Jordan Bear reviews Inadvertent Images: A History of Photographic Apparitions by Peter Geimer. Read the full review at caa.reviews.
Nina Athanassoglou-Kallmyer writes about Exiled in Modernity: Delacroix, Civilization, and Barbarism by David O’Brien. Read the full review at caa.reviews.
posted by CAA — July 11, 2018
CFP RSA 2019 Toronto
Netherlandish Art and Artists in Spain, 1400-1600
“When the Spanish vessels from India are suffered from the English pirates or other bad fortunes, and when the Spanish parcels cannot be dispatched from Rome, the Netherlanders would have a hard time. For it is the Spanish who buy their things the most.”
So wrote Karel van Mander in 1604, reflecting the importance of Spanish buyers to the market for devotional paintings on copper by Netherlandish artists active in Rome. His remark speaks to a phenomenon that began centuries earlier. Netherlandish art and artists were assiduously brought to Spain from the fifteenth century on. Michel Sittow, who was not Netherlandish by birth but trained in Flemish art tradition, and Juan de Flandes, worked as court painters. Stained glassmaker Arnao de Flandes also moved to Spain during the 1490s and created the windows of several cathedrals. In the sixteenth century, Anthonis Mor painted portraits of many Spanish courtier. Even more prominent was importation of Netherlandish works of art themselves: well-known masterpieces by Rogier van der Weyden, Hieronymus Bosch, and Joachim Patinir (among others) were brought to Spain either by direct commission or through some kind of plunder.
Though such issues have been treated in monographs of artists or case-study articles, the transregional dialogue between the Netherlands and Spain remains understudied, especially when compared with scholarship on Italian-Netherlandish artistic exchange. With its strong power and influence, the Spanish court not only lured artistic talent from Italy and the Netherlands into its kingdom; Spain also came to play an unparalleled role in disseminating European art on a global scale through its trading and missionary activities. Likewise, the role and influence of Netherlandish art in Spain demands investigation in relation to local artistic tradition.
We invite 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. Possible topics may include but are not limited to:
- Artists active in Spain whose origin or school is Netherlandish
- Work(s) brought to Spain from the Netherlands and its influences
- Collections of Netherlandish art in Spain
- Spanish artists and artworks that engaged with the models of Netherlandish art
- Images with Netherlandish origin that were circulated via Spanish global networks
- Spanish discourses on Netherlandish art
- Activities of Netherlandish artists or agents in stopover locations (such as Rome and Naples) between Spain and the Netherlands
For those interested in presenting a paper, please send the following to Michiko Fukaya (firstname.lastname@example.org) and Sumiko Imai (email@example.com) by July 26, 2018: the paper title (max 15 words), abstract (max 150 words), keywords, and a brief curriculum vitae (.pdf or .doc) including full name, current affiliation, and email address.
Read about the latest news from CAA’s institutional members.
Institutional News is published every two months: in February, April, June, August, October, and December. To learn more about submitting a listing, please follow the instructions on the main Member News page.
The Archives of American Art, part of the Smithsonian Institution in Washington, DC, has launched a new online guide to archival collections in the Chicago area that are related to American art. A $413,000 grant from the Terra Foundation for American Art supported a comprehensive survey of art-related archives in more than seventy-five Chicago-area institutions.
Storm King Art Center in New Windsor, New York, has received a 2017 Artistic Production Grant from the VIA Art Fund for Heather Hart’s The Oracle of Lacuna.
The Walker Art Center in Minneapolis, Minnesota, has received a 2017 Artistic Production Grant from the VIA Art Fund for Daniel Buren’s Viole/Toile – Toile/Viole.
The Yale Center for British Art in New Haven, Connecticut, and the Paul Mellon Centre for Studies in British Art have won a gold-level MUSE Award from the American Alliance of Museums for their jointly published, open-access digital journal. Part of the MUSE Open Culture category, the award recognizes British Art Studies for its high standards of excellence in the use of media and technology for Gallery, Library, Archive, and Museum programs.
CAA recognizes its members for their professional achievements, be it a grant, fellowship, residency, book prize, honorary degree, or related award.
Grants, Awards, and Honors is published every two months: in February, April, June, August, October, and December. To learn more about submitting a listing, please follow the instructions on the main Member News page.
Anila Quayyum Agha, associate professor in the Herron School of Art and Design at Indiana University Purdue University Indianapolis, has won the Schiele Prize from the Cincinnati Art Museum in Ohio.
