How a Female-Led Art Restoration Movement in Florence Is Reshaping the Canon
Visiting Florence 12 years go, American philanthropist Jane Fortune asked: “Where are the women?” (artnet News)
Where Historians Work: An Interactive Database of History PhD Career Outcomes
Where Historians Work is an interactive, online database that catalogues the career outcomes of the 8,515 historians who earned PhDs at US universities from 2004 and 2013. (American Historical Association)
Rate My Professors Ditches Its Chili Pepper “Hotness” Rating
“Life is hard enough for female professors. Your ‘chili pepper’ rating of our ‘hotness’ is obnoxious and utterly irrelevant to our teaching. Please remove it because #TimesUp and you need to do better.” (Inside Higher Ed)
What College Presidents Make
A look at the latest data on compensation for more than 1,400 chief executives at private colleges and public universities. (Chronicle of Higher Education)
The Symbols of Prejudice Hidden in Medieval Art
An exhibition at the Morgan Library & Museum suggests that our view of monsters was never black-and-white. (Artsy)
Explore Humanities Projects Across the US
Using the National Humanities Alliance’s new resource, you can search and filter over 1,400 publicly engaged humanities projects in universities and colleges nationwide. (National Humanities Alliance)
Affiliated Society News shares the new and exciting things CAA’s affiliated organizations are working on including activities, awards, publications, conferences, and exhibitions. For more information on Affiliated Societies, click here.
Art Historians Interested in Pedagogy and Technology (AHPT)
AHPT (Art Historians Interested in Pedagogy and Technology) has been an affiliate society since the 1990s and enjoyed a re-enlivened period from 2011-17. The aim of the Society was to provide a platform for teaching Art Historians to learn about and engage with new technologies that would enhance their pedagogy. Since the turn of the millennium, those of us who teach Art History have engaged deeply with multiple technologies. Particularly at CAA sessions, the Society has worked to have stimulating and educational presentations and workshops ranging in topics such as pedagogical philosophy and use of museum collections to hands-on opportunities to work directly with tools such as Voice-thread, Twitter, and OMEKA. As we continue to use and explore ever-evolving options for technological innovation within the field of Art History, the Society has noticed a trend toward self-training in new tech, and very little interest in the Society. Although CAA sessions have been popular and stimulating, there are many such sessions being offered by other groups and individuals, and thus the time for AHPT to dissolve is at hand. We are pleased to see the work of AHTR (Art History Teaching Resources) which continues to focus on teaching and learning, and so we point those of you also interested in these topics to spend some time on their website and look out for their sponsored sessions. Thank you so much for your support and interest in AHPT and hope to see you in New York in February! -Sarah J. Scott, AHPT President
Alliance for the Arts in Research Universities (a2ru)
Announcing Decipher, a hands-on design research conference at University of Michigan / Stamps in partnership with the AIGA Design Educators Community and the new DARIA Network (Design as Research in the Americas). The event will address crucial themes of defining, doing, disseminating, supporting, and teaching design research.
Design educators and practitioners from all disciplines are encouraged to submit. There are also opportunities to engage as submission reviewers and for students to serve as conference volunteers. Learn more.
a2ru Circuits Webinar: Impacts Arts-Integrative and Interdisciplinary Practices on Research Universities
Wednesday, July 18, 2018
Description: What are the roles and impacts of the arts, design, and interdisciplinary practice on teaching, research, and engagement in research universities? How do they impact students? Faculty? The community? Individual disciplines? What about the products and practices that emerge from the studio, the laboratory, and the community?
In a webinar on July 18, 2018, the a2ru research team will present a high-level overview of findings, including our synthesis of the results of over 300 interviews with faculty and academic leadership at over 38 research universities. We will also discuss resources for case-making, next-steps in our research process, and we’ll conclude by fielding questions and insights from participants.
This webinar will be recorded and posted on the a2ru website along with transcript following the session. More info at a2ru.org.
Association for Latin American Art
ALAA-Arvey Foundation Exhibition Catalogue Award
ALAA is pleased to announce its first annual ALAA-Arvey Foundation Exhibition Catalogue Award. The award will be presented to the lead author or authors of an especially distinguished exhibition catalogue of Latin American or Latinx art, from the Pre-Columbian era to the present, published under the auspices of a museum, library, or collection. The award is generously funded by the Arvey Foundation and consists of a $1,000 honorarium. We will present the award at the CAA annual meeting in February 2019. The name of the recipient(s) will appear in the newsletters of both ALAA and CAA.
For the February 2019 Award, we will evaluate exhibition catalogues on Latin American or Latinx art from the Pre-Columbian era to the present that meet the following criteria:
- Publication date between September 1, 2017 and August 31, 2018.
- Catalogues may be written in English, Spanish, or Portuguese.
