Christopher Taylor reviews the exhibition Marcantonio Raimondi and Raphael (The Whitworth, University of Manchester, UK, September 30, 2016–May 29, 2017) and its accompanying catalogue, Marcantonio Raimondi, Raphael and the Image Multiplied, edited by Edward H. Wouk. Read the full review at caa.reviews.
Mey-Yen Moriuchi discusses Framing Majismo: Art and Royal Identity in Eighteenth-Century Spain by Tara Zanardi. Read the full review at caa.reviews.
Jesse Locker reads Baroque Naples and the Industry of Painting: The World in the Workbench by Christopher R. Marshall. Read the full review at caa.reviews.
Zeynep Yürekli reviews The Shrines of the ‘Alids in Medieval Syria: Sunnis, Shi’is and the Architecture of Coexistence by Stephennie Mulder. Read the full review at caa.reviews.
Each week CAA News summarizes articles, published around the web, that CAA members may find interesting and useful in their professional and creative lives.
In the art world, is sex more controversial than race?
There has been a lot of discussion recently about particular pieces of art that have caused agita for museum administrators, curators, artists and the general public. But what are the real touch points? (Read more from Nylon).
Changing sex and gender?
Artist Nayland Blake’s Gnomen at the New Museum changes sex and gender. (Read more from Hyperallergic).
Hmmm. Can anyone reshape art history?
The sculptor, Ruth Asawa challenges traditional notions of art history. (Read more from The New Yorker).
Engage the humanities faculty for greater career outcome
Figuring out how an education in the humanities can make a career impact. (Read more from Inside Higher Ed).
Building a new rubric for artists
The Emily Hall Tremaine Foundation is looking to build a better rubric for successful artists. And they need our help. (Read more from Artists Thrive).
Art history with your eyes closed
Podcasts to download that will fill your brain with rich images. (Read more from Salon).
posted by CAA — October 10, 2017
CAA is pleased to announce this year’s participants in the CAA-Getty International Program. Now in its seventh year, the international program will bring fifteen new participants and five alumni to the 2018 Annual Conference in Los Angeles, February 21-24. The participants—professors of art history, curators, and artists who teach art history—hail from countries throughout the world, expanding CAA’s growing international membership and contributing to an increasingly diverse community of scholars and ideas. Selected by a jury of CAA members from a highly competitive group of applicants, the grant recipients will receive funding for travel expenses, hotel accommodations, conference registration, CAA membership, and per diems for out-of-pocket expenditures.
At a one-day preconference colloquium, to be held this year at the Getty Center, the fifteen new participants will discuss key issues in the international study of art history together with five CAA-Getty alumni and several CAA members from the United States, who also serve as hosts throughout the conference. The preconference program will delve deeper into subjects discussed during the past year’s CAA-Getty reunion, held at the 2017 Annual Conference, in which twenty alumni presented a series of conference sessions titled “Global Conversations.” Topics include such issues as postcolonial and Eurocentric legacies, interdisciplinary and transnational methodologies, and global trends in museum research and exhibitions.
The inclusion of five alumni is an added feature of this year’s CAA-Getty program. They will provide intellectual links between previous convenings of the international group and this year’s program and also serve as ombudsmen between CAA and the growing community of CAA-Getty alumni. In addition to contributing to the preconference colloquium, the five participating alumni will present a new Global Conversation during the 2018 conference titled Border Crossings: The Migration of Art, People, and Ideas.
The goal of the CAA-Getty International Program is to increase international participation in the organization’s activities, thereby expanding international networks and the exchange of ideas both during and after the conference. CAA currently includes members from 70 countries around the world. The CAA-Getty International Program is made possible with a generous grant from The Getty Foundation.
