Alessandra Raengo discusses Travel and See: Black Diaspora Art Practices since the 1980s by Kobena Mercer. Read the full review at caa.reviews.
Lisa Newman reviews It’s All Allowed: The Performances of Adrian Howells edited by Deirdre Heddon and Dominic Johnson. Read the full review at caa.reviews.
Maria Stavrinaki reads Revolutionary Beauty: The Radical Photomontages of John Heartfield by Sabine T. Kriebel. Read the full review at caa.reviews.
Patrick Hajovsky reads Ancient Origins of the Mexican Plaza: From Primordial Sea to Public Space by Logan Wagner, Hal Box, and Susan Kline Morehead. Read the full review at caa.reviews.
Fredo Rivera reviews Constitutional Modernism: Architecture and Civil Society in Cuba, 1933–1959 by Timothy Hyde. Read the full review at caa.reviews.
Marnin Young discusses Modernism and Authority: Picasso and His Milieu around 1900 by Charles Palermo. Read the full review at caa.reviews.
Pascale Rihouet discusses A Feast for the Eyes: Art, Performance, and the Late Medieval Banquet by Christina Normore. Read the full review at caa.reviews.
Morgan Thomas visits Everywhen: The Eternal Present in Indigenous Art from Australia, which was on view at the Harvard Art Museums, Cambridge, MA, from February 5–September 18, 2016. Read the full review at caa.reviews. Image credit: Tommy Watson, Wipu Rockhole, 2004. Art Gallery of New South Wales, Sydney. © Tommy Watson/Courtesy of Yanda Aboriginal Art.
Heather Madar reviews Daughter of Venice: Caterina Corner, Queen of Cyprus and Woman of the Renaissance by Holly S Hurlburt. Read the full review at caa.reviews.
posted by CAA — July 13, 2017
In its June 2017 issue, The Art Bulletin is publishing reviews of six online collection catalogs issued by the National Gallery of Art, Washington DC; the Seattle Art Museum; the Arthur M. Sackler and Freer Gallery of Art, Washington DC; the Art Institute of Chicago; the Tate, United Kingdom; and the Walker Art Center, Minneapolis. This is the first time the quarterly journal has devoted its reviews section to digital scholarship.
Stephen H. Whiteman’s review of the Seattle Art Museum’s Chinese Painting & Calligraphy catalog is available now in an enhanced digital version, published on the Scalar platform and developed in collaboration with Nancy Um and Lauren Cesiro. The open-access project is at http://scalar.usc.edu/works/samosci/index.
“What to do with all the stuff?” This is one of many questions posed—and provisionally answered—in the most recent issue of Art Journal, in an extensive multiauthor forum that delves into the complex matter of artists’ estates. “The Politics of Legacy,” guest-edited for the journal by Rachel Middleman and Anne Monahan, comprises contributions by no fewer than twenty-one artists and scholars. The texts include interviews (with, for example, Flavin and Rainer Judd, Mira Friedlaender, and Jane Kallir of Grandma Moses Properties, Inc.) and position papers (by Caroline A. Jones, Michael Corris, and Nancy J. Troy, among others). Central to the forum are three commissioned artists’ projects by Danh Vo (on the estate of Martin Wong), Mimi Gross (the estate of her father Chaim Gross, as well as her own legacy as an artist), and Jill Magid (the contested estate of the Mexican architect Luis Barragán).
Elsewhere in the issue, editor-in-chief Rebecca Brown has selected three essays that deal with upheaval. Nazar Kozak details the interventions by Ukrainian artists during the 2013–14 uprising in Kyiv that brought down the nation’s government—artworks that at times literally became part of the armed barricade in the city’s central square. Sherry Buckberrough conjures the early twentieth-century context in which the Robert Delaunay created singular works with themes of androgyny, gender, and political violence. Sophie Landres explores sexual, corporeal, and musical interventions of the groundbreaking performances of Charlotte Moorman in late-1960s, as the new ideas of feminism reached the larger culture.
The issue marks the debut of reviews editor Kirsten Swenson, whose commissions explore books on Carolee Schneemann, on art in postwar South America, and on the trajectory of the choreographer Simone Forti. “The Prehistory of Exhibition History,” a critical bibliography by grupa o.k. (Julian Myers and Joanna Szupinska), completes the section.
CAA sends print copies of Art Journal to all institutional members and to those individuals who choose to receive the journal as a benefit of membership. The digital version at Taylor & Francis Online is currently available to all CAA individual members regardless of their print subscription choice.
posted by CAA — June 01, 2017
CAA’s president, Suzanne Preston Blier, has appointed Rebecca Uchill as the new web editor for Art Journal Open, endorsing the recommendation of the editorial board of Art Journal. Uchill, who currently is a Mellon Postdoctoral Fellow with the Center for Art, Science, and Technology at the Massachusetts Institute of Technology, joins the College of Visual and Performing Arts at UMass Dartmouth in September as a full-time lecturer. Uchill’s three-year term for Art Journal Open commences on July 1, 2017; she succeeds inaugural web editor Gloria Sutton, assistant professor of contemporary art history and new media at Northeastern University. During her term, Uchill will be responsible for commissioning and vetting content for the website, including artist projects and essays. She will serve on the Art Journal editorial board.