- Single or multi-authored exhibition catalogues with a substantive text that advances art historical knowledge will be considered
- A three-person committee of accomplished art historians and curators, each with expertise in a wide geographical and temporal range, will evaluate the entries.
Publishers, authors, and others must contact the chair of the ALAA exhibition catalogue award committee by October 1, 2018 to verify whether a prospective entry is eligible for the competition according to the above criteria. Please include the following information: Title, author(s), and a general description of subject. If the catalogue appears eligible, the committee Chair will provide mailing addresses for all three committee members. Copies of catalogues are to be sent directly to each, and can be sent at any time over the summer but must be received no later than November 15, 2018.
ALAA Article Prize
The Association for Latin American Art, an affiliate of the College Art Association, announces its First Annual Article Prize for a distinguished scholarly article on any aspect of Latin American/Latinx art, architecture, or visual culture, of any period from the Pre-Columbian era to the present, published in a peer reviewed journal, edited volume, or exhibition catalogue during the previous year. The award consists a $500 honorarium and will be presented at the ALAA business meeting at the annual meeting of the College Art Association in February 2019. The name of the recipient will appear in the newsletters of both ALAA and CAA.
For the February 2019 Award, we will evaluate articles that meet the following criteria:
- Publication date between September 1, 2017 and August 31, 2018.
- Essays may be written in English, Spanish, or Portuguese.
Essays will be evaluated by a three-person committee of accomplished art historians, each with expertise in a wide geographical and temporal range. For consideration, authors should send their articles as a pdf to the Chair of the ALAA article prize committee, Carolyn Dean email@example.com, no later than November 15, 2018. Peer nominations will also be accepted.
ALAA Annual Margaret Arvey Book Award
The Association of Latin American Art, an affiliate of the College Art Association, announces its Eighteenth Annual Book Award for the best scholarly book published on the art of Latin America from the Pre-Columbian era to the present. The award is generously funded by the Arvey Foundation and consists of a citation and a $1,000 honorarium. We will present the award at the annual meeting of the College Art Association in New York in February 2019. The name of the recipient will appear in the newsletters of both ALAA and CAA.
For the February 2019 Award, we will evaluate books on Latin American Art from Pre-Columbian to the present that meet the following criteria:
- Publication date between September 1, 2017 and August 31, 2018.
- Books may be written in English, Spanish, or Portuguese.
- Books may have one or more authors
The books will be evaluated by a three-person committee of accomplished art historians, each with expertise in a wide geographical and temporal range (Cynthia Kristan-Graham, Michael Schreffler, and Claudia Calirman). Publishers, authors, and others must contact Cynthia Kristan-Graham by October 1, 2018, to verify whether a prospective entry is eligible for the competition according to the above criteria. Please include the following information: Title, author(s), and a general description of subject. If the book appears eligible, she will provide mailing addresses for all three committee members. Copies of books are to be sent directly to each, and can be sent at any time over the summer but must be received no later than November 15, 2018.
Questions may be addressed to Dr. Cynthia Kristan-Graham, 589 Deer Run Rd., Auburn, AL 36832 or firstname.lastname@example.org.
ALAA Graduate Student Travel Award
We are pleased to announce the annual ALAA Graduate Student Travel Award. The award, generously funded by former ALAA president Patricia Sarro, will provide $500 toward expenses related to attending the CAA annual conference, ALAA business meeting, and ALAA sponsored sessions. Funds may be put towards hotel costs, registration, or airfare/ground travel. The awardee need not be presenting (although presenters are encouraged to apply), but should demonstrate a specific need to attend sessions or visit archives in the conference city. To apply, please send a letter of interest, including your current research area, name of your university, program, advisor, and specific purpose for attending to the conference by email to Michele Greet (email@example.com) by October 31. The awardee will be selected by the executive committee and will be notified of his/her acceptance by November 15. Funds will be paid upon receipt of the award, but awardee must submit receipts to ALAA verifying that funds have gone toward conference expenses (within 2 weeks of returning from the conference). The awardee is also expected attend the ALAA business meeting at the conference where he/she will be recognized as an award recipient. The awardee will also receive one year of complimentary ALAA membership.
Association for Modern and Contemporary Art of the Arab World, Iran, and Turkey (AMCA)
AKPIA@MIT | A Conversation on Modern Art in the Arab World and its Documents: Thursday, May 24, 2018
AMCA founding members Anneka Lenssen, Sarah Rogers and Nada Shabout held a conversation at MIT celebrating the launch of their new edited volume Modern Art in the Arab World: Primary Documents (2018). The event took place on Thursday, May 24, 2018 with a roundtable discussion moderated by AKPIA students Sarah Rifky and Suheyla Takesh.