Michelle Moore Apotsos, assistant professor in the Art Department at Williams College in Williamstown, Massachusetts, has won a research grant from the Graham Foundation. She will use the funds for “Selling South Africa: Architecture, Tourism, and Identity in the Post-Apartheid Era.”
Natalie Beall, an artist based in Salt Point, New York, has won a 2017 fellowship from the New York Foundation for the Arts in the printmaking/drawing/book arts category.
Jetshri Bhadviya, a recent MFA graduate from the Cranbrook Academy of Art in Bloomfield Hills, Michigan, has received a 2017–18 Post-Graduate Teaching Fellowship from the Association of Independent Colleges of Art and Design. She will be placed at College for Creative Studies in Detroit.
Susanneh Bieber, assistant professor in the Departments of Visualization and Architecture at Texas A&M University in College Station, has been awarded the 2017 Terra Foundation for American Art International Essay Prize by the Smithsonian American Art Museum in Washington, DC. Her winning essay, “Going Back to Kansas City: The Origins of Judd’s Minimal Art,” will be published in a forthcoming issue of the journal American Art.
Angela Fraleigh, an artist based in New York and Allentown, Pennsylvania, has received studio space in Brooklyn through the 2017 Sharpe-Walentas Studio Program.
Amir Hariri, an artist based in Brooklyn, New York, has received a 2017 fellowship from the New York Foundation for the Arts in the category for printmaking, drawing, and book arts.
Valerie Hegarty, an artist based in Brooklyn, New York, has won a 2017 fellowship in crafts/sculpture from the New York Foundation for the Arts.
Stacy C. Hollander, deputy director for curatorial affairs, chief curator, and director of exhibitions for the American Folk Art Museum in New York, has won two 2017 Awards for Excellence from the Association of Art Museum Curators. One award is for her exhibition, Securing the Shadow: Posthumous Portraiture in America; the other is for her catalogue essay, “Securing the Shadow: Posthumous Portraiture in America.”
Melissa Huddleston, an artist and assistant conservator at the Getty Research Institute in Los Angeles, has completed an artist’s residency at the Sam and Adele Golden Foundation for the Arts, based in New Berlin, New York.
Sarah Hwang, an art director and designer based in San Leandro, California, has earned the 2017 Art Publishing Residency, awarded by three online publications: Daily Serving, Art Practical, and c3:intiative.
Jennifer Karady, an artist based in Brooklyn, New York, has received a 2017 fellowship in the visual arts from the MacDowell Colony, based in Peterborough, New Hampshire. Karady has also received Art Omi’s Francis Greenburger Fellowship for Mitigating Ethnic and Religious Conflict, which included an artist’s residency in Ghent, New York.
Bahareh Khoshooee, who recently earned an MFA in studio art from the University of South Florida in Tampa, has been appointed an MFA Resident Artist for summer 2017 at the Ox-Bow School of Art and Artists’ Residency in Saugatuck, Michigan.
Sharon Louden, an artist and the editor of The Artist as Cultural Producer, has received studio space in the 2017 Sharpe-Walentas Studio Program, based in Brooklyn, New York.
Forrest McGill, Wattis Senior Curator of South and Southeast Asian Art for the Asian Art Museum of San Francisco in California, has won a 2017 Award for Excellence from the Association of Art Museum Curators for his exhibition catalogue, The Rama Epic: Hero, Heroine, Ally, Foe.
Helina Metaferia, a 2015–17 AICAD Post-Graduate Teaching Fellow at the San Francisco Art Institute in California, has been appointed to the 2017 Arts Faculty this summer at the Ox-Bow School of Art and Artists’ Residency in Saugatuck, Michigan
Itohan I. Osayimwese, assistant professor of history of art and architecture at Brown University in Providence, Rhode Island, has won a grant from the Graham Foundation in the publications category. Her project is editing “‘African Building Types: An Architectural-Ethnographic Study’ and Other Essays by Hermann Frobenius.”
Jim Osman, an artist based in Brooklyn, New York, has received a 2017 fellowship in the category for crafts and sculpture from the New York Foundation for the Arts.
Corinna Ray, who recently completed an MFA at the University of Tennessee in Knoxville, has been appointed an MFA Resident Artist for summer 2017 at the Ox-Bow School of Art and Artists’ Residency in Saugatuck, Michigan.