Uchill is the coeditor (with Caroline A. Jones and David Mather) of Experience: Culture, Cognition, and the Common Sense (MIT Press, 2016), as well as curator of the artist entries for the volume. She organizes interdisciplinary events and programs, including the recent “Being Material” symposium at MIT and a series of curatorial experiments with the collaborative Experience Economies. Uchill has published in journals such as Future Anterior, Museum and Curatorial Studies Review, Visual Resources: An International Journal of Documentation, and Journal of Curatorial Studies. She has curated exhibitions at Harvard University’s Carpenter Center for the Visual Arts, the Indianapolis Museum of Art, and Mass MoCA. Uchill earned her PhD in history, theory, and criticism of art at MIT in 2015.
CAA welcomes Rebecca Uchill to Art Journal Open.
Art Journal Open welcomes proposals for artists’ projects, critical writing, and other contributions, on a rolling basis. Please see the submission guidelines here. Submissions are accepted via e-mail to email@example.com.
posted by Christopher Howard — May 30, 2017
This spring, CAA awarded grants to the publishers of seven books in art history and visual culture through the Millard Meiss Publication Fund. Thanks to the generous bequest of the late Prof. Millard Meiss, CAA gives these grants to support the publication of scholarly books in art history and related fields.
The seven Meiss grantees for spring 2017 are:
- Mark Cheetham, Landscape into Eco Art: Articulations of Nature since the ’60s, Pennsylvania State University Press
- Justin Jesty, Arts of Engagement: Socially Engaged Art and the Democratic Culture of Japan’s Early Postwar, Cornell University Press
- Farhan Karim, Modernism of Austerity: Designing an Ideal House for the Poor, University of Pittsburgh Press
- Lynda Klich, The Noisemakers: Estridentismo, Vanguardism, and Social Action in Post-Revolutionary Mexico, University of California Press
- Mia Yinxing Liu, The Literati Lenses: Wenren Landscape in Chinese Cinema, University of Hawai’i Press
- J. P. Park, Conflicted Realities: Painting and Cultural Politics in Late Chosŏn Korea, University of Washington Press
- Øystein Sjåstad, Christian Krogh’s Naturalism, University of Washington Press
Books eligible for Meiss grants must already be under contract with a publisher and on a subject in the visual arts or art history. Authors and presses must be current CAA members. Please review the application guidelines for more information.
posted by CAA — May 15, 2017
CAA welcomes applications and letters of intent for the 2018 Terra Foundation for American Art International Publication Grant and the 2017 Wyeth Foundation for American Art Publication Grant.
The Terra Foundation grant provides financial support for the publication of book-length scholarly manuscripts in the history of American art circa 1500–1980. The grant considers submissions covering what is the current-day geographic United States.
The deadline for letters of intent is September 15, 2017.
Awards of up to $15,000 will be made in three distinct categories:
- Grants to US publishers for manuscripts considering American art in an international context
- Grants to non-US publishers for manuscripts on topics in American art
- Grants for the translation of books on topics in American art to or from English.
The Wyeth Foundation for American Art Publication Grant supports the publication of books on American art through the Wyeth Foundation for American Art Publication Grant, administered by CAA.
The deadline for submissions is September 15, 2017.
For this grant program, “American art” is defined as art created in the United States, Canada, and Mexico. Eligible for the grant are book-length scholarly manuscripts in the history of American art, visual studies, and related subjects that have been accepted by a publisher on their merits but cannot be published in the most desirable form without a subsidy. The deadline for the receipt of applications is September 15 of each year.
“Communing with Dore Ashton” by Michael Corris has just been published at the open-access Art Journal Open. Corris, an artist and author based in Dallas, writes that Ashton, who died on January 30, was “one of the most energetic, widely published, and politicized American writers on art, and one of the chief proponents of the artists of the New York School (she decried the label Abstract Expressionism).” In addition to Corris’s personal memories of Ashton and their friendship, the project includes the audio and transcribed text of their 2011 conversation about Ashton’s experiences in New York art world during the 1950s and 1960s. Also included is a 2015 film by the artist Alfredo Jaar, Dore Ashton, you know, which features Ashton speaking candidly about her life, writing career, politics, and relationships with artists and writers, among them Harold Rosenberg, Philip Guston, and Louise Bourgeois. Recent photographs by Madeline Djerejian and Polly Bradford-Corris portray Ashton in her working and living spaces in New York City and Springs, Long Island.
caa.reviews invites nominations and self-nominations for individuals to join its Council of Field Editors, which commissions reviews within an area of expertise or geographic region, for a term ending June 30, 2020. An online journal, caa.reviews is devoted to reviewing books, museum exhibitions, and projects relevant to art history, visual studies, and the arts.
The journal seeks field editors for books in the following subject areas: digital humanities; Early Modern Iberian and Colonial Latin American Art; nineteenth-century art; and Early Modern and Southern European Art. The journal also seeks a field editor for exhibitions in the Northeast. Candidates may be artists, art or design historians, critics, curators, or other professionals in the visual arts; institutional affiliation is not required.
Working with the caa.reviews editor-in-chief, the editorial board, and CAA’s staff editor, each field editor selects content to be reviewed, commissions reviewers, and reviews manuscripts for publication. Field editors for books are expected to keep abreast of newly published and important books and related media in their fields of expertise, and field editors for exhibitions should be aware of current and upcoming exhibitions (and other related projects) in their geographic regions. The Council of Field Editors meets annually at the CAA Annual Conference. Field editors must pay travel and lodging expenses to attend the conference.
Candidates must be current CAA members and should not currently serve on the editorial board of a competitive journal or on another CAA editorial board or committee. 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: caa.reviews Editorial Board, College Art Association, 50 Broadway, 21st Floor, New York, NY 10004; or email the documents to Deidre Thompson, CAA publications assistant. Deadline: May 1, 2017.