Modern Art in the Arab World: Primary Documents (2018)–an anthology of translated art writing by artists and intellectuals in the Arab world of the twentieth century–offers an unparalleled resource for the study of modernism. Many of the published texts are appearing for the first time in English, and include manifestos, essays, discussion transcripts, diary entries and letters. The book is the eighth volume in The Museum of Modern Art’s Primary Documents series, which offers access to essential documents for the study of global modernism. This edition, includes sixteen new entries, by the editors and other scholars, and a new essay by the historian and Arab-studies scholar Ussama Makdisi providing a historical overview of the region’s intertwined political and cultural developments in the twentieth century.
During this event, the editors discussed how this project came about, the intricacies and challenges of the creating this archive, the challenges of organizing, selecting and contextualizing the material included in the book, and more broadly what bearings this project has on new histories of global modernism under construction.
Anneka Lenssen is Assistant Professor of Global Modern Art, at UC-Berkeley. She received her PhD in 2014 from the History, Theory, Criticism program and Aga Khan Program for Islamic Architecture at MIT. Her current book project, Beautiful Agitation: Modern Painting in Syria and the Arab East, is a study of avant-garde painting and the making of Syria as a contested territory between 1920 and 1970.
Sarah Rogers is an independent scholar. She earned her PhD in 2008 from the History, Theory and Criticism program, where she wrote her dissertation “Post-war Art and the Historical Roots of Beirut’s Cosmopolitanism.” She is a founding member of the Association for Modern and Contemporary Art of the Arab World, Iran and Turkey (AMCA) and is currently editing a collection of essays on the Khalid Shoman Private Collection.
Nada Shabout is a Professor of Art History and the Coordinator of the Contemporary Arab and Muslim Cultural Studies Initiative (CAMSCI) at the University of North Texas. She is author of Modern Arab Art: Formation of Arab Aesthetics (2007) and the founding president of the Association of Modern and Contemporary Art of the Arab World, Iran and Turkey (AMCA), and has served as Consulting Director of Research at Mathaf: Arab Museum of Modern Art, Doha. She has curated a number of exhibition including the inaugural show Sajjil: A Century of Modern Art, at Mathaf, in Doha in 2010.
Association for Textual Scholarship of Art History (ATSAH)
ATSAH Members Publications 2018
Sarah Lippert, University of Michigan at Flint
Space and Time in Artistic Practice and Aesthetics; The Legacy of Gotthold Ephraim Lessing (IB Tauris 2017).
Sarah Lippert, University of Michigan at Flint
Artistic Responses to Travel in the Western Tradition (Routledge 2018)
Sara Nair James, Professor of Art History, emerita, Mary Baldwin University
“Wit and Humor in Ugolino di Prete Ilario’s Life of the Virgin at Orvieto,” Source: Notes in the History of Art vol 36, no.3-4 (Spring/Summer 2017): 159-167.
Liana De Girolami Cheney, President of ATSAH, “Camillo Camilli’s Imprese for the Academies,” Journal of Literature and Art Studies Vol. 8. No. 4 April 2018): 589-613
Liana De Girolami Cheney, President of ATSAH, “Galileo Galilei’s Tomb in Santa Croce: Art and Science,” in Imagining Other Worlds: Explorations in Astronomy and Culture, eds. Nicholas Champion and Chris Impey (Bath, UK: INSAPIX and Sophia Center Press, 2018): 60-75.
Liana De Girolami Cheney, President of ATSAH, “Giorgio Vasari’s Planetary Journey,” in Artistic Responses to Travel in the Western Tradition, ed. Sarah Lippert (New York: Routledge 2018):156-169.
Andrzej Piotrowski, University of Minnesota
The Routledge Companion to Contemporary Architectural History (New York: Routledge, 2018).
Damiano Acciarino, Lettere sulle grotteschi: 1580-1581. Collana di Storia Dell’Arte Moderna, 2. Rome: Aracne, 2018.
ATSAH Award for Students and Scholars
In commemoration of our 30th anniversary, ATSAH plans to offer two awards: one prize for the best article by an emerging scholar (no higher than Associate level). The topic may range from classical to Pre-Raphaelite art, reflecting the aims of ATSAH. The second is a small travel grant for junior scholar presenting a paper an ATSAH session.
The board of ATSAH selects these awards.
For further data, contact:
Liana Cheney, PhD, President of ATSAH,
Historians of Netherlandish Art (HNA)
HNA welcomed 250 participants for the ninth quadrennial HNA Conference held in Ghent, Belgium, May 23-26, 2018. HNA will move to a triennial format going forward, with the next conferences in 2021 and 2024. Please visit our HNA Conference webpage for more information: https://hnanews.org/news/opportunities/hna-conference/
The editors of JHNA are pleased to announce that the Samuel H. Kress Foundation has awarded the journal a grant to underwrite the costs of publishing a digital project in the next year. The project in question is Melanie Gifford’s “The Fall of Phaeton in the evolution of Peter Paul Rubens.” Melanie is Research Conservator for Painting Technology at the National Gallery of Art, Washington. Her project uses high-resolution zoomable images and interactive paint sample analysis to illustrate her discovery of two distinct campaigns of revision by the artist in The Fall of Phaeton. This new information has important implications for our understanding of the artist’s evolution: we see how he continued to engage critically with his experience in Italy (1600-1609) after he had returned to Antwerp, and we observe his creative process as he moved between paintings and rethought the efficacy of his compositions.
