posted by Christopher Howard — Jan 23, 2013
The Andrew W. Mellon Foundation has awarded the College Art Association (CAA) a one-year grant of $60,000 to administer the Meiss/Mellon Author’s Book Award. The award is a temporary measure to provide financial relief to early-career scholars in art history and visual studies who are responsible for paying for rights and permissions for images in their publications. The Meiss/Mellon Author’s Book Award will provide grants directly to emerging scholars to offset the high costs of image acquisition. Recipients will be selected on the basis of the quality and financial need of their project, and awards will be made twice during the year (in the spring and fall) in conjunction with CAA’s Millard Meiss Publication Fund awards to publishers. CAA anticipates awarding between eight and ten Meiss/Mellon Author’s Book Awards in 2013.
The Meiss/Mellon Author’s Book Award supports image rights and reproduction costs for books on topics in art history and visual studies. The Society of Architectural Historians (SAH) also received one year of funding from the Andrew Mellon Foundation and will award grants to emerging scholars who are publishing monographs on the built environment. Both the CAA and SAH awards will provide leading authors in the early stages of their careers with the financial resources to acquire images for scholarly publications. For information about the SAH award, visit www.sah.org or contact Beth Eifrig at email@example.com.
Applications for the first round of the Meiss/Mellon Author’s Book Award are now being accepted. The deadline for submission is March 15, 2013, with a second round of applications due on September 15, 2013. CAA will administer the Meiss/Mellon Author’s Book Award according to guidelines developed for the Millard Meiss Publication Fund grant, an award established in 1975 by a generous bequest from the late Professor Millard Meiss. The jury for the award, comprising distinguished, mid-career or senior scholars whose specializations cover a broad range of art scholarship, has discretion over the number of and size of the awards. For further information about the award and to apply, please visit www.collegeart.org/meissmellon.
CAA seeks to alleviate high reproductions rights costs related to publishing in the arts. With funding from a separate grant from the Andrew W. Mellon Foundation, CAA recently initiated a project to explore the overall impact of copyright on the arts and how different understandings of copyright affect creative and scholarly choices in the visual arts. Over a four-year period, from 2013–2016, CAA will produce an issues report and a code of best practices for fair use in the creation and curation of artworks and scholarly publishing in the visual arts.
For further information please contact Virginia Reinhart, CAA marketing and communications associate, at firstname.lastname@example.org or 212-392-4426. For information on applying to the Meiss/Mellon Author’s Book Award, please contact Alex Gershuny, CAA editorial associate, at email@example.com or 212-392-4424.
posted by Christopher Howard — Dec 19, 2012
In its monthly roundup of obituaries, CAA recognizes the lives and achievements of the following artists, scholars, architects, photographers, and others whose work has significantly influenced the visual arts. The end of 2012 was marked by the loss of the painter Will Barnet, the architect Oscar Niemeyer, and the museum director Gudmund Vigtel.
- Evelyn Ackerman, a Californian artist and designer who worked in mosaics, tapestries, and wood carving, died on November 28, 2012, at age 88. She often collaborated with her husband, the artist Jerome Ackerman; their work was recognized in a retrospective exhibition, Masters of Mid-Century California Modernism, at the Mingei International Museum in San Diego
- Gae Aulenti, the Italian architect and designer who transformed a Paris train station into the Musée d’Orsay, died on October 31, 2012. She was 84. Aulenti also worked on renovations to museums in Barcelona, Istanbul, San Francisco, and Venice
- Takashi Azumaya, an independent Japanese curator, died on October 16, 2012, at the age of 44. After working at the Setagaya Art Museum and the Mori Art Museum, he became the first non-Korean director of the Busan Biennale, which he organized in 2010
- Will Barnet, a painter and printmaker who lived and worked in New York for many decades, passed away on November 13, 2012. He was 101 years old. Barnet, who won CAA’s 2007 Distinguished Artist Award for Lifetime Achievement, had taught at the Art Students League and the Cooper Union for the Advancement of Science and Art, among other schools
- Marshall J. Bouldin III, a portraitist based in Mississippi who painted Richard Nixon’s daughters, died on November 12, 2012. He was 89 years old
- David C. Copley, the former owner and publisher of the San Diego Union-Tribune and a philanthropist of the arts, died on November 20, 2012, at age 60. Copley was a member of board of directors for the Museum of Contemporary Art San Diego
- Johanna Liesbeth de Kooning, the only daughter of the artist Willem de Kooning and the cofounder of his estate and trust, passed away on November 23, 2012. She was 56 years old
