Alessia Frassani reviews The Lienzo of Tlapiltepec: A Painted History from the Northern Mixteca, a collection of multidisciplinary studies edited by Arni Brownstone. Focusing on lienzos, “large painted cloths produced after the Spanish invasion of Mexico,” the book makes “a difficult but important aspect of indigenous Mexican history and culture available to a wide audience.” Read the full review at caa.reviews.
Jennifer W. Olmsted discusses Delacroix and the Matter of Finish, an exhibition catalogue edited by curator Eik Kahng for the Santa Barbara Museum of Art. The painting The Last Words of Marcus Aurelius was the impetus for the show and publication, which “build a case” for the attribution of the artwork to Delacroix while addressing issues of “authorship, pedagogy, and inheritance.” Read the full reviews at caa.reviews.
John A. Tyson examines Krista A. Thompson’s Shine: The Visual Economy of Light in African Diasporic Aesthetic Practice. The “multifaceted,” “generally excellent” volume “explores the ways in which bling aesthetics and shining can be forms of resistance,” and “shows that non-elite culture holds up to serious academic scrutiny.”
John Szostak reads Imaging Disaster: Tokyo and the Visual Culture of Japan’s Great Earthquake of 1923 by Gennifer Weisenfeld. A “comprehensive, fascinating, and informative” contribution to the subject of “disaster culture,” the book examines a “historic catastrophe through the visual-culture lens of image production and consumption.” Read the full review at caa.reviews.
Caa.reviews publishes over 150 reviews each year. Founded in 1998, the site publishes timely scholarly and critical reviews of studies and projects in all areas and periods of art history, visual studies, and the fine arts, providing peer review for the disciplines served by the College Art Association. Publications and projects reviewed include books, articles, exhibitions, conferences, digital scholarship, and other works as appropriate. Read more reviews at caa.reviews.
Boris Charmatz’s If Tate Modern Was Musée de la Danse? (May 15–16, 2015) is the focus of a new multimedia review on the Scalar platform, If caa.reviews were performance.reviews?. Organized by Juliet Bellow, the project includes an introduction by Bellow, and three reviews of the performances at the Tate Modern by Arabella Stanger, Nicole Zee, and Tamara Tomic-Vajagic. The review presents the complexities of Charmatz’s transformation of the Tate Modern into a museum of dance for two days and features an interactive map showing where the performances occurred in the Tate Modern, in addition to videos and still images. Charmatz’s project challenges conceptions of museums as institutional spaces and incorporates audience participation and “unauthorized” performances. This review is part of a new caa.reviews initiative to review time-based media works.
Art Journal Open
Art Journal Open this summer launched a new cluster of conversations featuring artist residencies, with artists who have participated in residencies interviewed by those who organize these programs. Through the conversations, Art Journal Open examines how residencies operate logistically and conceptually, and how they contribute to creative production. Conversations published in the series include Caitlin Masley-Chalet of Guttenberg Arts (Guttenberg, NJ) with artist Diana Shpungin, Vanessa Kauffman of Headlands Center for the Arts (Sausalito, CA) with artist Patricia Fernández Carcedo, and Amy Cancelmo of Root Division (San Francisco, CA) with artist Kija Lucas.
Earlier this summer, Art Journal Open published the third of a three-part series on appropriation as an artistic strategy: “Knight’s Heritage: Karl Haendel and the Legacy of Appropriation, Episode Three, 2013” by Natilee Harren, with a response by Nate Harrison. Recent features also include a review of Wetware: Art, Agency, Animation (Beall Center for Art + Technology, University of California, Irvine, February 6–May 7, 2016) by Charissa Terranova, and “Humans Have Been Human for So Long,” a dialogue between artist Shana Lutker and curator Mika Yoshitake on Lutker’s exhibition Shana Lutker: Le “NEW” Monocle, Chapters 1–3 at the Hirshhorn Museum and Sculpture Garden in Washington, DC (October 27, 2015–February 16, 2016).
The forthcoming Fall 2016 Art Journal features a project by the artist Penelope Vlassopoulou, whose source material is the phrases and drawings carved in underground cells by detainees during the Nazi occupation of Greece. In other feature articles, Mario Merz’s fascination with the Fibonacci series is the cruz of Elizabeth Mangini’s examination of works created within the intellectual and political ferment of 1960s Italy, and Emily Hage rethinks Romare Bearden’s historical and political position in relation to the dense collages he made for the covers of Time and Fortune. The Reviews section includes Eve Meltzer’s account of the film Eva Hesse and reviews of books by Thomas Crow, Claire Robins, and Joan Kee. An annotated bibliography by Roger F. Malina, the astrophysicist who also serves as executive editor of Leonardo Publications/MIT Press, explores the highly productive intersections of art and science.