Articles can be submitted to JHNA at any time. Please see the following link: https://jhna.org/submissions/
CFP RSA 2019 Toronto
Netherlandish Art and Artists in Spain, 1400-1600
HNA invites papers to be presented at the annual meeting of the Renaissance Society of America (RSA) in Toronto that explore one of the many aspects of Netherlandish-Spanish artistic relationships, with a particular focus on the artists and works of art that were, at least once, physically situated in Spain.
Click here to see the CFP.
American Society for Aesthetics
The American Society for Aesthetics is pleased to announce its 76th Annual Meeting, October 10-13, 2018, in Toronto, Ontario, Canada. The meeting features dozens of sessions with papers, commentators, and panels on the arts. Toronto artist, Ilene Sova, will be the featured Danto speaker, speaking on Friday evening on “The Missing Women Project: Portraits as a Site of Community Impact.”
For more information on the meeting, please see our web site, with complete schedule, abstracts, and information on how to register.
The American Society for Aesthetics was founded in 1942 to promote study, research, discussion, and publication in aesthetics. “Aesthetics” is understood to include all studies of the arts and related experiences from a philosophic, scientific, or other theoretical standpoint, including those of psychology, sociology, anthropology, cultural history, art criticism, and education. We welcome work from all perspectives, including “analytic” and “continental” approaches. The ASA publishes the Journal of Aesthetics and Art Criticism and the ASA Newsletter. Both publications are free to members.
Visit our web site to learn more about us: http://aesthetics-online.org/
Join our Facebook page: https://www.facebook.com/groups/7399905817/
Follow us on Twitter: @ASA_aesthetic
Association of Academic Museums & Galleries (AAMG)
Close to 400 academic museum and gallery professionals attended the 2018 AAMG UMAC Annual Conference in Miami, Florida from June 21-24, 2018. Many thanks to all who attended, presented, and supported our program this year. We hope to announce our 2019 venue within the next few months. Stay tuned!
Society of Architectural Historians (SAH)
Travel to Cuba with architect Belmont Freeman, FAIA, December 1-14, for the 2018 SAH Field Seminar and enjoy an ambitious immersion in the architecture, urbanism, and landscape of the country, covering territory from Havana in the west to Guantánamo, Cuba’s eastern-most province.
The first five days will concentrate on the capital city of Havana and its environs, examining the colonial architecture of the old city, early and mid-century modernism, and the radical avant-garde of the post-revolution period. The second week will take us on an overland journey through a string of historic cities—and beautiful countryside—ending in Santiago de Cuba, Cuba’s #2 city and very Caribbean counterpart to cosmopolitan Havana.
Travel to Cuba, and to Havana in particular, has in recent years become easier for Americans. This tour, therefore, is designed to take SAH members away from tourist centers and to places that they would be unlikely to visit on their own.
An SAH Study Program Fellowship is available for a graduate student or emerging scholar to participate in the tour. The application deadline is Friday, August 3.
Space is limited. The registration deadline is Friday, August 3.
Community College Professors of Art and Art History (CCPAAH)
The Community College Professors of Art and Art History have two opportunities to submit presentations for our conference panels next year. Please consider submitting to our session at the 2019 College Art Association Conference in New York. See page 11 for our session, Collaborations in and out of the Classroom: New Ideas and Interdisciplinary Approaches in the CAA Call for Participation: http://www.collegeart.org/pdf/programs/conference/CAA-CFP-2019.pdf
We will also have an opportunity to submit for our panel at the FATE (Foundations in Art Theory and Education) Conference in Cincinnati next spring. Watch the FATE website https://www.foundations-art.org/conferences for more information about the CCPAAH Session and the details for submissions. For more information contact Susan Altman, firstname.lastname@example.org and submit for CAA by August 6 to: Saltman@middlesexcc.edu
International Sculpture Center
Registration is open now for the 28th ISC Conference: Defining Moments in the Face of Change, and is available to ISC members, non-members, students, and all those with an interest in sculpture. The conference will include keynote speaker, Doris Salcedo, as well as engaging panel discussions, networking events, and exciting tours, & optional activities. https://sculpture.org/philly2018/
The ISC’s Cultural Arts Tour is taking an intimate group of contemporary art enthusiasts to the elusive island of Cuba. Through the help of a local guide, access to artist’s studios, and private museum tours, our attendees will immerse themselves in the color and culture of Cuba. Learn more at https://www.sculpture.org/cultural-tours/cuba
SECAC awards two $5,000 prizes annually to members: The Artist’s Fellowship, awarded for work on a specific project, and the William R. Levin Award for Research in the History of Art, for work on a publication. Artist’s Fellowship entries must be submitted by August 14, 2018, at https://secac.secure-platform.com/a/solicitations/home/3; the Levin Award entries must be submitted by August 31, 2018. For more information see secacart.org, Awards.