2018 Participants in the CAA-Getty International Program
John Agberia, Professor, Department of Fine Arts & Design, University of Port Harcourt, Nigeria
Felipe Chaimovich, Chief Curator and Professor, Museo de Arte Moderna de São Paulo Fundação Armando Álvares Penteado, Brazil
Chen Liu, Associate Professor, Tsinghua University, Beijing, China
Thanavi Chotpradit, Lecturer, Silpakorn University, Bangkok, Thailand
Katarzyna Cytlak, postdoctoral researcher, Universidad Nacional de San Martín, Buenos Aires, Argentina
Anna Guseva, Associate Professor, Higher School of Economics, Moscow, Russia
Marketa Hanova, Director of the Collection of Asian Art, The National Gallery in Prague, Czech Republic
Alison Kearney, Lecturer, University of the Witwatersrand (Wits), Johannesburg, South Africa
Natalia Keller, Researcher of the Collection Department, Museo Nacional de Bellas Artes, Santiago, Chile
Hsin-tien Liao, Dean of College of Humanities, National Taiwan University of Arts, New Taipei City, Taiwan
Natalia Moussienko, Leading Research Fellow, Modern Art Research Institute, National Academy of Arts, Kiev, Ukraine
Sandra Krizic Roban, Senior Research Advisor, Institute of Art History, Zagreb, Croatia
Simon Soon, Senior Lecturer, University of Malaya /Malaysia Design Archive, Kuala Lumpur, Malaysia
Romuald Tchibozo, Senior Lecturer, University of Abomey-Calavi, Benin
Sarah Umer, PhD Coordinator/ Assistant Professor, Lahore College for Women University, Pakistan
Cezar Bartholomeu, Assistant Professor, School of Fine Arts, Universidade Federal do Rio de Janeiro, Brazil
Parul Pandya Dhar, Associate Professor, Department of History, University of Delhi, India
Ildikó Fehér, Associate Professor, Hungarian Academy of Fine Arts, Budapest, Hungary
Peju Layiwola, Professor of Art History, Department of Creative Arts University of Lagos, Nigeria
Nomusa Makhubu, Senior Lecturer, Michaelis School of Fine Art, University of Cape Town, South Africa
Catherine Barth visits Walker Evans: Depth of Field at the High Museum of Art in Atlanta, which was on view from June 11–September 11, 2016. Read the review at caa.reviews.
Gerhard Lutz reviews Musealisierung mittelalterlicher Kunst: Anlässe, Ansätze, Ansprüche edited by Wolfgang Brückle, Pierre Alain Mariaux, and Daniela Mondini. Read the review at caa.reviews.
Kris Paulsen discusses Artificial Darkness: An Obscure History of Modern Art and Media by Noam M. Elcott. Read the review at caa.reviews.
Stijn Bussels reads French Visual Culture and the Making of Medieval Theater by Laura Weigert. Read the review at caa.reviews.
Wendy Bellion reviews The American School: Artists and Status in the Late Colonial and Early National Era by Susan Rather. Read the review at caa.reviews.
We recently announced new membership levels and new benefits for our CAA members, and we wanted to pull out one new benefit for highlighting because we think it’s really helpful, and kind of a big deal.
Lynda.com purchases are nonrefundable and limited to one per CAA member. Please allow up to two business days to receive confirmation email from Lynda.com for access.
Each month, CAA’s Committee on Women in the Arts selects the best in feminist art and scholarship.
October 22, 2017–January 14, 2018
Denver Art Museum
100 W 14th Avenue Pkwy
Her Paris: Women Artists in the Age of Impressionism features works created by women in Paris from 1850 to 1900, including well-known artists Berthe Morisot, Mary Cassatt, and Rosa Bonheur, to lesser-known painters such as Anna Ancher and Paula Modersohn-Becker.
At a time of great cultural change, women were barred from attending the Ecole des Beaux-Arts, and it was socially unacceptable for a woman to be unaccompanied in public spaces. The exhibition at the Denver Art Museum traces “how, despite societal challenges women embraced their artistic aspirations and helped create an alternative system that included attending private academies, exhibiting independently, and forming their own organizations, such as the influential Union des Femmes Peintres et Sculpteurs.”
Her Paris is organized by the American Federation of Arts, curated by Laurence Madeline, independent curator and formerly chief curator of Fine Arts at the Musée d’art et d’histoire in Geneva, and curated locally by Angelica Daneo, curator of painting and sculpture at the DAM. Following its run at the DAM, it will travel to The Speed Art Museum in Louisville, Kentucky (February 17–May 13, 2018), and to its final destination at the Clark Art Institute in Williamstown, Massachusetts (June 6–September 3, 2018).
Sobey Art Award Exhibition
October 24–December 9, 2017
Art Museum at the University of Toronto
University of Toronto Art Center
15 King’s College Circle
The winner and four finalists for the prestigious Sobey Art Award will be on exhibit at the Art Museum at the University of Toronto from October 9 through December 9, 2017. The 2017 finalists for the award, promoting Canadian contemporary art, are Ursula Johnson, Jacynthe Carrier, Bridget Moser, Divya Mehra, and Raymond Boisjoky. The shortlisted artists question and challenge preconceived notions of diversity and identity and performance.
