the public. The FBI will also provide an update of the sites that have been looted in Syria and Iraq, and they will address current criminal law and international treaties related to sale, purchase, and possession of antiquities.
CAA’s Art Bulletin, Art Journal, and caa.reviews Will Now Rely on the Doctrine of Fair Use in Publishing Copyrighted Material
posted by Christopher Howard — July 13, 2015
In a fundamental change in scholarly publishing practice, the College Art Association has announced new standard contracts with contributors to its lead journals. These new contracts encourage scholars and artists contributing to its journals to employ fair use for third-party works in copyright (such as images and quoted text) according to the principles and limitations outlined in CAA’s Code of Best Practices in Fair Use for the Visual Arts. This is in contrast to previous contracts for the CAA journals, which (like other standard contracts in the field) required contributors to obtain permissions for most illustrations and other third-party works. By adhering to the principles of fair use in this new policy, CAA leads the way for other scholarly publications and presses to similarly embrace the doctrine of fair use.
In its new author agreements, CAA states that after careful review of the Code the author must determine whether or not fair use may be invoked. If the conclusion is in the affirmative, CAA will publish without requiring third-party permission; in addition, the agreements state that the author need not indemnify CAA for claims of copyright infringement with respect to the use of a third-party work which he or she has determined is a fair use. The author’s signature on the document certifies that she or he has read the Code and considered the limitations of fair use as outlined in an addendum to the agreement. Authors will still need to obtain permission for third-party works that are not utilized under fair use.
In announcing the new policy, Linda Downs, executive director of CAA, stated “CAA is enormously proud to be a leader in the reliance on fair use in its publications. The decision is the result of two years of research in the field, consolidating the opinions of professionals throughout the visual arts community as well as legal experts into a straightforward set of principles and limitations that make it much easier to use copyrighted materials in our work. As of today, CAA journal authors are no longer required to seek permission for use of all third-party images and texts for their articles if they review the best practices code in each instance and demonstrate that their use complies with its principles and limitations. Any risk that might occur in utilizing fair use will be borne by CAA, not the authors.”
The new contracts are available in the Publications section of the CAA website.
posted by Christopher Howard — July 13, 2015
Only months after its release, major visual arts organizations continue to endorse CAA’s Code of Best Practices in Fair Use for the Visual Arts. The Society of Architectural Historians (SAH) and the Association of College and Research Libraries (ACRL) each voted in April to endorse CAA’s set of principles regarding best practices in the fair use of copyrighted materials. In June, the Art Libraries Society of North America (ARLIS/NA) and Association of Research Libraries (ARL) also voted to endorse.
Founded in 1940, the Society of Architectural Historians is a nonprofit membership organization that promotes the study, interpretation and conservation of architecture, design, landscapes, and urbanism worldwide. SAH serves a network of local, national and international institutions and individuals who, by vocation or avocation, focus on the built environment and its role in shaping contemporary life. SAH promotes meaningful public engagement with the history of the built environment through advocacy efforts, print and online publications, and local, national, and international programs.
The Association of College and Research Libraries (ACRL), a division of the American Library Association, is the higher education association for librarians, committed to advancing learning and transforming scholarship. Founded in 1940 and representing nearly 11,000 academic and research librarians and interested individuals, ACRL is dedicated to enhancing the ability of academic library and information professionals to serve the information needs of the higher education community and to improve learning, teaching, and research. As Mary Ellen K. Davis, executive director of ACRL, stated: “The Code will serve as a valuable open-access resource for our higher education stakeholders.” Both organizations are disseminating the Code to their members.
The mission of the Art Libraries Society of North America (ARLIS/NA) is to foster excellence in art and design librarianship and image management. Founded in 1972, it has a membership of 1,000 that includes architecture and art librarians, visual resources professionals, artists, curators, educators, publishers, students, and others throughout North America interested in visual arts information. In a written statement, the ARLIS board wrote, “The ARLIS/NA Executive Board endorses the College Art Association’s Code of Best Practices in Fair Use for the Visual Arts, an important document that will advance visual arts scholarship and creative practice in this digital age. The Code is a strong step away from a permissions culture that hinders many members of the larger community.”
The Association of Research Libraries (ARL) is a nonprofit organization of the leading research libraries in the US and Canada. Comprising more than 125 libraries at comprehensive, research-intensive institutions, its mission is to shape and influence forces affecting the future of research libraries in the process of scholarly communication. ARL pursues this mission by advancing the goals of its member research libraries, providing leadership in public and information policy to the scholarly and higher education communities, fostering the exchange of ideas and expertise, facilitating the emergence of new roles for research libraries, and shaping a future environment that leverages its interests with those of allied organizations.
Groups that previously have endorsed the Code include the Association of Art Museum Curators (AAMC) and the American Library Association (ALA).
These endorsements come in addition to early support for the Code from the Association of Art Museum Directors (AAMD) and the American Alliance of Museums (AAM), both of which have recommended it to their members. In a letter to CAA, Susan Taylor, president of AAMD, and Christine Anagnos, its executive director, wrote: “AAMD believes the Code of Best Practices in Fair Use for the Visual Arts is an excellent contribution to the field and a great point of departure for best practices in the fair use of copyrighted materials…. AAMD believes this document has the potential to be a valuable aid to all professionals in the visual arts and will recommend it to our membership.”
CAA welcomes other endorsements, and encourages organizations in the field to recommend the Code to members. CAA representatives are happy to address questions and to make educational presentations. To make arrangements for a presentation, whether by webinar, conference call, or in person, please contact me at firstname.lastname@example.org. The Code and supporting materials are available at www.collegeart.org/fair-use.
The creation of CAA’s Code of Best Practices in Fair Use for the Visual Arts was funded by the Andrew W. Mellon Foundation, with additional support provided by the Samuel H. Kress Foundation.
Improve Opportunities for International Cultural Activity; Support the Arts Requirement Timely Service (ARTS) Act
posted by CAA — July 10, 2015
The CAA Board of Directors has approved its support of the following notice.