SECAC invites individual paper proposals for the SECAC at CAA 2019 session, Below the Mason-Dixon Line: Artists and Historians Considering the South. To be considered please submit the following materials to the session chair Rachel Stephens at email@example.com, by July 27: proposal form http://www.collegeart.org/pdf/programs/conference/CAA-CFP-2019.pdf, abstract, brief statement of expertise, and shortened CV. Accepted participants must be members of both SECAC and CAA.
Session abstract: From the eighteenth-century onward artists have turned their attention to sites and scenes of the American South. In the years before the Civil War, southern art tended to glorify the plantation while striving to maintain the social order. Stereotypes initiated during the antebellum period continued unabated post-war. Many of these continue in various forms today. This session invites papers by both artists and scholars whose work investigates the rich history of the American South. Papers considering any medium will be considered.
The 74th Annual SECAC Conference, hosted by the University of Alabama at Birmingham, will be held October 17 through 20, 2018. Offsite events include a keynote address by Andrew Freear of Auburn University’s Rural Studio and a reception to view the exhibition Third Space/Shifting Conversations about Contemporary Art at the Birmingham Museum of Art, and the annual SECAC Artist’s Fellowship and Juried Exhibitions’ reception at will be held at UAB’s Abroms-Engel Institute for the Visual Arts. Conference registration opens August 1.
The International Art Market Studies Association (TIAMSA)
The conference “ART FOR ALL PEOPLE? QUESTIONING THE DEMOCRATIZATION OF THE ART MARKET” takes place in Vienna, Austria, 27-29 Sept 2019.
TIAMSA members go FREE, non-members fees are € 30 / 15 (concessions).
The conference has an exciting pre-program on Thu 27 with a tour of viennacontemporary art fair or an insider’s tour to the archive of the Belvedere Research Center.
We look forward to seeing you there!
Foundations in Art: Theory and Education (FATE) News
Coming up in July: Submit your paper proposals for panels and workshops! FATE’s 17th Biennial Conference, “Foundations in Flux,” will be hosted by Columbus College of Art & Design in Columbus, Ohio on April 4th-6th, 2019. http://www.foundations-art.org/conferences
Positive Space is FATE’s bi-monthly podcast providing opportunities for those passionate about art foundations to discuss and promote excellence in the development and teaching of college level foundations in art & design studio and history classes.
Episode 33 [ 6.27.18 ] Positive Space sits down with Anthony Watkins, Associate Professor of Graphic Design at Sam Houston State University. Watkins discusses foundations effect on Graphic Design, teaching professionalism in his field and inspirations for students.
Episode 32 [ 6.13.18 ] Positive Space speaks with Michael Marks, Associate Professor of Art and Foundations Program Coordinator at the South Carolina School of the Arts at Anderson University. Michael discusses the foundations program at Anderson University and the release of FATE in Review.
Episode 31 [ 5.23.18 ] In this episode Positive Space speaks with Jesse Payne, Head of the Drawing Studio and Assistant Professor in the Art & Design Foundations Department at Virginia Commonwealth University, based in Doha, Qatar. Mr. Payne discusses the opportunities created teaching at an international university.
If you have podcast ideas, contact us! Positive Space has a phone number: 904-990-FATE. Give us a call & record a message today or visit: http://www.foundations-art.org/positive-space-podcast
Join us September 14-15, 2018, for a Regional FATE Conference at the University of Central Florida in Orlando, Florida for a symposium to share your new and developing pedagogical approaches, curriculum, and projects. This will provide the unique opportunity to hear fellow art colleagues share their experiments, successes, and failures and how they will continue to change in the future. https://www.foundations-art.org/regional-events
International Association of Art Critics (AICA-USA)
Announcing the AICA-USA Irving Sandler Award for Distinguished Art Criticism
The American chapter of the International Association of Art Critics (AICA-USA) is pleased to announce the establishment of the AICA-USA Irving Sandler Award for Distinguished Art Criticism.
As an organization devoted to serving art writers and critics, we are committed to promoting and honoring excellence in young art critics. At a time when the very role and value of art criticism are in question, we look for guidance and inspiration to esteemed art critic and beloved board member and friend, Irving Sandler, who has tirelessly illuminated the role of art, artists and art criticism in the 20th and 21st centuries. AICA-USA will bestow The AICA-USA Irving Sandler Award for Distinguished Art Criticism to a worthy young art critic on an annual basis.