Adam Liam Rose, who earlier this year received an MFA in sculpture from Columbia University in New York, has become an MFA Resident Artist for summer 2017 at the Ox-Bow School of Art and Artists’ Residency in Saugatuck, Michigan.
Felicity D. Scott, director of the PhD Program in Architecture (History and Theory) and codirector of the program in Critical, Curatorial, and Conceptual Practices in Architecture at Columbia University’s Graduate School of Architecture, Planning, and Preservation in New York, has won a research grant from the Graham Foundation. She will work on “Vann Molyvann and the Absent Archives of Cambodian Modernism” with Branden W. Joseph and Mark Wasiuta.
Makia Sharp, who earlier this year earned an MFA in sculpture from the Rhode Island School of Design in Providence, has won a 2017–18 Post-Graduate Teaching Fellowship. The Association of Independent Colleges of Art and Design will place her at California College of the Arts in San Francisco and Oakland.
Emily Silver, an artist based in Ferndale, California, and a faculty member at the College of the Redwoods in Eureka, has completed a residency at PLAYA at Summer Lake in Summer Lake, Oregon.
Irene V. Small, assistant professor in the Department of Art and Archaeology at Princeton University in Princeton, New Jersey, has won a research grant from the Graham Foundation. Her project is titled “The Organic Line and the Ends of Modernism.”
Linda Stein, an artist based in New York, has been recognized as Artist of the Year by the New York City Art Teachers Association and the United Federation of Teachers.
Despina Stratigakos, professor of architecture at the University at Buffalo in Buffalo, New York, has won a research grant from the Graham Foundation. Her project is titled “Hitler’s Northern Dream: Building an Empire in Occupied Norway.”
Dannielle Tegeder, an artist based in New York, has accepted a 2017 fellowship in printmaking, drawing, and book arts category from the New York Foundation for the Arts.
Penelope Umbrico, an artist and faculty member at the School of Visual Arts in New York, has been selected to receive studio space in Brooklyn through the 2017 Sharpe-Walentas Studio Program.
Kristina Wilson, associate professor of art history at Clark University in Worcester, Massachusetts, has received a 2017 Award for Excellence from the Association of Art Museum Curators for her exhibition Cyanotypes: Photography’s Blue Period, organized with Nancy Kathryn Burns.
Mabel O. Wilson, associate professor for the Graduate School of Architecture, Planning, and Preservation at Columbia University in New York, has won a grant for publications from the Graham Foundation. She and her fellow editors, Irene Cheng and Charles L. Davis II, will work on a book project called “Race and Modern Architecture.”
People in the News lists new hires, positions, and promotions in three sections: Academe, Museums and Galleries, and Organizations and Publications.
The section is published every two months: in February, April, June, August, October, and December. To learn more about submitting a listing, please follow the instructions on the main Member News page.
Nika Elder has become assistant professor in the Department of Art at American University in Washington, DC.
Amy Freund has received tenure and been promoted to associate professor in the Meadows School of the Arts at Southern Methodist University in Dallas, Texas.
Paul B. Jaskot, formerly professor of the history of art and architecture and director of Studio χ at DePaul University in Chicago, Illinois, has been appointed professor of art history and director of Wired! Lab at Duke University in Durham, North Carolina.
Jenni Sorkin has received tenure in the History of Art and Architecture Department at the University of California, Santa Barbara. She became associate professor on July 1, 2017.
May Sun, an artist and former lecturer at Otis College of Art and Design in Los Angeles, California, has become a 2017–18 artist in residence at the Rinehart School of Sculpture at Maryland Institute College of Art in Baltimore.
Rebecca Uchill has left the Massachusetts Institute of Technology in Cambridge for a position at the University of Massachusetts, Dartmouth.
Lisa Young has resigned from her position in the College of Art and Design at Lesley University in Cambridge, Massachusetts.
Museums and Galleries
William J. Chiego has become director emeritus for the McNay Art Museum in San Antonio, Texas, to acknowledge his twenty-five years of service.
Elizabeth Chodos, formerly executive and creative director of Oxbow in Saugatuck, Michigan, has been appointed director of the Regina Gouger Miller Gallery at Carnegie Mellon University in Pittsburgh, Pennsylvania.
Erin B. Coe, director of the Hyde Collection in Glen Falls, New York, has accepted the directorship of the Palmer Museum of Art at Pennsylvania State University in State College.