Improve Opportunities for International Cultural Activity
Support the Arts Requirement Timely Service (ARTS) Act
We write to urge your support for the Arts Require Timely Service (ARTS) Act, which improves processing for visa petitions filed by, or on behalf of, nonprofit arts-related organizations by simply ensuring enforcement of current statutory requirements.
Action now will ensure that the U.S. visa process for artists is reliable, efficient, and affordable. Congress recognized the time-sensitive nature of arts events when writing the 1991 federal law regarding O and P visas, in which the USCIS is currently instructed to process O and P arts visas in 14 days. While USCIS has made recent efforts to observe this timeframe, there is a history of extreme unpredictability in the timing of the artist visa process, with wait times of up to six months.
The ARTS Act would consistently reduce the USCIS processing times for nonprofit O and P arts-related visa petitions to a total of 29 days—twice the current statutory requirement. USCIS would be required to treat any nonprofit arts-related O and P visa petition that it fails to adjudicate within the current statutory 14-day timeframe as a Premium Processing case (an additional 15-day turn-around time), free of additional charge. Previous consideration of the ARTS Act has had strong bipartisan support.
American nonprofit arts organizations and artists—in communities large and small across our country—provide an important public service and boost international diplomacy by presenting foreign guest artists in performances, educational events, and cultural programs in communities across the country. Only with consistent improvements over time, will confidence in the U.S. visa process continue to be re-built among U.S. petitioning organizations and foreign artists alike, greatly enhancing international cultural exchange.
Enactment of this provision will make enduring improvements to the visa process. Please support the Arts Require Timely Service (ARTS) Act.
American Alliance of Museums
American Association of Independent Music
American Federation of Musicians
Americans for the Arts
Association of Art Museum Directors
Association of Performing Arts Presenters
Chamber Music America Dance/USA
League of American Orchestras
Local Learning: The National Network for Folk Arts in Education
National Alliance for Musical Theatre
National Assembly of State Arts Agencies
National Association of Latino Arts and Cultures
Network of Ensemble Theaters
New Music USA
North American Performing Arts Managers and Agents
Performing Arts Alliance
The Recording Academy
Theatre Communications Group
posted by CAA — July 10, 2015
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.
Deirdre Logue and Allyson Mitchell: I’m Not Myself At All
Agnes Etherington Art Centre
Queen’s University, 36 University Avenue, Kingston, Ontario, Canada K7L 3N6
May 2–August 9, 2015
In I’m Not Myself At All, the artists Deirdre Logue and Allyson Mitchell present an “exuberant revision of sexual identity and domesticity.” The multimedia body of work on exhibit at the Agnes Etherington Art Centre at Queen’s University contains a multitude of forms and mediums, such as soft-sculpture dolls, wallpaper, crochet spider webs, needlepoint drawings, and papier–mâché.
Referring to the dolls in the exhibition catalogue, the theorist Heather Love writes, “the female body will not be cleaned up in this queer future—it will arrive trailing its effluvia: bodily fluids, odours, patches of fur, cellulite, granny panties, shag, that sucking sound.”
The artists present an oversized self-representation through amplification of the dolls genitalia, blown-up needlepoint patterned wallpaper, and a gigantic papier–mâché pink highlighter against a backdrop of feminist texts, “raising what curator Sarah E. K. Smith identifies as ‘potentiality, belonging and representation,’” via discarded feminist pasts.
Mitchell and Logue run the Feminist Art Gallery (FAG) in Toronto, which Mitchell describes on her website as “a response, a process, a site, a protest, an outcry, an exhibition, a performance, an economy, a conceptual framework, a place and an opportunity.”
Marilyn Minter: Pretty/Dirty
Contemporary Arts Museum Houston
5216 Montrose Boulevard, Houston, TX 77006
April 18–August 2, 2015
Marilyn Minter’s exhibition Pretty/Dirty at the Contemporary Arts Museum Houston “vividly manifest[s] our culture’s complex and contradictory emotions around the feminine body and beauty.” The exhibition spans Minter’s career from earlier works such as Coral Ridge Towers, of her “drug-addled mother,” to her 2014 video Smash, with “large female feet in bejeweled high-heeled shoes … dancing, sliding across the floor and smashing glass—all in Minter’s signature silver liquid.”
As a painter, photographer, and video artist, Minter offers a counterdialogue to the fashion industry, whose hypersearch for perfection and beauty are revealed in the artist’s own search for the all too human physical imperfections. “It is way too easy to criticize the fashion industry,” Minter said in her artist talk.
“Minter offers a smart woman’s critical look at issues that are otherwise presented by men for female consumption,” states the exhibition press release. “Minter shows the dual nature and slight imperfections of herself and her fellow woman, finding that true allure comes from the sensuality of imperfections.” But while Minter’s work sometimes calls attention to imperfection, there is a “pleasure rubric” in the exhibition, as Bill Arning calls his discussion with Minter. “I know pleasure exists,” Minter says, “I have it too when I look at these images.”
On view through August 2, 2015, are over twenty-five paintings from 1976 through 2013, three video works, and photographs exploring her development as an artist. The exhibition was organized by the Contemporary Arts Museum Houston and the Museum of Contemporary Art Denver. An artist’s talk with Minter, along with Arning, Elissa Auther, and Linda Yablonsky, is available online.
Lynette Yiadom-Boakye: Verses After Dusk
Kensington Gardens, London W2 3XA
June 2–September 13, 2015
The Serpentine Galleries present Lynette Yiadom-Boakye: Verses After Dusk, the first major solo exhibition by the London-born artist. Yiadom-Boakye, born in 1977 from Ghanaian parents, was nominated for the Turner Prize in 2013. Her paintings explore figures that appear to exist outside a specific time and place. These subjects are all fictitious and drawn from memory or scrapbooks. The artist presents her “suggestions of people,” as she once put it, absent of background, or landscapes, or objects, freeing them from the restrictions of definite time, location, age, and even gender. Her characters may be presented in absence of context, but they are accompanied with enigmatic titles that encourages viewers to construct their own narratives and search a dialogue with the artist’s “poetic secrecy.”