This award marks a continuation of AICA-USA’s dedication to young critics and to excellence in art writing, exemplified by its existing programs: The Young Art Critics Mentoring Program, organized in partnership with the Cue Art Foundation; the Art Writing Workshop, a partnership with the Creative Capital | Warhol Foundation Arts Writers Grant Program; and the annual Distinguished Critic Lecture, hosted in collaboration with the Vera List Center for Art and Politics.
The Fellowship Program at Design Incubation
Application deadline: Sept 1, 2018
Fellowship dates: January 10-12, 2019
Location: St. John’s University, Manhattan Campus, 51 Astor Place, New York, NY 10003
Target Audience: Design academics in one or more of the following areas: graphic design, information design, branding, marketing, advertising, typography, web, interaction, film and video, animation, illustration, game design. Full-time tenure track or tenured faculty are given preference but any academic may apply. Applicants who are tenure track or tenured faculty are given first priority but other faculty or independent researchers may apply.
Format: All Fellows accepted into the program participate in the Fellowship Workshop as part of the overall experience. The Fellowship workshops offers participants the opportunity to share and develop ideas for research and individual writing projects while receiving constructive feedback from faculty mentors and peers in their field.
Fellows arrive with a draft of their writing and work on this specific project throughout the various sessions of the Fellowship Workshop. Each meeting includes a number of short informational sessions and a session devoted to analyzing and editing written work. The remainder of the 3-day workshop will be focused on activities which allow participants to share their projects with peers and receive structured feedback. Between sessions, Fellows will have time to execute revisions, review others participants work, and engage in discussions. Initiation of and work on collaborative projects is encouraged.
For more further details and to apply visit the website:
To apply visit the application details and online form:
For Frequently Asked Questions visit the FAQ page:
Association of Print Scholars (APS)
The Association of Print Scholars (APS) is currently accepting submissions for the upcoming session at the 2019 College Art Association Annual Meeting “Coloring Print: Reproducing Race Through Material, Process, and Language” (New York, 13-16 Feb 2019). Deadline: August 6, 2018.
APS is pleased to award its first annual Collaboration Grant to Self Help Graphics & Art, in order to provide funding for honoraria so that artists may participate in panel discussions related to the organization’s 45th anniversary exhibition, Entre Tinta y Lucha (Between Ink and the Struggle). The APS Collaboration Grant, which carries a $1,000 prize, follows the mission of APS and supports innovative scholarship about printmaking and fostering dialogue among members of the print community. The deadline for the 2019 Collaboration Grant is December 1, 2018.
Rebecca Capua, Associate Paper Conservator at the Sherman Fairchild Center for Works of Art on Paper, The Metropolitan Museum of Art, has been awarded the 2018 Schulman and Bullard Article Prize. Capua’s article, “Japonisme and Japanese Works on Paper: Cross-cultural and hybrid materials” was published in Adapt and Evolve: East Asian Materials and Techniques in Western Conservation. The Schulman and Bullard Article Prize, which carries a $2,000 prize, is generously sponsored by print dealers Susan Schulman and Carolyn Bullard. Following the mission of APS, articles can feature aspects of printmaking across any geographic region and all chronological periods. APS is currently accepting submissions for the 2019 prize until January 31, 2019. Visit our website for more information: https://printscholars.org/
Trump Officials Reverse Obama’s Policy on Affirmative Action in Schools
The Trump administration said last week that it was abandoning Obama administration policies that called on universities to consider race as a factor in diversifying their campuses. (New York Times)
Should the Getty Return Its Famed “Victorious Youth” Statue?
The case demonstrates that the ownership of cultural objects found in international waters remains a murky area of law. (Hyperallergic)
Advice for Artists on How to Make a Living—When Selling Art Doesn’t Pay the Bills
Teaching: A boon or a trojan horse? (Artsy)
Adrian Piper’s Show at MoMA is the Largest Ever for a Living Artist. Why Hasn’t She Seen It?
The conceptual artist’s life and work push against the boundaries of race and identity in America. (New York Times)
Opinion: Why the Supreme Court Ruling on Unions Could Be Good for Adjuncts
Do unions need to shed their historic approach? (Chronicle of Higher Education)
Martha Rosler’s Powerful Collages Are a Wake-Up Call to America
Rosler was ahead of her time when she reconceived the printed matter distributed at marches and protests. (Artsy)
posted by CAA — July 09, 2018
Hosted by CAA-affiliated society Society of Architectural Historians (SAH), SAH Archipedia is an online encyclopedia of US architecture and landscapes that contains peer-reviewed essays, photos, and maps. Since its launch in 2012, SAH Archipedia has grown in scope and the full version now contains nearly 20,000 building histories covering all 50 US states.
Currently, entries for over 3,700 structures are available to the public through the site’s open access counterpart, SAH Archipedia Classic Buildings.
SAH recently announced that SAH Archipedia will be made open access in 2019. Help SAH in this effort by donating before August 31 to secure their NEH matching grant.