Recently published in the Summer 2016 Art Journal is a project by the renowned artist Harmony Hammond. The covers of the journal were given a waxy coating to convey the nature of her intensely tactile paintings and prints, featured in a twenty-page portfolio. In the features, Amanda Jane Graham takes a close look at the interweaving of domestic and performing spaces in Trisha Brown’s 1975 dance Locus; Mechtild Widrich investigates the effects on the urban fabric of the new/old National Gallery of Singapore, created from a colonial-era court building; and Dan Adler traces the idea of an all-pervasive Apparatus in 1980s and 1990s works by the German photographer Thomas Ruff. The Reviews section begins with Chris Taylor’s examination of the film Troublemakers: The Story of Land Art. Other reviews examine a new book by Chika Okeke-Agulu and the exhibition and catalogue Hippie Modernism. An annotated bibliography by Audra Wolowiec explores the poetics of sound and language.
The Art Bulletin
The cover of the September 2016 issue of The Art Bulletin depicts Buddhist monks evoking ghosts in a nocturnal ceremony; the large detail from a polychrome silk scroll accompanies Phillip E. Bloom’s essay on twelfth-century Chinese paintings of Buddhist rituals. In other essays featured in the September issue, Judy Sund reconsiders nineteenth-century perceptions of Watteau’s Pierrot character as forlorn, Christine I. Ho contextualizes a brush-and-ink painting created by a collective in the early People’s Republic of China, and James Nisbet surveys intersections of global politics and imaging in the site-specific art of Walter De Maria. In his “Whither Art History?” essay, Bárbaro Martínez-Ruiz explores Kongo visual and cultural practices in contemporary art.
The Reviews section, with a theme of “Urban Images, Memories, and Fragments,” includes four reviews of recent books on the cultures of fifth-century BCE Athens, seven Dutch cities from 1200 to 1700, early modern Rome, and Mexico City in light of Aztec civilization.
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, CAA’s publishing partner, 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.
posted by Christopher Howard — July 14, 2016
CAA is accepting applications for the 2016 Wyeth Foundation for American Art Publication Grant program. Thanks to generous funding from the Wyeth Foundation for American Art, CAA awards publishing grants once a year to support book-length scholarly manuscripts in the history of American art and related subjects. For purposes of this program, “American art” is defined as art created in the United States, Canada, and Mexico. Books eligible for the Wyeth Grant have been accepted by a publisher on their merits but cannot be published in the most desirable form without a subsidy.
The publisher, not the author, must submit the application. Awards are made at the discretion of the jury and vary according to merit, need, and number of applications. Awardees are announced six to eight weeks after the deadline. For complete guidelines, application forms, and a grant description, please visit the Wyeth section of the CAA website. Deadline: September 15, 2016.
A grotesquely anthropomorphic hound standing on powerful back legs and blowing a stylized trumpet graces the cover of the June 2016 issue of The Art Bulletin. The etching is one of two dozen similar works by the early seventeenth-century artist Christopher Jamnitzer that Madeleine C. Viljoen explores in relation to early modern cosmography. The June issue also presents the first publication of an extraordinary eleventh-century enamel cup from a nomad’s grave in Ukraine, which Warren T. Woodfin examines in the context of other Middle Byzantine works with secular imagery. In addition, the issue features essays by David Young Kim on the multiple functions served by the carpets in Lorenzo Lotto’s paintings, and by Jean H. Duffy on issues of genre and perception in Jean Dubuffet’s mixed-genre spectacle Coucou Bazar. Shao Yiyang’s “Whither Art History?” essay reflects on the flourishing of art history in contemporary China.
The reviews section, with a theme of “Cosmopolitan Art Worlds,” includes six reviews of recent books on art in Renaissance Italy, late nineteenth-century Shanghai, turn-of-the-century Paris, modern India, contemporary Brazil and Japan, and twentieth-century Nigeria.
CAA sends print copies of The Art Bulletin 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 subscription choice.
In the next issue of the quarterly journal, to be published in September, essays will consider Kongo visual and cultural practices in contemporary art, twelfth-century Chinese paintings of Buddhist rituals, the nineteenth-century perception of Watteau’s Pierrot character as forlorn, a brush-and-ink painting collectively created in the early People’s Republic of China, and intersections of global politics and imaging in the site-specific art of Walter De Maria. Four reviews will be presented under the rubric “Urban Images, Memories, and Fragments.”
