posted by Christopher Howard — June 26, 2015
On July 1, Rebecca M. Brown becomes the new editor-in-chief of Art Journal, CAA’s quarterly journal of modern and contemporary art. A scholar of colonial and post-1947 South Asian art and visual culture, Brown is associate professor of history of art at Johns Hopkins University in Baltimore, Maryland. She also chairs Hopkins’s Advanced Academic Program in Museum Studies. Brown succeeds Lane Relyea, associate professor in the Department of Art Theory and Practice at Northwestern University in Evanston, Illinois, who has led the journal since 2012.
In her nomination letter, Brown wrote, “In putting my name forward for editor, I am keenly aware that if I am selected my editorship would confirm a shift already well underway within the discipline—namely, the incorporation of questions related to global modern and contemporary art, transnational visual culture, and the machinations of art-making not solely in the northern Atlantic cities of Paris, London, and New York, but also in Lagos, Durban, Mexico City, Rio, Mumbai, Singapore, Beijing, Osaka, and Auckland. I believe the time has come for such a statement, but I also want to assert that in my own work I have been at pains to articulate a global modern that acknowledges the centrality of Europe and America as touchstones around the world. That is, rather than privilege such locations I suggest that thinking of the global modern as a set of distinct regional ‘modernisms’ is dishonest to the global interrelations of power that operate for artists around the world in the twentieth and twenty-first centuries. Part of my own intellectual commitment is to bring the conversations happening around modernism in Asia, Africa, South America, Eastern Europe, and the Pacific region together with those in Europe and North America in order to enhance scholarship and the production of both art and its history, wherever its local focus might be.”
Brown earned her PhD in South Asian and Islamic art history at the University of Minnesota in 1999, where she was a Mellon Fellow in Humanistic Studies and a CAORC research fellow. Her undergraduate degree is from Pomona College in Claremont, California. She has served as a consultant and a curator for modern and contemporary Indian art for the Peabody Essex Museum, the Walters Art Museum, and the Shelley and Donald Rubin Foundation. She has led seminars in art history and museum studies at Georgetown University and George Washington University, and has lectured throughout North America and in Asia.
Brown has published her scholarship widely, notably in two books: Gandhi’s Spinning Wheel and the Making of India (2010) and Art for a Modern India, 1947–1980 (2009). She wrote the exhibition catalogue for Goddess, Lion, Peasant, Priest: Modern and Contemporary Indian Art from the Shelley and Donald Rubin Collection (2011). She has also edited two publications with Deborah S. Hutton—A Companion to Asian Art and Architecture (2011) and Asian Art (2006)—and has written essays for Visual Anthropology, Res, Interventions, CSSAAME, Archives of Asian Art, Journal of Urban History, Screen, and Journal of Asian Studies.
Brown has performed the CAA journal trifecta: publishing in The Art Bulletin, Art Journal, and caa.reviews. Her most recent contribution was “A Distant Contemporary: Indian Twentieth-Century Art in the US Festival of India (1985–86),” published in the September 2014 issue of The Art Bulletin. Previous to that, “P. T. Reddy, Neo-Tantrism, and Modern Indian Art” appeared in the Winter 2005 issue of Art Journal. Brown has written two book reviews and one exhibition review for caa.reviews over the years.
Before Johns Hopkins, Brown taught at Swansea University in Wales and the University of Redlands in California. She served as research associate for the Royal Ontario Museum in Toronto and was a visiting scholar in history at Pennsylvania State University. She started her academic career as an assistant professor at St. Mary’s College of Maryland.
In discussing her plans as editor, Brown writes, “It is crucial that Art Journal maintains its reputation as the top venue for the publication of articles and other kinds of engagements with modern and contemporary art, and as a space for artists to share their work and experiment in the context of a print journal. I would love to see artists taking advantage of the ‘analogue’ quality of the page and the journal format, perhaps in concert with filmic or other media shared via Art Journal Open.