Verses After Dusk is a survey of the artist’ recent work, presenting a comprehensive range of painterly techniques in a series that raises timeless questions of identity as well as representation in art, bringing awareness to the failings of such matters throughout art history. While the artist plays with the influence and references to eighteenth and nineteenth century masters such as Edgar Degas, Paul Cézanne, and Éduoard Manet, she deconstructs them and reconstructs the meaning, challenging the representation of black portraiture in the canon of art history. The display features exclusively black figures, pointing out the absence of references in the representation of black history in the canon of Western art.
Between the works on display, Yes Officer, No Officer (2008) unravels Manet’s famous avant-garde painting Olympia (1863). But in this case, Yiadom-Boakye substitutes the reclining nude female prostitute with a black man and completely deletes the black female servant from the background. Along an impressive collection of expressive paintings, the exhibition includes ten new etchings and introduces the artist’s less-known writings, published in occasion of the exhibition.
Zanele Muholi: Isibonelo / Evidence
Elizabeth A. Sackler Center for Feminist Art, Fourth Floor, 200 Eastern Parkway, Brooklyn, NY 11238-6052
May 1–November 1, 2015
Hosted at the Elizabeth A. Sackler Center for Feminist Art, the Brooklyn Museum presents Zanele Muholi: Isibonelo / Evidence. The exhibition is the most comprehensive museum presentation by the artist to date, in which the artist interlocks photography, video, and installation with human-rights activism.
Isibonelo/Evidence features several of the artist’s ongoing projects about lesbian, gay, bisexual, transgender, and intersex (LGBTI) communities, both in her home country of South Africa and abroad. The display includes eighty-seven works created between 2006 and 2014, including Muholi’s celebrated Faces and Phases portrait series, which uses firsthand accounts to speak to the experience of living in a country that constitutionally protects the rights of LGBTI people but often fails to defend them from targeted violence. In this series, and in an attempt to archive an “invisible” community, Muholi photographed around three hundred South African lesbians against plain or patterned backgrounds. Her compelling and undeniably powerful black-and-white portraits have infinite depth that allows the translation of haunting stories through a single look. The exhibition also includes the new series Weddings and the video Being Scene, which focus on love, intimacy, and daily life within the artist’s own community.
Muholi, born in 1972 in Durban at the height of apartheid, has developed for more than a decade a visual record of black lesbians in her home country, bringing visibility to communities who, although same-sex marriage has been legalized in 2006, continue to undergo hate crimes, stigma, and remain victims of “curative rape.” Through a work that claims her full citizenship as a South African female photographer who identifies as black, and also as a lesbian, the artist express her search of the deserved recognition, respect, and validation that mark and trace our existence.
Osa Atoe: Shotgun Seamstress
Online and Print Zine
“I’m a punk and a feminist,” Osa Atoe declares on Shotgun Seamstress, her blog and fanzine the tagline describes as “old maximum rocknroll columns + new black punk rock thoughts.” In her blog post of March 24, 2015, “I Will Resist With Every Inch and Every Breath: Punk and the Art of Feminism” (which was also the name of a panel Atoe was invited to speak on at the Elizabeth A. Sackler for Feminist Art on March 12, 2015), she explains her roots in feminism and punk as well as the birth of Shotgun Seamstress in 2006. “I had a head full of feminist theory that I had acquired on my own, through my community and from school—including the very useful concept of intersecting identities … and I felt that any art I made should also be political.”
“The intersection of punk and radical politics felt natural to me,” Atoe says. Inspired by Riot Grrrl, Cometbus, and especially the zine Evolution of a Race Riot, Atoe says she set out to celebrate black punk identity within a predominantly white punk scene “that was constantly, but awkwardly attempting to address its own racism.” Atoe’s zine is not about critique, however. As she explains of her first issue, “I didn’t really talk about feminism so much, it just was feminist in its approach” (emphasis by Atoe).
You can see the full panel discussion “I Will Resist With Every Inch and Every Breath: Punk and the Art of Feminism” with Atoe and other panelists online. Printed copies of Shotgun Seamstress are available from Mend My Dress Press.
Agnes Gund: Fame, Fortune, and the Female Artist
Five Points Gallery, 33 Main Street, Torrington, CT
July 10 at 7:00 PM
Five Points Gallery is pleased to announce an upcoming lecture by Agnes Gund, a renowned philanthropist, civic leader, and devoted supporter of women’s issues. Gund, a president emerita of the Museum of Modern Art and chair of its International Council, will speak on “Fame, Fortune, and the Female Artist.” The talk will be free and open to the public on a first-come first-served basis. Five Points Gallery is a nonprofit fine art gallery showcasing professional regional and national visual artists in order to foster an understanding and appreciation of contemporary art in the community.
House, Work, Artwork: Feminism and Art History’s New Domesticities
University of Birmingham, UK
July 3–4, 2015
This conference is motivated by the premise that it is appropriate for feminist art history to revisit and newly configure theoretical, methodological, and political debate around modernist, postmodernist, and contemporary artistic practice in relation to the domestic. The debate is particularly timely in the light of art and art history’s “new” domesticities. These include queer art history’s turn toward the domestic as a site for imagining, making, and inhabiting space within or without the heteronormative, and recent art-historical and curatorial projects focusing on modern and contemporary art practice and the home—but in which the question of feminism is downplayed in favor of more generalized concepts of subversion, labor, and belonging. The keynote speakers are: Mignon Nixon from the Courtauld Institute of Art in London and Julia Bryan-Wilson of the University of California, Berkeley. For further information, contact Francesca Berry, Department of Art History, Film, and Visual Studies, University of Birmingham; and Jo Applin, Department of History of Art, University of York.