- Robert W. Duemling, the former director of the National Building Museum in Washington, DC, and a board member of the Society of Architectural Historians, died on July 13, 2012, at age 83. Duemling had spent four years in naval intelligence and thirty years in the US Foreign Service after earning his master’s degree in the history of art and architecture from Yale University in 1953
- Jacques Dupin, a French poet and art critic, died on October 27, 2012, at the age of 85. A longtime director of Galerie Maeght in Paris, Dupin wrote the official biography of Joan Miró as well as ten monographs on the artist’s work
- Georgia Fee, the cofounder, chief executive officer, and editor-in-chief of Art Slant, died on December 8, 2012. Born in 1951, Fee developed Art Slant from a Los Angeles–based events calendar and online art magazine into a website with an international scope
- Gray Foy, a New York artist and socialite, passed away on November 23, 2012, at the age of 90. Foy received acclaim for his drawing and illustrations in the mid-twentieth century but became better known as a tastemaker and salonnier, hosting parties and events that boasted attendees as diverse as Leonard Bernstein, Cary Grant, and Susan Sontag
- Krisanne Frost, an artist based in San Antonio, Texas, and gallery liaison for the Blue Star Contemporary Art Center, died on December 6, 2012. She was 61 years old
- Wendell Garrett, a historian and an appraiser on the television show Antiques Roadshow, died on November 14, 2012. He was 83. Among Garrett’s books are Victorian America: Classical Romanticism to Gilded Opulence (1993) and American Colonial: Puritan Simplicity to Georgian Grace (1995)
- Richard Gordon, a photographer and a maker of handmade books, died on October 6, 2012, at age 67. Gordon’s most recent collection of images are American Surveillance (2009) and Notes from the Field (2012)
- Rosalie B. Green, director of the Index of Christian Art at Princeton University from 1951 to 1981, passed away on February 24, 2012. She was 94 years old
- Evelyn B. Harrison, a historian of Greek and Roman art and a professor in the Institute of Fine Arts at New York University from 1974 to 2006, died on November 3, 2012, at the age of 92. She had previously taught at the University of Cincinnati, Columbia University, and Princeton University
- Alfred Kumalo, a South African photographer who document life under apartheid and the rise of Nelson Mandela, died on October 21, 2012. He was 82 years old
- Glenys Lloyd-Morgan, a Canadian-born archaeologist of ancient Rome, passed away on September 21, 2012, at the age of 67. Raised and educated in England, she worked at the Grosvenor Museum in Chester and as a finds consultant
- Arnaud Maggs, a Canadian photographer who shot portraits of Anne Murray and Leonard Cohen, died on November 17, 2012. He was 86 years old. Magg’s honors include a 2006 Governor General’s Award in Visual and Media Arts and a 2012 Scotiabank Photography Award
- Margaret M. Martin, a watercolorist based in Allentown, New York, died on November 29, 2012, at the age of 72. Her love of gardening inspired many of her still lifes of flowers
- Menno Meewis, director of the Middelheimmuseum in Antwerp, Belgium, died on October 17, 2012, at age 58. He is credited with rejuvenating the museum and overseeing its expansion
- Patricia Meilman, a scholar of Venetian Renaissance art, died on October 13, 2012. She was 65 years old. Her books include Titian and the Altarpiece in Renaissance Venice and The Cambridge Companion to Titian
- Oscar Niemeyer, the renowned Brazilian architect, died on December 5, 2012, at the age of 104. He is best known for designing the Niterói Contemporary Art Museum and many government, commercial, and residential buildings for Brasília, his country’s new capital
- Catherine Burchfield Parker, an artist who spent thirty years of her career in Buffalo, New York, died on November 6, 2012, at age 85. She was the daughter of the painter Charles Burchfield
- Spain Rodriguez, an influential underground cartoonist based in San Francisco, California, died on November 28, 2012, at age 72. Rodriguez’s work was published by Zap Comics and in the East Village Other
- William Turnbull, a modernist sculptor from Scotland, died on November 15, 2012. He was 90. Turnbull’s career, which spanned seven decades, included forays in figurative, organic semiabstract, and hard-edged geometric styles, as well as painting
- Gudmund Vigtel, director of the High Museum of Art in Atlanta, Georgia, from 1963 to 1991, died on October 20, 2012. He was 87. Under his leadership the museum’s collection tripled in size and moved into a Richard Meier–designed building
- Albert Wadle, an art dealer and philanthropist based in Santa Fe, New Mexico, died on November 12, 2012. He was 84 years old
- Shizuko Watari, the founder and director of Watari-um, the Watati Museum of Contemporary Art, in Japan, died on December 1, 2012, at age 80. She was also a curator and the director of Galerie Watari in Tokyo
- Larry Welden, an artist and educator based in Sacramento, California, died on October 25, 2012, at age 90. He taught art at Sacramento City College from 1960 to 1985, and his watercolors focused on the landscapes of Northern California
- Evelyn Williams, an English artist whose reliefs, drawings, and paintings were hard to categorize, died on November 14, 2012. She was 83 years old
- Lebbeus Woods, an unconventional architect who built only one permanent structure, died on October 30, 2012. He was 72 years old. Woods was a professor at the Cooper Union for the Advancement of Science and Art in New York.