CAA is accepting applications for fall 2016 grants through the Millard Meiss Publication Fund. Thanks to a generous bequest by the late art historian Millard Meiss, the twice-yearly program supports book-length scholarly manuscripts in any period of the history of 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 publisher, rather than the author, must submit the application to CAA. Awards are made at the discretion of the jury and vary according to merit, need, and number of applications. Awardees are announced six to eight weeks after the deadline. For the complete guidelines, application forms, and a grant description, please visit the Meiss section of the CAA website. Deadline: September 15, 2016.
Art Journal Open is pleased to announce the publication of “Knight’s Heritage: Karl Haendel and the Legacy of Appropriation: Episode Three, 2013,” by Natilee Harren, and a response to the essay by Nate Harrison. Harren’s three-part essay examines appropriation as an artistic strategy that pressures both the legal and conceptual definitions of authorship through a case study of three specific episodes in the artist Karl Haendel’s practice of recirculating images. Harrison responds to each of Harren’s essays, offering a critical reminder of the historical specificity of postmodernism and appropriation.
The president of the CAA Board of Directors, Suzanne Preston Blier, has confirmed new appointments to the editorial boards of CAA’s three scholarly journals and to the Publications Committee, in consultation with the vice president for publications, Gail Feigenbaum.
The Art Bulletin
A new member-at-large has joined the Art Bulletin Editorial Board. Laura Weigert is an associate professor at Rutgers University in New Brunswick, New Jersey, whose area of specialization is Northern European art of the late Middle Ages and Renaissance. Her term on the editorial board runs through June 2020.
Three new at-large members have joined the Art Journal Editorial Board. Tatiana E. Flores, associate professor at Rutgers University in New Brunswick, New Jersey, with a joint appointment in the Department of Art History and the Department of Latino and Caribbean Studies, specializes in Latin American and contemporary art. She is also active as an independent curator. Amelia G. Jones, a historian and theorist of contemporary art and performance studies, is Robert A. Day Professor of Art and Design and vice dean of critical studies at the University of Southern California’s Roski School of Art and Design in California. Derek Conrad Murray, associate professor of contemporary art and visual culture at the University of California, Santa Cruz, focuses on the junctures of African American and African diasporic art, postblack art and aesthetics, cultural theory, and identity and representation. The term for each new editorial-board member goes through June 2020.
In addition, Tirza T. Latimer, chair of the graduate program in visual and critical studies at California College of the Arts in San Francisco and a member of the Art Journal Editorial Board since 2014, will now serve as its chair. Her term extends through June 2018.
The caa.reviews Editorial Board welcomes Juliet Bellow, associate professor of art history at American University in Washington, DC, as editor designate for the journal. She will begin a three-year term as editor-in-chief on July 1, 2017. Bellow has been a field editor for books on nineteenth-century art and served on the journal’s editorial board for the past four years. Andrei Pop, associate professor for the Department of Art History and the John U. Nef Committee on Social Thought at the University of Chicago in Illinois, has joined the caa.reviews Editorial Board after serving as field editor for books on theory and historiography.
caa.reviews recently added design history as a subject area, and Karen Carter, an associate professor from the Kendall College of Art and Design at Ferris State University in Grand Rapids, Michigan, will be the first editor to commission books on the subject. In addition, Iris Moon, visiting assistant professor of architecture at Pratt Institute in Brooklyn, New York, has joined the journal’s Council of Field Editors to commission reviews for books on eighteenth-century art. Alpesh Kantilal Patel, assistant professor and director of the MFA program in visual arts at Florida International University in Miami, currently serves as field editor for books on contemporary art.
Emily Shapiro has joined CAA’s Publications Committee as member-at-large for a term of three years. Shapiro is managing editor of the Archives of American Art Journal, after serving as executive editor for American Art.
James M. Córdova on sixteenth-century murals in Mexico: Penny Morrill, The Casa del Deán: New World Imagery in a Sixteenth-Century Mexican Mural Cycle.
Lynne Ellsworth Larsen on the relationship between art and language in Yoruba art: Rowland Abiodun, Yoruba Art and Language: Seeking the African in African Art.
Terri Weissman reviews the inaugural exhibition at the new Whitney Museum of American Art, America Is Hard to See.
James Merle Thomas on collaborations between artists and corporations at the Los Angeles County Museum of Art: From the Archives: Art and Technology at LACMA, 1967–1971.
posted by Christopher Howard — June 01, 2016
This spring, CAA awarded grants to the publishers of six 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 six Meiss grantees for spring 2016 are:
- Joanna Grabski, Art World City: The Creative Economy of Artists and Urban Life in Dakar, Indiana University Press
- Shelley Drake Hawks, Painting by Candlelight: The Art of Resistance in Mao’s China, University of Washington Press
- Miya Mizuta Lippit, Aesthetic Life: The Artistic Discourse of Beauty in Modern Japan, Harvard University Press
- Leora Maltz-Leca, William Kentridge: Process as Metaphor and Other Doubtful Enterprises, University of California Press
- Heather McPherson, Art and Celebrity in the Age of Reynolds and Siddons, Pennsylvania State University Press
- Amanda Wunder, Sacred Art and Society in Seventeenth-Century Seville, Pennsylvania State University 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.