William L. Coleman, formerly NEH Post-Doctoral Fellow at the Library Company of Philadelphia in Pennsylvania, has been named associate curator of American art at the Newark Museum in Newark, New Jersey.
Alexa Greist, previously at the Yale University Art Gallery in New Haven, Connecticut, has been named assistant curator of prints and drawings for the Art Gallery of Ontario in Toronto.
Tarah Hogue, formerly curator at Grunt Gallery in Vancouver, British Columbia, has become the first senior curatorial fellow at the Vancouver Art Gallery.
Wanda Nanibush has been named assistant curator of Canadian and indigenous art for the Art Gallery of Ontario in Toronto.
Christina Olsen, previously director of the Williams College Museum of Art in Williamstown, Massachusetts, has been appointed director of the University of Michigan Museum of Art in Ann Arbor.
Sylvie Patry has joined the Musée d’Orsay in Paris, France, as deputy director for curatorial affairs and collections. Previously she was deputy director for collections and exhibitions and Gund Family Chief Curator for the Barnes Foundation in Philadelphia, Pennsylvania.
H. Alexander Rich, assistant professor of art history and director of the Melvin and Burks Galleries at Florida Southern College in Lakeland, has also been named curator and director of galleries and exhibitions for the Polk Museum of Art at his school.
Tina Rivers Ryan, formerly curatorial assistant in the Department of Modern and Contemporary Art at the Metropolitan Museum of Art in New York, has become assistant curator at the Albright-Knox Art Gallery in Buffalo, New York.
Stephanie Sparling Williams, previously John Walsh Fellow at the Yale University Art Gallery in New Haven, Connecticut, has joined the Addison Gallery of American Art at Phillips Academy in Andover, Massachusetts, as assistant curator and visiting scholar.
Daniel H. Weiss, president and chief operating officer of the Metropolitan Museum of Art in New York, has been chosen to lead his institution as chief executive officer.
Cole Woodcox has been appointed director of the Council of Public Liberal Arts Colleges, a consortium of thirty North American universities based in Asheville, North Carolina.
Organizations and Publications
Jo-Anne Birnie Danzker, previously director of the Frye Art Museum in Seattle, Washington, has been appointed director and chief executive officer of the Biennale of Sydney in Australia.
Gilberto Cárdenas, executive director of the Notre Dame Center for Arts and Culture in South Bend, Indiana, has joined the board of trustees for the Smithsonian Institution’s Archives of American Art, based in Washington, DC.
John Davis, previously Alice Pratt Brown Professor of Art at Smith College in Northampton, Massachusetts, and executive director of the Terra Foundation for American Art’s Global Academic Programs and Terra Foundation Europe, has been appointed under secretary for museums and research/provost at the Smithsonian Institution in Washington, DC.
Thomas W. Gaehtgens, director of the Getty Research Institute in Los Angeles, has decided to retire in spring 2018.
Check out details on recent shows organized by CAA members who are also curators.
Exhibitions Curated by CAA Members is published every two months: in February, April, June, August, October, and December. To learn more about submitting a listing, please follow the instructions on the main Member News page.
Ellen Carey. Women in Colour. Rubber Factory, New York, August 19–September 27, 2017.
Rachel Epp Buller. Crossing the Line. Mary Martin Gehman Art Gallery, Harrisonburg, Virginia, June 22–25, 2017.
Christine Giviskos. On the Prowl: Cats and Dogs in French Prints. Zimmerli Art Museum at Rutgers University, New Brunswick, New Jersey, September 5, 2017–January 7, 2018.
Donna Gustafson. Absence and Trace: The Dematerialized Image in Contemporary Art. Zimmerli Art Museum at Rutgers University, New Brunswick, New Jersey, September 5, 2017–January 7, 2018.
Donna Gustafson. Stanley Twardowicz: Color Field Paintings, 1962–1990. Zimmerli Art Museum at Rutgers University, New Brunswick, New Jersey, September 5, 2017–July 31, 2018.
Donna Gustafson. Subjective Objective: A Century of Social Photography. Zimmerli Art Museum at Rutgers University, New Brunswick, New Jersey, September 5, 2017–January 7, 2018.
Nancy Karrels. Provenance: A Forensic History of Art. Krannert Art Museum, University of Illinois, Urbana-Champaign, Illinois, May 13, 2017–June 9, 2018.
Nicole Simpson. Cats vs. Dogs: Illustrations for Children’s Literature. Zimmerli Art Museum at Rutgers University, New Brunswick, New Jersey, July 1, 2017–June 24, 2018.