Read all past obituaries in the arts in CAA News, which include special texts written for CAA. Please send links to published obituaries, or your completed texts, to Christopher Howard, CAA managing editor, for the January list.
posted by CAA — Oct 24, 2012
Tanya J. Tiffany is associate professor of art history in the Department of Art History at the University of Wisconsin in Milwaukee.
Jeffrey R. Hayes, professor of art history and director of the master’s degree program in liberal studies at the University of Wisconsin in Milwaukee, died on June 18, 2012. Hayes was an exceptional scholar, teacher, and colleague, and a pioneering figure in the field of outsider art in the United States.
Hayes received his BA in history from Wake Forest University in Winston-Salem, North Carolina, in 1967. Following his service as captain in the US Army during the Vietnam War (from which he received an honorable discharge as a conscientious objector), Hayes returned to his native Maryland. In 1972 he earned an MLA in the history of ideas at Johns Hopkins University; the multidisciplinary scope of that program introduced him to art history. A decade later he completed his PhD in art history at the University of Maryland, where he worked under the guidance of Elizabeth Johns, who became a lifelong mentor and friend.
Hayes’s expertise in American art was far reaching. Building on his dissertation research, his first major scholarly works included an exhibition and catalogue as well as two groundbreaking monographs on the modernist painter Oscar Bluemner: Oscar Bluemner: Landscapes of Sorrow and Joy (Washington, DC: Corcoran Gallery of Art, 1988) and Oscar Bluemner (New York: Cambridge University Press, 1991). Hayes then turned his attention to curating exhibitions and writing catalogues on major collections and figures in outsider art, including Common Ground/Uncommon Vision: The Michael and Julie Hall Collection of American Folk Art, which was coauthored with Russell Bowman and Lucy Lippard and published by the Milwaukee Art Museum in 1993; The Art of Carl McKenzie (Milwaukee: UWM Art Museum, 1994); and Signs of Inspiration: The Art of Prophet William J. Blackmon (Milwaukee: Patrick and Beatrice Haggerty Museum of Art, Marquette University, 1999).
In recent years Hayes returned to his research on Bluemner’s art with the volume Bluemner on Paper (New York: Barbara Mathes Gallery, 2005), and at the time of his death he was writing about the Wisconsin sculptors Mona Webb and Thomas Owen Every, known as Dr. Evermor. In addition to his many influential publications, Hayes also received prestigious awards and fellowships from institutions including the Smithsonian, the National Endowment for the Humanities, and the American Philosophical Society.
From 1982 until his death, Hayes taught in the Department of Art History at University of Wisconsin in Milwaukee, where he also served as department chair from 1989 until 1996. In 2000, he founded the master’s degree program in liberal studies, the only degree of its kind in the state school system; he remained the program’s director until his death.
Hayes was extraordinarily generous as a colleague and as a mentor to his many graduate students; his boundless energy, kindness, and humor will be greatly missed. In addition to his scholarship, Hayes was a strong political activist as well as an avid tennis player, fisherman, and swimmer.
Jeffrey Hayes is survived by his wife, Leslie; his three children, Eli, Zachary, and Ursula; and by his grandchildren.