CAA’s Committee on Women in the Arts selects the best in feminist art and scholarship to share with CAA members on a monthly basis. See the picks for July below.
May 26—August 18, 2018
Migros Museum für Gegenwartskunst
Teresa Burga: Aleatory Structures, is the first retrospective in Switzerland of this arguably feminist Peruvian conceptualist –a central figure of the 1960s Peruvian avant-garde– whose recent rediscovery has gained her both international recognition and a second wind after a three-decade hiatus from art making. The exhibition brings together a large number of works that range from early paintings, modular sculptures and Pop environments to the drawings and multimedia, often cybernetic, installations which mark the complexity of her conceptualist practice, as well as its silent unfolding while working as a Customs employee when the dictatorship limited the exhibition possibilities of her vanguard proposals. In effect the show captures not only the diversity of her practice but of the ways in which it records and challenges the social realities and power structures of her changing times in Peru both as an artist and a woman.
Burga’s gendered concerns and depersonalized aesthetics coalesced through Pop experimentation with painting collages, objects and environments in a milieu of anti-modernist rebellion that breached the gap of Limanese art and life with ephemeral art environments and happenings. Indeed she positioned herself as a female Pop artist in 1967, devoting her solo exhibition at Cultura y Libertad Gallery to a critical representation of middle-class womanhood—both a testament as well as a feminist critique of the developmentalist euphoria of 1960s Peru. The situation of women in patriarchal society surfaces at another brief moment of hope in Peru, the return to democracy after General Alvarado’s military regime, through her collaboration with psychotherapist Marie-France Cathelat for the radical research-based work for the Perfil de la Mujer Peruana (Profile of the Peruvian Woman), 1980-1 that surveyed anonymously the living conditions of 129 middle-class women living Lima in their twenties about a wide assortment of issues structured along twelve “profiles” (physiological, psychological, social, educational, cultural, religious, professional, economic, etc). Between these two landmarks, Burga’s representation of women underwent transformations textured by the conceptualist turn of her work before and after her graduate studies at the School of the Art Institute of Chicago (1968-1970), as manifested by her now celebrated multimedia self-representation Autorretrato. Estructura. Informe. 9.6.72. (Self-Portrait, Structure, Report, 9.6.72), 1972 through which Burga combined her critique of subjectivity and systems of representation, making the body matter for a critical exposure and ground for escaping its biopolitical control.
April 6—August 11, 2018
Pulitzer Arts Foundation
3716 Washington Boulevard
St. Louis, MO 63108
Originating from the Menil Foundation and bringing more than 30 major works from European and US collection, this is the first large-scale solo exhibition in the US in 20 years of the celebrated London-based Palestinian artist Mona Hatoum.
Merging the languages of Minimalism and Surrealism, through a feminist lens, while having experimented with a variety of media that range from performance to film, Hatoum is istinguished for a potent sculptural and installation vocabulary that–drawing often from everyday domestic objects and engendering conflicting emotions of fear/revulsion and attraction/fascination–critically investigates ideas of home and displacement, while engaging with conditions of timely global instability and political upheaval, as well as timeless human questions.
May 17—October 14, 2018
Reina Sofia, Palacio de Cristal
Paseo República de Cuba,
Large forms remeniscent of prosthetics and cartilagenous body parts lie scattered inside Madrid’s Crystal Palace, a 19th century iron and glass paean to industrialized progress. Made by Nary Baghramian, these sculptures complement the rigid organicism and transparency of their architectural setting. Trussed to columns and hugging the walls, Baghramian’s installation emphasizes contingency—the body supported, and molded by its surrounds. Born in Isfahan, Iran, the artist’s work has, in the past, focused on “the political implications of interior design,” pointing out that both women and gay men were made to culturally demur from the realm of architecture proper in favor of design and the domestic sphere. Semi-transparent tubular structures abound here—some quietly take up residence by the curving walls like banquettes of seating, and others crawl over the top of the Palacio de Cristal’s roof, like skeletal grubs.
May 5—September 9, 2018
Grand Central Art Center
125 N. Broadway
Santa Ana, CA
In the heart of Santa Ana’s arts district, Kim Zumpfe has created a bifurcated space evoking both shelter and disaster site. Upstairs the vision is bleak—a couch, stripped of all its plush, offers the only seating; photographs of discarded fruits are pinned to stacks of plywood, and a video monitor plays a loop of a seemingly bucolic lake view. Below, bedrolls made of fabric featuring rejected objects designed for prisons are spread about—small monitors play a blue, slow-motion video of what appears to be the sun’s surface. A tea kettle and a stash of bottled water serves as a welcome convivial gesture in this tunnel-like space. Recently Zumpfe enacted a performance, reminiscent of the anarchitectural gestures of Gordon Matta-Clark, in which she “drew” a linoleum bisecting the space vertically. Using a yellow crowbar to make her marks in plywood, drywall, plaster, and linoleum—this seemingly simple task proved herculean. The remaining marks from this performance remind us that space can be transformed, but only with great effort.