“As a scholar situated often on the margin of the discipline—and recognizing that every scholar feels that way to some extent—I think of modern and contemporary art in wide scope: the entirety of the twentieth and twenty-first centuries, certainly, and from anywhere around the world, including sites outside the usual urban metropolises. In addition, I’d like to seek out other kinds of unexplored spaces for art and for art history: pockets where, for example, medievalists might encounter contemporary mosaicists, or where temperature becomes a central element of art making, displaying, or writing. These engagements can happen in artist projects and scholarly articles or in more informal spaces within the pages of the journal, as exchanges, responses, object-studies, artist reflections, or conversations. In all of these areas, I am committed to maintaining the focus of Art Journal on artist projects that push boundaries and challenge norms and on scholarly, rigorously peer reviewed contributions to the field.”
Issues of Art Journal edited by Relyea will appear through Winter 2015. Brown’s first issue will be Spring 2016.
First: Portrait of Rebecca M. Brown (photograph by J. Roffman)
Second: Rebecca M. Brown, Art for a Modern India, 1947–1980 (Durham, NC: Duke University Press, 2009)
Here is what is new and forthcoming in CAA’s three scholarly journals.
caa.reviews inaugurates a new field of coverage with “Reflections on Digital Art History” by art historian Pamela Fletcher. Editor-in-chief David Raskin provides an introduction to the essay including these statements: “The digital humanities is an emerging field that promises to merge technology with interpretative creativity, to create entirely new types of scholarly perspectives and methods for visualizing data . . . Fletcher identifies two existing categories of projects that are already showing potential: archival modeling and visual data analysis. The former seeks to assemble tremendous detail in one central location, such as every document directly tied to Dante Gabriel Rossetti’s art, while the latter seeks to make complicated time and space relationships comprehensible, such as the evolving physical plant of Auschwitz-Birkenau during World War II. The scholarship is inspiring, since it is these pioneers who are setting the course we will all soon travel.”
Art Journal Open and Art Journal
Last week Art Journal Open added two interviews to its growing content. “Broken Dishes: Kate Gilmore in Conversation with Dina Deitsch” is the second installment of a series in which Deitsch explores the creative process with artists whose work she has selected for exhibitions. She speaks with Gilmore about her performance and installation Like This, Before (2013), from the exhibition Paint Things: Beyond the Stretcher, which Deitsch and Evan Garza organized for the deCordova Sculpture Park and Museum in Lincoln, Massachusetts. The page features striking video of the performance. In “Immemorial: The Poetics of AIDS; A Conversation with Rudy Lemcke,” the artist and scholar Tina Takemoto interviews Lemcke, a San Francisco-based artist best known for works that captured the sensibilities of the early stages of the AIDS crisis. Lemcke’s work is featured in the larger thematic exhibition Art AIDS America, which just opened in Los Angeles at the West Hollywood Library and One Archive Gallery and Museum. During the next year, the show will travel to museums in Tacoma, Washington, Kennesaw, Georgia, and the Bronx, New York.
The next issue of the quarterly Art Journal will have a special focus on the work of the pioneering artist Carolee Schneemann. Over a fifty-year career, she has consistently been at forefront of experimental art—as filmmaker, performance artist, creator of media installations, and feminist artist. The centerpiece of the issue is “The Kitch Portfolio,” for which the artist has compiled thirty pages of previously unpublished artworks, photographs, journal entries, letters, and other archival works pertaining to a central presence in her work from the mid-1950s through 1976, the feline artist and performer Kitch. Two essays on Schneemann’s work by Thyrza Nichols Goodeve and Kenneth White are also featured. The issue includes an essay by Kerr Houston on Richard Serra’s 1966 renunciation of painting, as well as reviews of books by Sharon Kivland, Sharon Louden, Stephen Wright, and Todd Cronan. It will publish in print and online in early July.