American Society for Aesthetics
The American Society for Aesthetics (ASA), an association for aesthetics, criticism, and theory of the arts, will mark the twenty-fifth anniversary of the founding of the ASA Feminist Caucus Committee with a full day of workshop discussions, followed by a celebratory reception, on Saturday, November 14, 2015. The Feminist Caucus Committee anniversary is part of the annual ASA conference, to be held from November 11–14 at the Desoto Hilton Hotel in Savannah, Georgia. Noted scholars will discuss the evolution and contributions of feminist scholarship within philosophical aesthetics, focusing on three main topics: “History, Feminism, and the American Society for Aesthetics”; “Feminist Scholarship Today OR the Impact—Hidden or Otherwise—of Feminist Scholarship”; and “Feminist Pedagogy and Curricula in Aesthetics.” For more information, please visit www.aesthetics-online.org/feminist or contact Peg Brand.
Arts Council of the African Studies Association
The Arts Council of the African Studies Association (ACASA) is pleased to announce the large number of association members who will be participating in the upcoming European Conference on African Studies (Paris, July 8–10, 2015). The increased participation of ACASA members in events taking place outside the United States is evidence of the organization’s growing presence on a global scale. It also reflects concerted efforts to create synergies with international partners.
ACASA is currently inviting nominations and self-nominations for service on its board. New board members will begin service at the African Studies Association (ASA) meeting on November 19, 2015. Applicants must be members of ACASA to participate in the nomination and election process. The deadline for nominations is September 20, 2015.
The board president of the Asian American Women Artists Association (AAWAA), Cynthia Tom, is one of three recipients of the Commons Curatorial Residency at SOMArts Cultural Center in San Francisco for A Place of Her Own, on view November 19–December 11, 2015. The Commons, entering its sixth year, is a competitive, yearlong incubator for exhibition research, planning, installation, and realization. The Commons supports risk taking, intercultural learning, and awareness of social issues by providing space and support for exhibitions that instigate accessible, multifaceted participation in the arts. A Place of Her Own excavates the vital dreams and hopes of women and features more than thirty found object art works and large-scale installations by women artists. Each piece is a courageous visual answer to the question, “If you had a place of your own, what would it be?” Exhibited artworks, marked by a saturation of color, imaginative use of materials, and visual storytelling, highlight the personal yet universal journey to seek out and claim a place without external rules or expectations. Events and an interactive installation, Community House, invite the audience to join the journey.
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) has launched the H-AMCA reviews program with six new reviews. The organization is thrilled to have partnered with the H-Net editorial team. Readers may access the reviews through the H-Net reviews page. This announcement marks an exciting transition for the established AMCA reviews program that was originally accessible through the AMCA website. The website’s “reviews” section will now act as a supplement to the full reviews published through H-Net.
The AMCA editorial committee that will oversee the new reviews program is: Tiffany Floyd, H-AMCA commons editor and PhD student at Columbia University; Jessica Gerschultz, assistant professor at the University of Kansas and AMCA board member (secretary); Berin Golonu, doctoral candidate at the University of Rochester; Sarah-Neel Smith, assistant professor at the Maryland Institute College of Art (fall 2015); and Saima Akhtar, postdoctoral fellow at the Forum Transregionale Studien in Berlin. If you have questions about the new H-AMCA reviews program or are interested in reviewing books or events, please contact Tiffany Floyd or Jessica Gerschultz.
Association of Historians of American Art
The board of the Association of Historians of American Art (AHAA) thanks two outgoing members—Sarah Kelly Oehler, chair emerita; and Katherine Smith, sessions coordinator—for their service. The board welcomes incoming cochair Ellery Foutch and sessions coordinator Elizabeth Lee.
AHAA hosted its successful third biennial symposium in Philadelphia, Pennsylvania, this past October with 139 members in attendance. At its CAA business meeting on February 13, 2015, AHAA chair Anna Marley proposed a vote to add a new symposium liaison position to the board. The symposium liaison will serve a term of three years and, in consultation with the cochairs, facilitate the coordination of the biennial symposium and act as a liaison between the AHAA board and the local symposium steering committee. AHAA solicited candidates for this position this spring and have named the first symposium liaison: Sarah Kelly Oehler.
The next biannual AHAA symposium will to be held in Dallas–Fort Worth, Texas, in fall 2016. The symposium will be chaired by Maggie Adler and Shirley Reece-Hughes of the Amon Carter Museum of American Art and Mark Thistlethwaite of Texas Christian University.
Also in 2015, the active AHAA membership grew from 180 to 350, and the AHAA journal was launched.
AHAA looks forward to its sponsored sessions at the 2016 CAA Annual Conference in Washington, DC: a professional session, “Claiming the Unknown, the Forgotten, the Fallen, the Lost, and the Dispossessed,” chaired by Robert Cozzolino; and a scholarly session, “Art and Invention in the US,” led by Ellery Foutch and Hélène Valance.
The Association of Print Scholars (APS) has grown to almost three hundred members since its official launch in October 2014. In May 2015, APS shared its new website, which allows members to create profiles, share scholarship, and learn about upcoming events.
Offline, APS held receptions for members during the CAA Annual Conference in New York, the Renaissance Society of America conference in Berlin, and the Salon de l’estampe in Paris. APS also announced the establishment of the Schulman and Bullard Article Prize, which will be given yearly to recognize an outstanding article by an emerging scholar in the field.
In the coming year, Peter Parshall, former curator of old master prints at the National Gallery of Art in Washington, DC, will give the APS inaugural lecture, entitled “Why Study Prints Now?” on September 25, 2015, in New York. During the 2016 CAA Annual Conference in Washington, DC, Freyda Spira of the Metropolitan Museum of Art and Elizabeth Rudy of Harvard Art Museums will chair the session “The Art of Collecting.”
At the 2015 CAA Annual Conference in New York, the Coalition of Women in the Arts Organization (CWAO) presented a panel on “Women Artists and Installation Art,” which discussed numerous and innovative approaches that women artists use to present the concepts and issues of their concerns. For CAA’s 2016 meeting in Washington, DC, the organization is preparing a panel on “Technology and Women Artists.” The panel is currently open for proposals, which may include artists who use technology or incorporate it into either traditional or new mediums in order to convey their concepts and their social concerns. Art historians may apply, if presenting a paper about one or more women that use technology in their papers. The panel chair is Kyra Belan, Broward College, PO Box 275, Matlacha, FL 33993.