Read another obituary on Hayes in the Milwaukee Journal Sentinel.
posted by Christopher Howard — Jul 10, 2012
The president of the CAA Board of Directors, Anne Collins Goodyear, 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, Randall C. Griffin. The appointments took effect on July 1, 2012.
The Art Bulletin
The Art Bulletin has announced its next editor-in-chief: Kirk Ambrose, associate professor and chair of the Department of Art and Art History at the University of Colorado in Boulder. In addition to numerous essays and book chapters, he is the author of The Nave Sculpture of Vézelay: The Art of Monastic Viewing (Toronto: Pontifical Institute of Mediaeval Studies, 2006) and the coeditor, with Robert A. Maxwell, of Current Directions in Eleventh- and Twelfth-Century Romanesque Sculpture Studies (Turnhout, Belgium: Brepols, 2010). His book Monsters in Twelfth-Century European Sculpture is forthcoming from Boydell and Brewer. Other future projects include a volume on Portuguese Romanesque sculpture and an exhibition at the University of Colorado Art Museum, tentatively entitled Aby Warburg and the Beginning of Cultural Studies in the American Southwest and scheduled for 2014. Ambrose will succeed Karen Lang of the University of Warwick in England, beginning his three-year term as editor-in-chief on July 1, 2013, with the preceding year as editor designate.
David J. Getsy, the Goldabelle McComb Finn Distinguished Professor of Art History, Theory, and Criticism at the School of the Art Institute of Chicago, has joined the Art Bulletin Editorial Board for a four-year term. His work focuses on modern and contemporary art in Europe and America from the 1870s to the present day. Among his books are Body Doubles: Sculpture in Britain, 1877–1905 (New Haven: Paul Mellon Centre for Studies in British Art and Yale University Press, 2004) and Rodin: Sex and the Making of Modern Sculpture (New Haven: Yale University Press, 2010). Getsy is currently editing the critical writings of the American postminimalist artist Scott Burton, for publication later this year by Soberscove Press.
Rachael DeLue, associate professor of art history at Princeton University in Princeton, New Jersey, has begun a three-year term as the reviews editor of The Art Bulletin, succeeding Michael Cole of Columbia University in New York. Her first section will appear in the March 2013 issue. Thelma K. Thomas, associate professor of fine arts at the Institute of Fine Arts, New York University, has now entered the second year of her two-year service as the chair of the editorial board of the journal.
Michael Corris, professor of art and chair of the Division of Art in the Meadows School of the Arts at Southern Methodist University in Dallas, Texas, was appointed Art Journal reviews editor. He will serve one year as reviews editor designate, taking over from Howard Singerman of the University of Virginia in July 2013. Corris is both an artist and an author of many works on postwar and contemporary art and theory. The Peacock Gallery in London and the Reading Room in Dallas hosted his most recent solo shows; he has also exhibited widely as a member of the collaborative group Art & Language. Among Corris’s many publications are monographs on Ad Reinhardt (London: Reaktion Books, 2008) and David Diao (Beijing: Timezone 8, 2005). Two books forthcoming in 2013 are The Artist Out of Work: Selected Writings on Art (Les Presses du réel and JRP | Ringier) and What Do Artists Know? The Response to Deskilling in Art (Reaktion Books). Corris is a cofounder and editor of Transmission Annual, a collaborative project of Sheffield Hallam University in England and the Meadows School of the Arts.
Joining the Art Journal Editorial Board for four-year terms are Catherine Lord and Hilary Robinson. Lord is a writer, artist, and curator whose work addresses issues of feminism, cultural politics, and colonialism. She is a professor of studio art and women’s studies at the University of California, Irvine. Recent solo exhibitions were held at ONE National Gay and Lesbian Archives and Jancar Gallery, both in Los Angeles. Lord is the author of the text-image experimental narrative The Summer of Her Baldness: A Cancer Improvisation (Austin: University of Texas Press, 2004), and her forthcoming book project coedited with Richard Meyer, to be published by Phaidon, is called Art and Queer Culture, 1885–2005. Robinson is a professor of art theory and criticism in the College of Fine Arts at Carnegie Mellon University in Pittsburgh, Pennsylvania. The focus of her scholarship is the history and theory of feminist art. Her books include Reading Art, Reading Irigaray: The Politics of Art by Women (London: I. B. Tauris, 2006) and Feminism-Art-Theory: A History, forthcoming from Blackwell. She is the editor of Visibly Female: Feminism and Art: An Anthology (London: Camden, 1987) and Feminism-Art-Theory: An Anthology 1968–2000 (Malden, MA: Blackwell, 2001).