The Art Bulletin
Don’t miss these essays published in the June issue of The Art Bulletin: “Building and Writing San Lorenzo in Florence: The Architect, The Biographer, The Patron, and The Prior” by Marvin Trachtenberg, “Van Dyck Between Master and Model” by Adam Eaker, “Rococo Representations of Interspecies Sensuality and the Pursuit of Volupté” by Jennifer Milam, and “Félix Vallotton’s Murderous Life” by Bridget Alsdorf. The September issue of The Art Bulletin publishes its first digital supplement to a feature article in the online version of “Performing the Jeweled Pagoda Mandalas: Relics, Reliquaries, and a Realm of Text” by Halle O’Neal.
Taylor & Francis Online
In addition to their print subscription(s), CAA members receive online access to current and back issues of Art Journal and The Art Bulletin. Taylor & Francis also provides complimentary online access to Word and Image, Digital Creativity, and Public Art Dialogue for CAA members. To access these journals, please log into your account at collegeart.org and click the link to the CAA Online Publications Platform on Taylor & Francis Online.
This year, CAA’s journals made impressive use of their new digital platforms to provide access to their incredibly rich and influential back archive, engage an ever-broadening international audience, and explore new multimedia forms of scholarly publication. These digital efforts augment and support the journals’ longstanding mission to deliver the world’s leading scholarship in the visual arts in forms that engage the field at its most exciting frontiers while maintaining a commitment to the rigorous standards for which they are known.
We invite you to support our mission of advancing the highest standards of intellectual engagement in the arts by making a tax-deductible gift to the Publications Fund today.
Here are some recent highlights from CAA publications:
In The Art Bulletin:
- The long-form essay remains the cornerstone of the journal. Recent authors have included Marvin Trachtenberg on new elements in the history of the basilica of S. Lorenzo in Florence, Mark Rosen on Pietro Tacca’s sculptural portraits of slaves on a seventeenth-century monument in Livorno, Susan Siegfried’s exploration of the intersection of the classical ideal and post-Revolutionary fashion in a painting by Marie-Denise Viller, and Bridget Alsdorf on the figure of the gawker in woodcut illustrations by Félix Vallotton for this novel The Murderous Life
- For the “Whither Art History?” series, prominent art historians from around the world respond to that very inquiry about the direction of the discipline, among them Richard W. Hill Sr. on the art of being indigenous and Moye Okediji on the nature of African art
- Reviews of books on a wide range of topics, from prehistoric visual culture, to eighteenth-century eye miniatures, to humor and politics in recent German art
In Art Journal:
- The journal’s essays have recently featured Anna C. Chave on the career of Carl Andre, Luis M. Castañeda on mid-century art in Haiti, and Kenneth R. Allan on artists influenced by the thinking of Marshall McLuhan
- An artist’s project by Conrad Bakker delved into the library of Robert Smithson, and the artist Brian Molanphy offered a freewheeling annotated bibliography of ceramic art
- Art Journal Open, the journal’s independent website, has lately featured the interview format, with the artists William Lamson, Kate Gilmore, and the art duo robbinschilds each speaking about recent work with the curator Dina Deitsch, and Rudy Lemcke speaking with Tina Takemoto
- Reviews of new books on artists as diverse as Adrian Piper, Andrew Wyeth, and Andy Warhol; on Panamericanism during the Cold War; and on reevaluating modern artists who eschewed abstraction
In caa.reviews (now fully open access!):
- Continual publication reviews on diverse topics and geographic regions, including reviews of books: Performing China: Virtue, Commerce, and Orientalism in Eighteenth-Century England, 1660–1760 by Chi-ming Yang, Grupo Antillano: The Art of Afro-Cuba, edited by Alejandro de la Fuente, and Mio Wakita’s Staging Desires: Japanese Femininity in Kusakabe Kimbei’s Nineteenth-Century Souvenir Photography; and exhibitions: Treasures from Korea: Arts and Culture of the Joseon Dynasty, 1392–1910, Passion and Virtuosity: Hendrick Goltzius and the Art of Engraving, and A Royal Passion: Queen Victoria and Photography
These highly regarded journals reach tens of thousands of readers around the world and serve as essential resources to those working in the visual arts—none of which would be possible without your support. Contributors who give at a level of $250 or higher are prominently acknowledged in the publication they support for four consecutive issues, as well as on the publication’s website for one year, through CAA News, and in the Annual Conference’s convocation booklet. On behalf of the scholars, critics, and artists who publish in the journals, we thank you for your continued commitment to maintaining a strong and spirited forum for the visual-arts community.