Installation and performance artist Ursula Johnson, of Mi’kmaw First Nation ancestry, often deploys a collaborative process in her place-based performances. “At this time when Canadians are celebrating and challenging the memory of nationhood, Johnson’s work embodies a considered, critical, yet generous lens through which multiple histories and communities may be considered,” juror Sarah Filmore writes.
Finalist Jacynthe Carrier uses photography and video to explore “the different relationships the body has with the environment and ways of conceptualizing and appropriating the land.” Bodies and objects are assembled as intervention in the landscape.
Bridget Moser, selected for the William and Meredith Saunderson Prize for Emerging Artists, hits “all the bewildering emotional registers of internet culture,” writes juror Sarah Robayo Sheridan. “Moser’s singular voice joins a sentinel species of millennial artists alerting audiences to the new paradoxes of commodity culture gone wild, and offers tragicomic remedy in excess of even the most bombastic late night infomercial.”
“Divya Mehra’s work is an astute example of how art can destabilize our collective and individual perceptions about race and gender,” Jenifer Paparo writes. Mehra explores diasporic identities, racialization, otherness and the construct of ‘diversity’ through a variety of mediums, addressing the effects of colonization and institutional racism re-contextualizing references found in hip hop, literature and current affairs.
The fifth finalist, Indigenous artist of Haida descent, Raymond Boisjoly’s practice “concerns the deployment of images, objects and materials, in and as, Indigenous art, using a reflexive approach to foreground the discourses that frame and delimit the work produced by Indigenous artists.” Boisjoly works in various media, from photography to installation, murals and video.
Revolution and Ritual: The Photographs of Sara Castrejón, Graciela Iturbide, and Tatiana Parcero
August 26, 2017–January 7, 2018
Ruth Chandler Williamson Gallery
251 E. Eleventh Street
Celebrating three Mexican woman photographers, Revolution and Ritual features work by Sarah Castrejón, Graciela Iturbide, and Tatiana Pacero. Through the work of the three women, the exhibit explores notions of Mexican identity and considers how photography has been transformed over the past century in Mexico and “responds to the artists’ interest in representing present and past, self and other.”
From documentary photography to more poetic photography, the women in the exhibition explore themes of war, indigenous culture, body and self. Castrejón’s images portray people under the intense pressure of war during the Mexican revolution, while Iturbide’s images reflect the daily life of Mexican Indigenous cultures, and Pacero places herself within the frame through self portraits that “incorporate spliced images of her body with cosmological maps and Aztec codices.
The exhibit is accompanied by a catalog with essays Latin American photography scholars John Mraz, Marta Dahó, and Esther Gabara. Revolution and Ritual is a part of Pacific Standard Time: LA/LA, exploring Latin American and Latino art in dialogue with Los Angeles.
Roots of “The Dinner Party”: History in the Making
October 20, 2017–March 4, 2018
Brooklyn Museum of Art
200 Eastern Parkway
Judy Chicago’s Dinner Party has been a touchstone for feminist thinking about representation, research, and the politics of identity in art history (and history, broadly conceived). Ten years ago the Elizabeth A Sackler Center for Feminist Art opened in the Brooklyn Museum; a triangular gallery, its centerpiece was, and remains, The Dinner Party. This has no doubt been a challenge for the Center’s curator, Catherine Morris—to know that any exhibition will alaways be read in dialogue with Chicago’s monumental work. Yet for an exhibition like this, the gallery’s organization is a boon. This exhibition plumbs Chicago’s process and the processes of her collaborators. Test plates, notebooks, preperatory drawings, and research documents that will be on display attest to the staggering amount of research and prototyping that went into creating The Dinner Party, a work that does its political work– visiblizing women’s contributions to art, science, myth, and all the rest.
Roots of “The Dinner Party”: History in the Making is part of A Year of Yes: Reimagining Feminism at the Brooklyn Museum, a yearlong series of exhibitions celebrating the 10th anniversary of the Elizabeth A. Sackler Center for Feminist Art.