February 14—July 15, 2018
Zeitz Museum of Contemporary Art Africa
Silo District, S. Arm Road
Cape Town, South Africa
Best known for her “cake” and history paintings of the 1980s and 1990s, over the past twenty years Penny Siopis has also made films. Strung together from many bits of found footage, My Lovely Day, 1997, Obscure White Messenger, 2010 and The Master is Drowning, 2012, emphasize how cultural and political realities (such as apartheid in South Africa), shape personal narratives. Siopis subtitles her videos with the voices of a variety of characters; whether these people are real or imagined, it might not matter much, for each has a complicated relationship with their context. This exhibition, at the newly built Zeitz Museum of Contemporary Art Africa, provides the first opportunity to view the artist’s video output at once.
March 31—September 2, 2018
Museum of Contemporary Art
220 E. Chicago Ave.
Interrogating how a raw material or natural resource is made into a product, for example soap or makeup, is at the heart of Otobong Nkanga’s artistic efforts. In her work, which is by turns sculptural, performative, olfactory, and wall-based, Nkanga opens out the histories of manufacture and production (and thus the extended legacies of colonialism and imperialism) so that we might determine the human and environmental costs of such processes. The body is the primary metaphor through which invasive incursion and extraction are imagined in this collection of wide-ranging works. In large-scale tapestries like Infinite Yield, 2015, glittery minerals cover the breast, face, and genitals of an androgynous, brown figure, who stands in the midst of a draining funnel. In the center of this exhibition, black soap is stacked in circular constructions—it is manufactured by the Carved to Flow Foundation (which Nkanga founded) in Akwa Ibom, Nigeria. Performers on hand describe the process of the soap’s creation, thereby amplifying the themes running throughout the show. Available for purchase in the exhibition, the circuits of capitalism serve to support the artist’s social practice.
The Baltimore Museum Sold Art to Acquire Work by Underrepresented Artists. Here’s What It Bought—and Why It’s Only the Beginning
The museum sold works by Warhol and other white male artists to fund major acquisitions by Jack Whitten, Isaac Julien, and Amy Sherald. (artnet News)
Why Do Colleges Have So Much Art?
Campus museums are home to prodigious exhibits and installations that blur the line between academics and civics. (The Atlantic)
People Across the Globe Want Their Cultural Heritage Back. Canada May Offer a Blueprint for How to Get There
A proposed law could help Indigenous communities reclaim cultural heritage objects at home and abroad. (artnet News)
Colleges Grapple With Where — or Whether — to Draw the Line on Free Speech
Higher education is struggling to balance the demand by some students to be protected from offensive speech while guaranteeing freedom of speech to others. (New York Times)
Sir Anish Kapoor’s Clenched Fist of Copyright, the Battle Over Fair Use, and the NRA
Does an artist have the right to withhold their work when they don’t agree with the political message? (Hyperallergic)
How to Run a Conference Panel That Isn’t Horrible
Brass tacks pointers for making your next panel discussion a success. (LinkedIn)
In her new book, Squeezed: Why Our Families Can’t Afford America, author Alissa Quart states what many of us know: People are being squeezed from the middle class at a far greater pace.
Specifically, Quart writes:
“The many other middle-class families running furiously and breathlessly just to find themselves staying in place are a large and varied coterie. It includes highly educated workers like lawyers, professors, teachers and pharmacists, professionals who never expected to be in this situation – often feeling cast aside by a system that seems stacked against them. Their prospects for the future, given the rise of robots and automation within their professions, are likely to dim even further.”
This is a situation that has vexed many CAA members, whether they are recent graduates or those who have seen their livelihoods derailed through the elimination of tenured teaching positions or departmental reorganization.
Faced with a reduction in the number of faculty positions over the last decade, we’ve heard many job suggestions for artists or those with a PhD. Some have suggested teaching abroad, non-profit, foundation or governmental work. There are also opportunities in publishing, museums, literary agencies, libraries, special collections or archives.
We want to hear from you. Have you seen others in the field find fulfilling work in areas outside of academia? What job-hunting suggestions do you have for those with advanced education outside of the typical areas?
Post your comments on the Google document below.
posted by CAA — July 02, 2018
A new essay by Melissa Warak, “Warriors and Volunteers: A Review of George W. Bush, Portraits of Courage,” looks carefully and critically at a 2017 exhibition of paintings by former US president George W. Bush.
Warak, an art historian with close ties to veterans and active military, approaches Bush’s artistic production both technically and art-historically, but also personally and politically. Through Bush’s rendering of both visible and invisible wounds veterans sustained in the Iraq War, writes Warak, the exhibition “aims to humanize the war and highlight the president’s connection to the wounded.” Read more on Art Journal Open.