Nicole Simpson. Serigraphy: The Rise of Screenprinting in America. Zimmerli Art Museum at Rutgers University, New Brunswick, New Jersey, September 5, 2017–February 11, 2018.
Rachel Stern. “Leben ist Glühn”: Der Expressionist Fritz Ascher / “To Live Is to Blaze with Passion”: The Expressionist Fritz Ascher. Museum Charlottenburg-Wilmersdorf in der Villa Oppenheim, Berlin, Germany, December 8, 2017–March 11, 2018; and Potsdam Museum—Forum für Kunst und Geschichte, Potsdam, Germany, December 10, 2017–March 11, 2018.
Karen Wilkin. “Beauteous Strivings”: Fritz Ascher, Works on Paper. New York Studio School, New York, October 23–December 3, 2017.
See when and where CAA members are exhibiting their art, and view images of their work.
Solo Exhibitions by Artist Members is published every two months: in February, April, June, August, October, and December. To learn more about submitting a listing, please follow the instructions on the main Member News page.
Lea Kannar-Lichtenberger. Accelerator Gallery, Pyrmont, New South Wales, Australia, May 27–June 10, 2017. Deception.
Diane Burko. Joy Pratt Markham Gallery, Walton Arts Center, Fayetteville, Arkansas, May 4–September 30, 2017. Glacial Shifts, Changing Perspectives: Bearing Witness to Climate Change. Painting and photography.
Rachel Epp Buller. Galeria Zapatista at Mission Grafica, San Francisco, California, May 12–June 16, 2017. A Hidden Garden. Monotype prints.
Ken Gonzales-Day. Luis De Jesus Los Angeles, Los Angeles, California, September 9–October 28, 2017. Bone-Grass Boy: The Secret Banks of the Conejos River. Photographic project.
Publishing a book is a major milestone for artists and scholars—browse a list of recent titles below.
Books Published by CAA Members appears every two months: in February, April, June, August, October, and December. To learn more about submitting a listing, please follow the instructions on the main Member News page.
David S. Areford. La nave e lo scheletro: Le stampe di Jacopo Rubieri alla Biblioteca Classense di Ravenna (Bologna: Bononia University Press, 2017).
Alexis L. Boylan. Ashcan Art, Whiteness, and the Unspectacular Man (New York: Bloomsbury Academic, 2017).
Marilyn R. Brown. The “Gamin de Paris” in Nineteenth-Century Visual Culture: Delacroix, Hugo, and the French Social Imaginary (New York: Routledge, 2017).
Clarence C. Cook. A Description of the New York Central Park, intro. Maureen Meister (New York: New York University Press, 2017).
Diana Gisolfi. Paolo Veronese and the Practice of Painting in Late Renaissance Venice (New Haven: Yale University Press, 2017).
D. Gustafson and A. M. Zervigón. Subjective Objective: A Century of Social Photography (Munich: Hirmer Verlag, 2017).
Rebecca Peabody. Consuming Stories: Kara Walker and the Imagining of American Race (Oakland: University of California Press, 2016).
Corine Schleif and Volker Schier, eds. Manuscripts Changing Hands (Wiesbaden, Germany: Harrassowitz, 2016).
Rachel Stern. The Expressionist Fritz Ascher: To Live Is to Blaze with Passion / Der Expressionist Fritz Ascher: Leben ist Glühn, ed. Ori Z. Soltes (Cologne: Wienand, 2016).
Athena Tacha. Visualizing the Universe: Athena Tacha’s Proposals for Public Art Commissions 1972–2012, ed. Richard E. Spear (Washington, DC: Grayson, 2017).
Nancy Um. Shipped but Not Sold: Material Culture and the Social Protocols of Trade during Yemen’s Age of Coffee (Honolulu: University of Hawai’i Press, 2017).
Phoebe Wolfskill. Archibald Motley Jr. and Racial Reinvention: The Old Negro in New Negro Art (Champaign: University of Illinois Press, 2017).
Antonella Fenech Kroke reviews Maniera: Pontormo, Bronzino and Medici Florence, an exhibition at the Städel Museum, Frankfurt. “The most substantial exhibition on Mannerism staged in Germany,” the show, with “intellectual exuberance,” “provided a unique opportunity to see the disquieting emergence and flourishing of multiples creative perspectives that the term Mannerism has attempted to unify.” Read the full review at caa.reviews.