With best regards,
Vice President for Publications
Art Journal Open and Art Journal
The online Art Journal Open has just launched a new conversation series by the curator Dina Deitsch. In three interviews, she discusses the creative process with artists whose work she has included in exhibitions. In the first installment, “Floating Cabins and Shifting Landscapes: William Lamson in Conversation with Dina Deitsch,” she speaks with the artist William Lamson about his video Untitled (Walden), on view in the exhibition Walden, revisted, which Deitsch organized for the deCordova Sculpture Park and Museum.
Art Journal Open also publishes select content from each issue of Art Journal. Content from the Winter 2014 issue includes “In, Around, and Afterthoughts (On Participation): Photography and Agency in Martha Rosler’s Collaboration with Homeward Bound” by Adair Rounthwaite; a review of Claire F. Fox’s Making Art Panamerican: Cultural Policy and the Cold War by Dorota Biczel; and “Primal Matter: An Annotated Bibliography for Ceramics” by Brian Molanphy.
caa.reviews is committed to the continual publication of scholarly book and exhibition reviews on diverse topics and geographic regions. Recently published book reviews include Kristina Kleutghen on Performing China: Virtue, Commerce, and Orientalism in Eighteenth-Century England, 1660–1760 by Chi-ming Yan (John Hopkins University Press, 2011) and Rachel Weiss on Grupo Antillano: The Art of Afro-Cuba, edited by Alejandro de la Fuente (University of Pittsburgh Press, 2013). Recent exhibition reviews include Francis K. Pohl’s review of Marsden Hartley: The German Paintings 1913–1915 at the Los Angeles County Museum of Art (LACMA) and Jane McFadden’s review of Time, Space & Matter: Five Installations Exploring Natural Phenomena at the Pasadena Museum of California Art.
The Art Bulletin
Articles forthcoming in the June issue of The Art Bulletin include “Building and Writing San Lorenzo in Florence: Architect, Biographer, Patron, and Prior” by Marvin Trachtenberg; “Van Dyck between Master and Model” by Adam Eaker; “Rococo Representations of Interspecies Sensuality and the Pursuit of Volupté” by Jennifer Milam; and “Félix Vallotton’s Murderous Life” by Bridget Alsdorf.
The June issue will also include book reviews about art and time in antiquity, eighteenth-century eye miniatures, and postwar art and politics in Europe and the United States.
Taylor & Francis Online
In addition to their print subscription(s), CAA members receive online access to current and back issues of Art Journal and The Art Bulletin. To access these journals, please log into your CAA account and click the link to the CAA Online Publications Platform, hosted by Taylor & Francis Online.
Taylor & Francis also provides complimentary online access to Word and Image, Digital Creativity, and Public Art Dialogue for CAA members.
The Art Journal Editorial Board invites nominations and self-nominations for the position of reviews editor for a three-year term: July 1, 2016–June 30, 2019 (with service as incoming reviews editor designate, July 1, 2015–June 30, 2016). The candidate may be an artist, art historian, art critic, art educator, curator, or other art professional with stature in the field and experience in editing book and/or exhibition reviews; institutional affiliation is not required. Art Journal, published quarterly by CAA, is devoted to twentieth- and twenty-first-century art and visual culture.