International Association of Word and Image Studies
The International Association of Word and Image Studies (IAWIS) has announced the latest in its book series, Interactions. The Imaginary: Word and Image/L’Imaginaire: texte et image, edited by Claus Clüver, Matthijs Engelberts, and Véronique Plesch, has just been published by Brill. The imaginary as a critical concept originated in the twentieth century and has been theorized in diverse ways. It can be understood as a register of thought; the way we interpret the world; the universe of images, signs, texts, and objects of thought. In this volume, the imaginary is explored as it manifests itself in encounters between the verbal and the visual. A number of the essays brought together here explore the transposition of the imaginary in illustrations of texts and verbal renditions of images, as well as in comic books based on paintings or on verbal narratives. Others analyze ways in which books deal with film or television and investigate the imaginary in digital media. Special attention is paid to the imaginary of places and the relationship of the imaginary with memory. Written in English and French, these contributions by European and American scholars demonstrate the various concerns and approaches characteristic of contemporary scholarship in word and image studies.
Italian Art Society
The Italian Art Society (IAS) has been awarded a grant of $8400 from the Samuel H. Kress Foundation to continue the IAS/Kress lecture series in Italy for another three years. The 2016 lecture will take place in Florence. IAS announces a one-time, extra IAS Research and Publication Grant of up to $1,000 to fund or subsidize a research trip or publication (deadline: July 15, 2015) and a new grant of up to $1,000 that will support transoceanic conference travel for scholars holding the PhD presenting a paper on Italian art and architecture from the early nineteenth century to the present (deadline: October 1, 2015). Please visit the IAS website for further information and application guidelines.
IAS is currently accepting proposals for its sponsored long (2½ hours) and short (1½ hours) sessions at the 2017 CAA Annual Conference in New York (deadline: August 15, 2015). Visit the IAS website for further information and submission guidelines. IAS secretary Sean Roberts now serves as the society’s executive vice president; the organization will appoint an acting secretary this summer. Please consider writing for the IASblog on any topic related to Italian art and architecture from prehistory to the present!
National Art Education Association
The National Art Education Association (NAEA), the Nelson-Atkins Museum of Art, and Cooper Hewitt Smithsonian Design Museum invite you to participate in SummerStudio: Design Thinking for Art Educators, taking place July 13–17, 2015, at the Nelson-Atkins Museum of Art in Kansas City, Missouri.
NAEA has published two new practical curriculum resources and texts for your classes: Curriculum Inquiry and Design for School- and Community-Based Art Educationand Design Standards for School Art Facilities.
Pacific Arts Association
The Pacific Arts Association-Europe conference will be held July 2–4, 2015, at the Museo de América in Madrid, Spain. The theme of the conference is “Recent Research in Pacific Arts.” For more information, please contact email@example.com.
Pacific Arts Association-Pacific seeks interest in its 2015 conference on “Trading Traditions: The Role of Art in the Pacific’s Expansive Exchange Networks,” to be held at the Fa’onelua Conference Centre in Nuku’alofa, Tonga, from September 30 to October 4, 2015. For further information, contact Karen Stevenson.
A three-day international conference entitled “Pacifique(S)” will take place at the University of Le Havre in France from November 4 to 6, 2015. The organizers of this interdisciplinary conference seek papers addressing the following broad thematic concerns: Oceans, Histories, and Diaspora. If you wish to participate, please send an abstract of up to 250 words to Jacqueline Charles-Rault.
The Pacific Arts Association – North America looks forward to you attending the session “Photography in and of the Pacific: Collecting the Past, Visualizing the Future” at the 2016 CAA Annual Conference in Washington DC. This session will be of interest to those studying historic and contemporary photography. Look for a detailed description in CAA’s Conference Program.
The twelfth Pacific Arts Association International Symposium 2016, to be hosted by Auckland Museum in New Zealand, promises to be a dynamic and engaging symposium that will take place between two iconic Pacific events in Auckland: Pasifika Festival (March 11–12) and Polyfest (most likely to occur March 18–20).
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 fifty-third national conference in Las Vegas, Nevada. The conference will take place March 10–13, 2016; portfolio reviewers will receive discounted admission to the four-day event in exchange for their participation. For more information on the conference offerings, visit the SPE website. To express interest in serving as a portfolio reviewer, please contact firstname.lastname@example.org.
Society of Historians of Eastern European, Eurasian, and Russian Art and Architecture
As of April 1, 2015, the Society of Historians of Eastern European, Eurasian and Russian Art and Architecture (SHERA) has become incorporated as a nonprofit charitable organization in the State of New York. As a CAA affiliate society, SHERA will sponsor a 1½-hour session at the 2016 CAA Annual Conference in Washington DC, entitled “Collecting, Curating, Canonizing, Critiquing: The Institutionalization of Eastern European Art” and organized by Ksenia Nouril. SHERA is successfully implementing its visiting scholar program with the Russian State University of Humanities in Moscow (RGGU) and the Art Department of the European University in St. Petersburg. Applications need to be submitted six weeks in advance of the planned trip for RGGU and ten weeks for the European University. Inquiries about the process should be submitted to email@example.com.
Visual Resources Association
The Visual Resources Association (VRA) held its annual conference in Denver, Colorado, from March 11–14, 2015. With fourteen sessions, six workshops, nine posters, and numerous other events, the program covered digital humanities, visual literacy, mapping and geospatial projects, image rights and reproductions, usability testing, digital asset management, crowdsourcing, metadata, sharing collections, archives, research data management, visualization, and more. The two plenary speakers shared thought-provoking perspectives from museums and digital libraries. The opening speaker, Aaron Straup Cope, head of engineering for the Cooper Hewitt Smithsonian Design Museum, addressed experiences as design objects. Can a design museum collect objects that convey the full experience of, say, Virgin America as service design? Extending the concept of collecting to museum visitors, Cope described the New Cooper Hewitt Experience and new interactive pen that allows visitors to “collect” and “save” objects to customized webpages. The closing speaker, Emily Gore, director for content for the Digital Public Library of America, discussed content and collections workflows, including the DPLA Hubs program. DPLA is currently focused on sustainable collaborations, building community, data quality, and use/reuse. Gore is working to establish new Service Hubs and a framework for rights statements for cultural-heritage materials in partnership with experts in the United States and Europe.