Laura Aguilar: Show and Tell
September 16, 2017–February 10, 2018
Vincent Price Art Museum
1301 Avenida Cesar Chavez
Los Angeles, CA
This exhibition provides the first opportunity to view a diverse sampling from photographer Laura Aguilar’s complex and rich oeuvre. Raised in the San Gabriel Valley, where her family traces its roots back generations, Aguilar was dogged in using her camera to render herself and her various communities visible. You see this in the touching portraits of the women who populated the Plush Pony, a working-class Chicana/Latina lesbian bar. Or in the series “Latina Lesbians” series, wherein Aguilar’s subjects have added their own handwritten words to their portraits. Throughout the show one can follow the various ways Aguilar deploys her own body in her photographs—as bounded to national and ethnic lines of identification, as the repository for the unruly affects of depression, as something solid like a boulder. In one self portrait Aguilar stand between two small table-top displays of toys and catholic ephemera. A Pee-Wee Herman doll shares space with the Virgen de Guadalupe. These heterogenous objects, bespeaking both spirituality and pop culture, are emblematic of just a couple of the many thematics that can be drawn out from this remarkable retrospective.
The exhibition is accompanied by a catalog that is equally impressive, containing essays by: Mei Valenzuela, Christopher A. Velasco, Deborah Cullen, Amelia Jones, James Estrella, Tracy M. Zuniga, Stefanie Snider, Macarena Gómez-Barris, and Sybil Venegas, the curator of Laura Aguilar: Show and Tell and Aguilar’s former mentor.
Each week CAA News summarizes articles, published around the web, that CAA members may find interesting and useful in their professional and creative lives.
Museums Collecting Contemporary History
As history unfolds in the present, curators at institutions such as the National Museum of African American History and Culture in Washington, DC, are committed to collecting and preserving materials from protests, marches, and other important cultural movements immediately. (Read more from The New York Times).
Bilingual Art Spaces in Los Angeles
Museums and galleries in Los Angeles work to become inclusive, bilingual environments, through creating programming, tours, wall text, and more in both Spanish and English. (Read more from The Guardian).
Be a Medici in 2017 (Virtually!)
ARTé: Mecenas is a new video game from Triseum where you play as a member of the Medici family in Renaissance Florence. This educational game was created to address the needs of the Texas A&M University’s art history department as a creative way to teach students about Renaissance art and patronage. (Read more from Hyperallergic).
Proposed Tax Plan and the Art World
Art world experts weigh in on what President Trump’s proposed tax reform plan would mean for the art market and museums if it is passed in Congress. (Read more from artnet).
Crowdfunding a Museum’s New Gallery
Horniman Museum and Gardens in London looks to crowdsourcing to fund the creation of the World Gallery, which will create space to display 3,000 anthropological objects that are currently in the museum’s storage. (Read more from The Art Newspaper).
A Close Look at the Archives
James Somers visits the New York Public Library’s archives, speaking with the archivists who work there. (Read more from The Village Voice).
A New Saint Laurent Museum
Fondation Pierre Bergé–Yves Saint Laurent opens in Paris: a new museum dedicated to the work of the influential fashion designer, Yves Saint Laurent, where visitors can visit a recreation of Saint Laurent’s studio. (Read more from Blouin Artinfo).
Art History Podcasts
Searching for something new to listen to? Salon recommends fourteen podcasts that cover art and art history. (Read more from Salon).
posted by CAA — October 03, 2017
Submit to Art Journal Open
CAA invites submissions and proposals of artists’ projects, essays, conversations, and more to Art Journal Open, an open-access, independently edited, peer reviewed web journal that provides an agile counterpart to the quarterly Art Journal. Art Journal Open publishes original content by artists, scholars, teachers, archivists, curators, critics, and other cultural producers and commentators, with the commitment to foster new intellectual exchanges. Contributions focus on post-1945 material with an emphasis on the contemporary, although topics from throughout the twentieth-century may be considered. As an online publication, Art Journal Open prioritizes material that makes meaningful use of the web, such as multimedia formats and techniques. Rebecca K. Uchill serves as web editor of Art Journal Open, which publishes on a rolling basis.
Please send your submission to Uchill at firstname.lastname@example.org. Articles should be accompanied by images or time-based media elements that are to be published with the text; artists’ projects should also include the visual or multimedia material intended for publication. For proposals, please include a one-page written description and sample images. Full submission instructions can be found on Art Journal Open.