Working with the editorial board, the reviews editor is responsible for commissioning all book and exhibition reviews in Art Journal. He or she selects books and exhibitions for review, commissions reviewers, and determines the appropriate length and character of reviews. The reviews editor also works with authors and CAA’s manuscript editor in the development and preparation of review manuscripts for publication. He or she is expected to keep abreast of newly published and important books and recent exhibitions in twentieth-century and contemporary art, criticism, theory, and visual culture. The three-year term includes membership on the Art Journal Editorial Board and a small annual honorarium, paid quarterly.
The reviews editor attends the three meetings each year of the Art Journal Editorial Board—held in New York in the spring and fall and at the CAA Annual Conference in February—and submits an annual report to CAA’s Board of Directors. CAA reimburses the reviews editor for travel and lodging expenses for the two New York meetings in accordance with its travel policy, but he or she pays these expenses to attend the conference.
Candidates must be current CAA members and should not be serving on the editorial board of a competitive journal or on another CAA editorial board or committee. Members may not publish their own work in the journal during the term of service. Nominators should ascertain their nominee’s willingness to serve before submitting a name; self-nominations are also welcome. Please send a statement describing your interest in and qualifications for appointment, a CV, and at least one letter of recommendation to: Art Journal Reviews Editor Search, College Art Association, 50 Broadway, 21st Floor, New York, NY 10004; or email the documents to Joe Hannan, CAA editorial director. Deadline: April 1, 2015; finalists will be interviewed on April 30.
CAA invites nominations and self-nominations for one individual to serve on the Art Journal Editorial Board for a four-year term: July 1, 2015–June 30, 2019. Candidates may be artists, art historians, art critics, art educators, curators, or other art professionals; institutional affiliation is not required. Art Journal, published quarterly by CAA, is devoted to twentieth- and twenty-first-century art and visual culture.
The editorial board advises the Art Journal editor-in-chief and assists him or her in seeking authors, articles, artists’ projects, and other content. The group also guides the journal’s editorial program and may propose new initiatives for it, performs peer review and recommends peer reviewers, and may support fundraising efforts on the journal’s behalf. Members also assist the editor-in-chief to keep abreast of trends and issues in the field by attending and reporting on sessions at the CAA Annual Conference and at other academic conferences, symposia, and events.
The Art Journal Editorial Board meets three times a year: twice in New York in the spring and fall and once at the CAA Annual Conference in February. CAA reimburses members for travel and lodging expenses for the two New York meetings in accordance with its travel policy, but members pay these expenses to attend the conference. Members of all editorial boards volunteer their services to CAA without compensation.
Candidates must be current CAA members and should not be serving on the editorial board of a competitive journal or on another CAA editorial board or committee. Members may not publish their own work in the journal during the term of service. Nominators should ascertain their nominee’s willingness to serve before submitting a name; self-nominations are also welcome. Please send a statement describing your interest in and qualifications for appointment, a CV, and your contact information to: Chair, Art Journal Editorial Board, College Art Association, 50 Broadway, 21st Floor, New York, NY 10004; or email the documents to Joe Hannan, CAA editorial director. Deadline: April 15, 2015.
Art Journal Open is pleased to announce the publication of Imprinting Agnes Martin, an artist’s project by Karen L. Schiff. This project presents work from Schiff’s ongoing series the Agnes Martin Obituary Project. For each work, Schiff creates a drawing using the shape of the text in an obituary of the artist Agnes Martin (1912–2004) as published in news sources from around the globe. For Imprinting Agnes Martin, Schiff, who works frequently with text in her practice, selected eight drawings from the series and wrote an introductory text.
The contemporary projects at Art Journal Open present artist’s works adapted specifically for the website’s platform. Art Journal Open welcomes texts and project proposals from artists, scholars, critics, curators, and others who share an interest in modern and contemporary art, design, pedagogy, and visual culture. For information on submitting a project or proposal, please visit the Art Journal Open submission guidelines. Send inquires to email@example.com.