The Women’s Caucus for Art (WCA) has announced the recipients for the 2016 WCA Lifetime Achievement Awards: Tomie Arai, Helene Aylon, Sheila Levrant de’ Bretteville, and Juana Guzman. The recipient for the 2016 President’s Art and Activism Award is Stephanie Sherman. The WCA Lifetime Achievement (LTA) Awards were first presented in 1979 in President Jimmy Carter’s Oval Office to Isabel Bishop, Selma Burke, Alice Neel, Louise Nevelson, and Georgia O’Keeffe. The LTA awards were the first awards recognizing the contribution of women to the arts and their profound effect on society. Today the WCA’s Lifetime Achievement Awards continue to honor women and their work, vision, and commitment. Past honorees have represented the full range of distinguished achievement in the visual arts. This year’s awardees are no exception, with considerable accomplishment, achievement, and contributions to the arts. Join us for the celebration! The LTA awards will be held at the National Museum of Women in the Arts in Washington, DC, on Thursday February 4, 2016. The event will include a ticketed cocktail reception (6:00–7:30 PM) and the LTA ceremony (8:00–9:30 PM), which is free and open to the public. More information will be available online beginning August 1, 2015.
posted by CAA — July 09, 2015
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.
Hidden Histories in Latin American Art
Phoenix Art Museum
May 9, 2015–August 23, 2015
“This exhibition features Latin American and Latino artists who investigate stories or histories marginalized by the media, historical events and present circumstances that we might rather forget. These artists explore neglected yet pressing histories, such as the violence against women in Ciudad Juárez, Mexico; the marginalization of indigenous communities in Guatemala; the fate of civilians “disappeared” by military and paramilitary groups in Colombia; and the lynching of Latinos in the southern United States beginning in the mid-19th century and continuing into the mid-20th.
These works allude to politics, though they touch upon different historical moments in diverse regions of Latin America as well as the special circumstances confronting Latinos living in the United States. Each story is different, but what unites them is the means by which they are told: through intentional processes of veiling and fragmentation. These artists engage in a kind of storytelling in which the part stands in for the whole. They also endow everyday objects with potent symbolism, often made all the more powerful through collaged imagery. In this way, a handcrafted dress, a felt blanket, a wooden barricade, a wardrobe, and even part of an urban glass wall become vehicles for exploring larger histories, made present before the viewer but only partially revealed.
Hidden Histories includes works by Luis González Palma (Guatemala, born 1957), Annie Lopez (US, 1958), Teresa Margolles (Mexico, 1963), Graciela Sacco (Argentina, 1956), Doris Salcedo (Colombia, 1958), and Vincent Valdez (US, 1977).”
Noah Purifoy: Junk Dada
Los Angeles County Museum of Art
Los Angeles, California
June 7, 2015–September 27, 2015
“Noah Purifoy (1917–2004) lived and worked most of his life in Los Angeles and Joshua Tree, California. A founding director of the Watts Towers Art Center, his earliest body of sculpture, constructed out of charred debris from the 1965 Watts Rebellion, was the basis for 66 Signs of Neon, a landmark group exhibition about the riots that traveled to nine venues between 1966 and 1969. In line with the postwar period’s general fascination with the street and its objects, Purifoy’s 66 Signs of Neon constituted a Duchampian approach to the fire-molded alleys of Watts, a strategy that profoundly impacted artists such as David Hammons, John Outterbridge and Senga Nengudi.
In the late 1980’s, after eleven years of public policy work for the California Arts Council, where Purifoy initiated programs such as Artists in Social Institutions, bringing art into the state prison system, Purifoy moved his practice to the Mojave desert. He lived there for the last fifteen years of his life, creating ten acres of large-scale sculpture constructed entirely from junked materials.
The exhibition explores a pivotal yet under-recognized figure in the development of postwar American Art whose effect is only beginning to be fully understood.”
Zanele Muholi: Isibonelo/Evidence
Brooklyn, New York
May 1, 2015–November 1, 2015
“Zanele Muholi meshes her work in photography, video, and installation with human rights activism to create visibility for the black lesbian and transgender communities of South Africa. Zanele Muholi: Isibonelo/Evidence is the most comprehensive museum presentation to date of Muholi’s works and features several of the artist’s ongoing projects about lesbian, gay, bisexual, transgender, and intersex (LGBTI) communities, both in her home country and abroad.
The exhibition presents eighty-seven works created between 2007 and 2014, including Muholi’s Faces and Phases portrait series, which uses firsthand accounts to speak to the experience of living in a country that constitutionally protects the rights of LGBTI people but often fails to defend them from targeted violence. Also included is the new series Weddings and the video Being Scene, both of which focus on love, intimacy, and daily life within Muholi’s close-knit community.”
Arts Aids America
ONE Archives Gallery & Museum and the West Hollywood Library
West Hollywood, California
June 6, 2015–September 6, 2015
“Art AIDS America examines 30 years of artistic production made in response to the AIDS epidemic in the United States. Surveying the early 1980s to the present, this exhibition reintroduces and explores a spectrum of artistic responses to HIV/AIDS from the politically outspoken to the quietly mournful, considering how the disease shifted the development of American art away from the conceptual foundations of postmodernism and toward a more insistently political and autobiographical voice.
Presented in two parts at the ONE Gallery and the West Hollywood Library as a part of One City One Pride, this iteration of the exhibition comprises a select preview of the larger show opening at the Tacoma Art Museum in October 2015. In West Hollywood, works on view at the Library explore a wide range of creative expressions from the early years of AIDS to the present, while the presentation at the ONE Gallery focuses special attention on California-based artists.”