CAA’s journals continue to deliver the world’s leading scholarship in the visual arts. This year, we welcome many new additions and changes to the publications while maintaining our commitment to bringing readers the most vital, intellectually compelling, and visually engaging scholarly journals in art and art history.
We encourage you to support our mission of advancing the highest standards of intellectual engagement in the arts with a gift to the Publications Fund today. As always, your contribution is tax-deductible, so please give generously!
Beginning July 1, 2016, CAA welcomes Nina Athanasoglou-Kallmyer, Professor Emerita at the University of Delaware, as The Art Bulletin’s next editor-in-chief. Rebecca Brown, Art Journal’s editor-in-chief and Associate Professor at Johns Hopkins University, published her first issue in Spring 2016. CAA’s exclusively online publication, caa.reviews recently launched a new website, and Art Journal Open, CAA’s accessible online venue for contemporary works, takes on appropriation as an artistic strategy in a three-part series.
Here are some recent highlights from CAA publications:
In The Art Bulletin:
- Recent articles include Erik Inglis on revelations in the 1534 inventory of the St-Denis treasury; Paola Demattè on cross-cultural factors in eighteenth-century Parisian prints of Chinese subjects; Richard Taws on the imposter dauphins in the wake of the French Revolution and the issue of truth in nineteenth-century discourse; and the tensions between the individual and the collective in postwar German art groups, in an analysis by Jacopo Galimberti
- In the “Whither Art History?” series, Youngna Kim explores the relation of Korean art history to global developments in the discipline; Shao Yiyang reflects on the state of art history in China
- Reviews of books range from art in Byzantine diplomatic encounters to transcontinental and transoceanic image networks in early America, and from Chinoiserie in eighteenth-century Britain to the circulation of artworks in late Ottoman Istanbul
In Art Journal:
- Artists’ projects by Jason Simon, Amy Adler, and Julia Oldham, the last an astrophysical exploration of loss, love, and canine connection
- Essays by Emma Chubb, examining Isaac Julien’s images of traumatic crossings of the Mediterranean by present-day migrants; Natilee Harren on the means by which materials and fragments of the urban fabric found their way into the confounding commodities of Fluxus artists in the 1960s; Cynthia Chris and Jason Simon on the economic elements of video art as it nears the half-century mark; and Daniel Rosenberg on the presentation of complex data about war and disaster in large photographic works by the Dutch artist Gert Jan Kocken
- A seven-author forum organized by Jordana Moore Saggese that sheds new light on diversity and difference from perspectives including queer failure, craft, diasporic studies, critical race history, and disability
- Reviews of books artists on William Kentridge, Isa Genzken, and Antonin Artaud; on decolonization in postwar France; and on art emerging from postsocialist nations
- In Art Journal Open, “Knight’s Heritage: Karl Haendel and the Legacy of Appropriation” by Natilee Harren. Harren’s three-part essay examines appropriation as an artistic strategy that pressures both the legal and conceptual definitions of authorship through a case study of three specific episodes in artist Karl Haendel’s practice of circulating existing images. Nate Harrison responds, offering a critical reminder of the historical specificity of postmodernism and appropriation. Haendel’s contribution Oral Sadism & the Vegetarian Personality (Approximately) is an animated representation of the artist’s extensive archival collection of some ten thousand found images and photographs, used as source material for his drawings. Other recent pieces are a report on Art + Feminism’s Wikipedia Edit-a-thon at the Museum of Modern Art by Chelsea Spengemann, and a conversation between curator Mia Locks and artist Math Bass.
In caa.reviews (Now fully open access!):
- caa.reviews continues to expand the number and type of reviews published each year. In 2015, the journal published 159 reviews on exhibitions and books in all areas of the visual arts. In 2016, an addition to the Re:Views series—an essay by Eddie Chambers, University of Texas Austin, on his role in commissioning reviews on African and African Diaspora art—discusses the division of subject categories within US academic communities and the lack of scholarship published on these topics. Forthcoming by caa.reviews Editor Designate, Juliet Bellow, is a multimedia project using the Scalar platform reviewing a two-day performance at the Tate Modern, If Tate Modern was Musée de la danse? by choreographer Boris Charmatz, which will be accompanied by an interactive floor plan and additional texts and images.
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