Image: Karen L. Schiff, Agnes Martin, College Art Association News, March 2005, opening, 2005, graphite, pastel, ruby lith, and stylus on vellum, 12 x 18 inches. Collection of Sally and Wynn Kramarsky, New York (artwork © Karen L. Schiff)
posted by Nia Page — December 15, 2014
This was an exciting year for CAA’s publications—for the very first time The Art Bulletin and Art Journal were published online using a multi-media platform that allows authors to include video and hyperlinks directly in their essays, and caa.reviews became fully open-access with broader interactive functionality coming soon. Most important, the journals continued to bring readers more of what they expect from the world’s leading publisher of art history journals: exceptional in-depth scholarship exploring the full range of the visual arts, in formats as diverse as long-form essays, innovative artists’ projects, and critical reviews. It is the support of readers like you that enable CAA to carry out this vital work.
Because you share our mission of advancing the highest standards of intellectual engagement in the arts, please make a tax-deductible gift to the Publications Fund today.
Here are some recent highlights from CAA publications:
In The Art Bulletin:
- Continued support of the long-form, peer-reviewed essay, including John K. Papadopoulos reinterpreting the Greek fifth-century BCE Motya Youth, Douglas Brine on the architectural and cultural context of a Jan van Eyck painting, Aaron Wile identifying a distinctly modern sense of self in Wattaeu’s fête galantes, and Joseph Siry on Frank Lloyd Wright’s theater for Dallas
- In the recurring “Whither Art History?” Cheng-Hua Wang examines artistic interaction between China and Europe in the early modern period
- Reviews of books on a wide variety of topics, from Maya art to sixteenth-century sculpture in Florence, from the politics of Mughal architecture to the materiality of color
In Art Journal:
- Projects by artists such as the sculptor Conrad Bakker, the British animator Jonathan Hodgson, and Karen Schiff, whose colorful drawings intervened in the very fabric of the printed journal
- A forum devoted to conceptual art in Latin America in the 1970s, a time of political oppression and upheaval, featuring four essays in the original Spanish and Portuguese with facing-page English translations
- The journal’s open-access website relaunched with a new name, Art Journal Open, and a new editor, the new-media scholar and curator Gloria Hwang Sutton
- Reviews of monographs on the artists Forrest Bess; books by Claire Bishop, Tom Finkelpearl, and Lev Manovich; and a Le Corbusier exhibition at MoMA
- New Field Editor position established for reviews covering Digital Humanities and Art History
- Over 150 book and exhibition reviews across many subject areas and geographic regions
With your support, CAA publications will continue to delight, challenge, and engage readers for many years to come. Contributors who give at a level of $250 or higher are prominently acknowledged in the publication they support for four consecutive issues, as well as on the publication’s website for one year and through CAA News. On behalf of the scholars, critics, and artists who publish in the journals, we thank you for your continued commitment to maintaining a strong and spirited forum for the visual-arts community.
With best regards,
Suzanne Preston Blier
Vice President for Publications
DeWitt Godfrey, professor of art and art history at Colgate University in Hamilton, New York, is president of the CAA Board of Directors.
CAA is moving ahead on several strategic goals. After a year of investigation and discussion with over 200 artists, art historians, curators, editors and reproduction rights officers, Professors Patricia Aufderheide and Peter Jaszi are drafting the new Code of Best Practices in Fair Use in the Visual Arts which will be reviewed by the Task Force on Fair Use, the Committee on Intellectual Property, the Professional Practices Committee, and an independent Legal Advisory Committee. We anticipate that the code will be presented at the Annual Conference in February 2015.
At the October 26th Board meeting, the formation of two task forces was approved: one to review CAA’s governance structure, and one to review its professional committees. As a greater number of faculty are now part-time, the board and committee requirements have to be adjusted so that the best expertise is brought to CAA within the most economical timeframes. The Board also had a lively discussion on the best directions to be taken regarding advocacy and how CAA can respond quickly and efficiently to issues that affect members’ daily work. We are exploring the creation of a task force on advocacy.