Hoy toca el Prado (Touching the Prado)
Museo Nacional del Prado
January 20, 2015–October, 18 2015
The Prado Museum and the AXA Foundation, with the collaboration of ONCE have devised a pioneering initiative aimed essentially at people with visual disabilities. Curated by Fernando Pérez Suescun, the exhibition comprises six embossed paintings, which are the most representative of the Prado Museum, belonging to diverse genres and artistic styles (religious paintings, portraits, still life’s, mythology and traditional scenes). They include Touch me Not by Correggio; The Forge of Vulcan by Velázquez; The Parasol by Goya; The Mona Lisa from Leonardo da Vinci’s studio; Gentleman with his Hand on his Chest by El Greco; and Still Life with Artichokes, Flowers and Glass Vessels by Van der Hamen. The last three are real scale reproductions and the rest are on a lower scale. Visitors can touch them with their own hands, offering them the unique possibility of capturing their beauty down to the very smallest detail.
Coinciding with the presentation of Touching the Prado, the Museum has launched a new audioguide service that includes audio descriptions of fifty-three works in its collection. These detailed explanations of the figures, themes and other elements depicted in the works are specifically aimed at visually impaired visitors. Fourteen descriptions of masterpieces in the collection are particularly detailed. Audio descriptions are available free for visually impaired visitors at the Audioguide desks.
Rising Up: Hale Woodruff’s Murals at Talladega College
Birmingham Museum of Art
June 13, 2015–September 6, 2015
“In 1938 Atlanta-based artist Hale Woodruff was commissioned to paint a series of murals for Talladega College, Alabama, one of the first colleges established for blacks in the United States. Installed in the institution’s newly constructed Savery Library, the six murals portray noteworthy events in the rise of blacks from slavery to freedom. Though he painted the murals for a local audience of students and faculty, Woodruff intended their impact to reach beyond Talladega’s campus.
They attracted national attention. Cultural leaders in the African American community, in particular, championed Woodruff’s murals, adopting the project as a statement of pride and hope for racial equality. Today the murals remain symbols of the centuries-long struggle for civil rights. This project, a collaboration between the High Museum of Art and Talladega College, conserves these works and presents them to a national audience for the first time.”
Nazi Persecution of Homosexuals 1933–1945
Museum of Jewish Heritage
New York, New York
May 29, 2015–October 2, 2015
“Between 1933 and 1945, the Nazi German regime promoted racial health policies that sought to eliminate all sources of biological corruption to its dominant “Aryan” race. Among the groups persecuted as threats to the national health were Germany’s homosexual men. Believing them to be carriers of a “degeneracy” that weakened society and hindered population growth, the Nazi state arrested and incarcerated in prisons and concentration camps tens of thousands of German men as a means of terrorizing them into social conformity.
This exhibition examines the Nazi regime’s attempt to eradicate homosexuality. The Nazis’ efforts left thousands dead and shattered the lives of many more.”
Baye Fall: Roots in Spirituality, Fashion, and Resistance
Museum of Contemporary African Diasporan
Brooklyn, New York
June 18, 2015–September 27, 2015
“Baye Fall: Roots in Spirituality, Fashion, and Resistance is a photographic series that visually engages the Baye Fall, an enterprising sub-group of Senegal’s notable Sufi Muslim community, the Mourides. These images encourage viewers to contemplate Sufism in a West African context by exploring the community’s reverence for Baye Fall’s founder and leader, Cheikh Amadou Bamba, and his most celebrated disciple, Ibrahima Fall, the namesake of this suborder.
An integral part of the cultural fabric of Senegalese society, the Baye Fall possess a unique aesthetic that includes ‘locked’ hair, patchwork garments, symphonic chanting and artisanal leather talismans and prayer beads. Gathering after the evening prayer to sing in collectives calleddahrias, their voices gently resonate throughout the shadows of the night. But perhaps the most distinctive aspect of their religious practice is the incorporation of physical labor as a form of worship.
Through witnessing the everyday lives of the Baye Fall, and the Senegalese cities in which they dwell, this series shows how indigenous ideology and pre- and post-colonial politics have influenced the contemporary spiritual practice of the Baye Fall, as well as their social, economic and political philosophies.”
Royals & Regalia: Inside the Palaces of Nigeria’s Monarchs
Recent Photographs by George Osodi
Newark New Jersey
February 25, 2015–August 9, 2015
“Royals & Regalia: Inside the Palaces of Nigeria’s Monarchs presents 40 visually stunning portraits from a new series by acclaimed Nigerian photographer George Osodi. Exhibited for the first time in the U.S., these vibrant color photographs feature the regional rulers of modern-day monarchies throughout the country. They provide audiences with a rare and intimate look inside Nigeria’s palaces and throne rooms, capturing the personalities of the rulers, the splendor of their dress, and the details of their settings. The near life-size photographs will be shown to dramatic effect along with select examples of prestige dress and regalia from the internationally renowned collections of the Newark Museum.”
“The idea behind this project is to travel around this diverse country and go beyond the portraits to explore the subjects’ environments—being the custodians of our cultural heritage and peace makers—exploring their architecture and fashion with the view to showcase and celebrate them and to mirror the country’s great culture through their personalities.”— Photographer George Osodi
Frida Kahlo: Art, Garden, Life
New York Botanical Gardens
New York, New York
May 16, 2015–November 15, 2015
“This blockbuster exhibition is the first to examine Frida Kahlo’s keen appreciation for the beauty and variety of the natural world, as evidenced by her home and garden as well as the complex use of plant imagery in her artwork. Featuring a rare display of more than a dozen original Kahlo paintings and works on paper, this limited six-month engagement also reimagines the iconic artist’s famed garden and studio at the Casa Azul, her lifelong home in Mexico City.
Accompanying events invite visitors to learn about Kahlo’s life and enduring cultural influence through music, lectures, Frida al Fresco evenings, Mexican-inspired shopping and dining experiences, and hands-on art activities for kids. As a complement to your visit, use our new mobile guide to see rare photos and footage, listen to expert commentary, and create your own Frida Selfie to share with friends.”
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.
I’m Paid Less Than My Colleagues. Help!
I’m in the biological sciences at an R1 school and am a relatively new full professor. Recently, I was shown the mean salary for all faculty at this rank within my department. To my surprise, my salary was about 20 percent less than this number. Meanwhile the mean salary for full professors in my department is approximately 6 percent lower than the average provided by the Chronicle’s latest salary report for my university. (Read more from Vitae.)
Havana’s Vital Biennial Was Trumped by a Stifled Voice
The Havana Biennial raised the right questions in a society that continues to define itself, despite a creeping capitalist economy, as seriously socialist. How can a vital art be made for sharing rather than for private ownership? Who is allowed to decide what is art and what is not? And how, in a period that almost everyone acknowledges to be one of transition, do you create an art in progress, an art that can exist in the public realm and reflect the present, without being prematurely monumental? (Read more from the New York Times.)
What do I mean by “against students”? By using this expression I am trying to describe a series of speech acts that consistently position students, or at least specific kinds of students, as a threat to education, free speech, civilization, even life itself. In speaking against students, these speech acts also speak for more or less explicitly articulated sets of values: freedom, reason, education, democracy. Students are failing to reproduce the required norms of conduct. (Read more from the New Inquiry.)
Heartbroken: Seventy-Two USC Alumni Write in Support of Withdrawn MFA Students
More than six-dozen alumni of the Roski School of Art and Design at USC published an open letter supporting the class of MFA students that withdrew from the university in May to protest changes in curriculum, faculty, and funding. “As alumni of the University of Southern California Roski School of Art and Design’s Master of Fine Arts Program,” reads the letter, “we are dismayed to hear that Dean Erica Muhl’s actions and lack of support for the Program have caused the entire graduating class of 2016 to withdraw.” (Read more from the Los Angeles Times.)
Art Teachers “Paid the Same as McDonald’s Workers”
As President Obama announced plans to extend overtime pay to more US workers, many artists and nonprofit organizations are pushing for wage increases, including Andrea Bowers, an artist and senior lecturer at the Otis College of Art and Design. “Faculty are making the same amount as McDonald’s workers,” she says. Instructors are paid per course with a semester-long fee, but this hovers around minimum wage, if the number of hours spent on the course is taken into consideration. (Read more from the Art Newspaper.)
What Startups Can Learn from the Art Market
Although the denizens of Art Basel and the participants in Y Combinator may protest, the process of making art today is essentially identical to the process of making startups. Both the gallery and the incubator are singular spaces specifically designed to do the same thing: maximize volatility and promote creativity within a network of makers, gatekeepers, investors, marketers, and ultimately consumers. Guiding the players at the center is the Curator-Patron—the art dealer or the angel investor/venture capitalist. (Read more from Fast Company.)
The Fine Art of Forgery
In the radiant blue chamber of the ZPrinter 850, a skull is born. An inkjet arm moves across a bed of gypsum powder, depositing a layer of liquid that binds the powder together in the shape of a cranial cross-section. Then the arm sweeps across again, brushing on another thin layer of powder, followed by another layer of liquid, indistinguishable from the first, its imprint as abstract as a coffee stain on a napkin. Watching this process is akin to watching a movie with a slide projector—it’s slow. But after twelve hours and 1,500 layers, a technician will reach into the dust and pull out an impeccably structured replica of a hominid skull. (Read more from the Atlantic.)
Older and on the Market
Searching for employment tends to make people anxious about the ways in which they are different from the typical candidate. One such factor is age, especially if you are older than average on the market. I heard from two readers who had such concerns. One wrote: “A growing number of us earn PhDs post-40, post-50. I’m 58. I’ve been told pointblank not to even think of applying for conventional teaching positions.” (Read more from Vitae.)
Art Journal Open has launched Bookshelf, a new series that asks a simple question: “What are you reading?” Each answer provides a glimpse into the contributor’s personal reading list, from academic publications and artist monographs to novels, memoirs, and travel guides. Two installments have appeared so far: Rebecca M. Brown, associate professor at Johns Hopkins University and incoming editor-in-chief of Art Journal, shares both the physical books on her shelf and the digital books on her Kindle. The Bookshelf of the artist Lenore Chinn is a fascinating mix of theoretical texts, art books, and biographies. To submit your own Bookshelf to Art Journal Open, send a brief description of what you’re reading and why, a list of the titles (including author, publisher, and year of publication), and a photograph of your books to firstname.lastname@example.org.
posted by Christopher Howard — July 02, 2015
ArtHistoryTeachingResources.org recently received a grant from The Kress Foundation to conduct preliminary research for an e-journal of Scholarship of Teaching and Learning (SoTL) in Art History that will launch in 2016.
We are writing to ask for your help with this initiative by completing a ten-minute survey before July 17.
AHTR is a peer-populated website, committed to experimentation, participation, and fostering community around teaching and learning in art history. The new e-journal Art History Pedagogy and Practice will build on this foundation to engage anyone interested in rigorous scholarship and quality content around pedagogical issues in art history.
This survey aims to identify stakeholders in this project and to make sure the e-journal responds to their needs. The survey will also help clarify the e-journal’s place within the existing landscape of SoTL, art history, and pedagogical research/practice, and help us better understand how a discipline-specific SoTL in art history might provide greater support for research around teaching and learning in the field.
We are distributing the survey to members of the art history and museum communities, but also seek input from university administrators, libraries, teaching/learning centers, academic technologists, and others involved in art history education. Please forward the survey to anyone you think would be willing to offer their feedback. We’re grateful for your time and theirs in helping shape what we hope will be a resource for many. We apologize for any cross-postings you may receive, but know the project will be strengthened by the broadest participation.
Click here to access the on-line survey.
(Survey participants will be eligible to win one of four $50 Amazon gift cards)
If you have questions or want more information about the e-journal initiative, we are in the process of creating an Art History Pedagogy and Practice page on the AHTR website. Immediate inquiries should be sent to email@example.com.
Virginia B. Spivey, Parme Giuntini, Renee McGarry
Project Leaders, Art History Pedagogy and Practice Initiative
Michelle Millar Fisher, Co-Founder and Dean, AHTR
Karen Shelby, Co-Founder and Dean, AHTR
Kathleen Wentrack, Contributing Editor, AHTR