The CAA Board and senior staff held a day-long retreat which focused on a vision for the future of the annual conference—a more flexible structure, greater opportunities for interdisciplinary discussion, serving the needs and interests at each stage of a career in the visual arts, and the ability to quickly address issues that arise in the field, have an international perspective and participation, and reach those members who are not able to attend the conferences.
New, updated volumes of the Directories of Graduate Programs are now available through CAA’s website. From the data published in the directories, CAA will draw statistical information about all the visual-arts subdisciplines, mapping important changes in the field regarding enrollment and employment. We plan to make information from the past four years available to members in the coming months.
The September issue of The Art Bulletin features the third essay in the “Whither Art History?” series, as well as essays on Jan van Eyck and commemorative art, Hans Burgkmair and recognition, Watteau and reverie, and contemporary Indian Art from the 1985-86 Festival of India. The latest issue of Art Journal includes a forum called “Red Conceptualismos del Sur/Southern Conceptualisms Network,” featuring articles printed in their original Spanish and Portuguese alongside new English translations—this is the first foray into multilingual publishing for CAA. Art Journal Open’s first web editor, Gloria Sutton, associate professor at Northeastern University, has commissioned features from the artist Karen Schiff and the new-media historian Mike Maizels, as well as a dialogue between the curator Becky Huff Hunter and the artist Tamarin Norwood. The vision for this website is to provide an online space for artists’ works, experimental scholarship, and conversations among arts practitioners. And caa.reviews, now open access, includes nearly 2,500 reviews of books, exhibition catalogues, and conferences on art, as well as an annual list of completed and in-progress art history dissertations. Thirty-four field editors commission reviewers to address new publications, exhibitions, and exhibition catalogues and videos in every area of the visual arts. The new copublishing relationship between CAA and Taylor & Francis that supports all three CAA journals will complete its first year this month with a marked increase in readership. We are encouraging authors to use the multimedia resources offered at Taylor & Francis Online as well as its citation app.
The Andrew W. Mellon Foundation has awarded CAA and the Society for Architectural Historians a grant to cooperatively carry out research and develop guidelines in digital art and architectural history for promotion and tenure in the workforce. With the increased use of digital platforms in research and publishing there is a need for guidelines that reflect the best practice in evaluating digital art and architectural history. A task force will be formed of two art historians, two architectural historians, a librarian, a museum curator, a scholar from another humanities or social science field with expertise in digital scholarship, and a graduate student or emerging professional in art history or architectural history. CAA will hire a part-time researcher to gather information on current practices from faculty members throughout the country. Please see the Online Career Center for the listing.
CAA, like other learned, membership societies, faces significant challenges and opportunities for the future. The changing landscape of publication, academic workforce issues, advocating for the arts and humanities, serving a changing membership and the field are areas where CAA has and will continue to make a difference, by building on our legacy of leadership and embracing the necessary changes required to meet our mission and vision.
posted by Alyssa Pavley — November 07, 2014
“A Fine Line: Drawing and the Digital Ground in the Work of Tamarin Norwood,” a conversation between the writer and curator Becky Huff Hunter and the artist Tamarin Norwood, has been published on the Art Journal website. In this exchange, Hunter speaks with Norwood about the relationship between video and drawing, and negotiating digital and analogue forms. The two also discuss artistic practice as a form of research, since Norwood is currently pursuing a PhD in fine art at the University of Oxford. This feature is part of Conversations, a new series on the Art Journal website that asks arts professionals in a variety of fields to discuss issues related to their practices.
The Art Journal website welcomes submissions and project proposals from artists, scholars, critics, curators, and others who share an interest in modern and contemporary art, design, pedagogy, and visual culture. Submission guidelines are available on the website, and queries can be sent to firstname.lastname@example.org.