Lane Relyea, an art critic and associate professor in the Department of Art Theory and Practice at Northwestern University in Evanston, Illinois, has finished his year as editor designate of Art Journal and now assumes the position of editor-in-chief, succeeding Katy Siegel of Hunter College, City University of New York. His first edited issue will appear in spring 2013. Rachel Weiss, a professor at the School of the Art Institute of Chicago whose work focuses on the art of Cuba, is the new chair of the journal’s editorial board. Weiss recently published To and from Utopia in the New Cuban Art (Minneapolis: University of Minnesota Press, 2011).
The caa.reviews Editorial Board welcomes a new member, Tanya Sheehan, assistant professor in the Department of Art History at Rutgers University in New Brunswick, New Jersey, who will serve for four years. Currently the journal’s field editor for books on photography, she is the author of Doctored: The Medicine of Photography in Nineteenth-Century America, published by Pennsylvania State University Press in 2011.
Six new field editors for books and exhibitions have recently been chosen by the editorial board to serve three-year terms. Gloria Williams will commission reviews of exhibitions of pre-1800 art on the West Coast; Eve Straussman-Pflanzer will oversee reviews of exhibitions in the Midwest; and Jennifer Kingsley will commission reviews of exhibitions in the Southeast. Kirsten Swenson will assign books on contemporary art for review, and Megan O’Neil will commission reviews of books and related media on Precolumbian art. Michael Schreffler will handle reviews of books on early modern Iberian and colonial Latin American art.
S. Hollis Clayson, Bergen Evans Professor in the Humanities and professor of art history at Northwestern University in Evanston, Illinois, was appointed to the Publications Committee as member-at-large. Clayson specializes in nineteenth-century modern European art, particularly French art; her most recent book is Paris in Despair: Art and Everyday Life under Siege (1870–71) (Chicago: University of Chicago Press, 2002). She is the recipient of numerous research and teaching awards and, as director of the Alice Kaplan Institute for the Humanities at Northwestern, promotes discussion and projects focusing on humanities in the digital era. A former chair and member of the Art Bulletin Editorial Board, Clayson has served on CAA’s Annual Conference Committee and on the juries for three CAA awards: the Distinguished Lifetime Achievement Award for Writing on Art, the Arthur Kingsley Porter Prize, and the Distinguished Teaching of Art History Award.
posted by Christopher Howard — Jan 18, 2012
CAA has announced the recipients of the 2012 Awards for Distinction, which honor the outstanding achievements and accomplishments of individual artists, art historians, authors, conservators, curators, and critics whose efforts transcend their individual disciplines and contribute to the profession as a whole and to the world at large.
CAA will formally recognize the recipients at a special awards ceremony during the 100th Annual Conference in Los Angeles, on Thursday afternoon, February 23, 2012, 12:30–2:00 PM, at the Los Angeles Convention Center. Led by Barbara Nesin, president of the CAA Board of Directors, the awards ceremony will take place in West Hall Meeting Room 502AB, Level 2; it is free and open to the public. The Los Angeles Convention Center is located downtown, at 1201 South Figueroa Street adjacent to the Staples Center.
The 2012 Annual Conference—presenting scholarly sessions, panel discussions, professional-development workshops, a Book and Trade Fair, and more—is the largest gathering of artists, art historians, students, and arts professionals in the United States.
David Hammons, Distinguished Artist Award for Lifetime Achievement
The innovative, far-ranging work of David Hammons is central to the history of postwar art in all its complexities. For the past five decades, Hammons has ingeniously blurred boundaries separating sculpture, Conceptual art, performance, and installation. Through a restless hybridization of practices, he has explored many timely and urgent contemporary issues, commenting on the civil rights movement, racial stereotyping, institutional exclusion, and the commodification of artistic identity. Hammons is not only one of the great political artists of our time, but also a crafter of careful assemblage and canny composition, creating irreverent, sometimes scathing works that are as formally riveting as they are incisive.
Adrian Piper, Artist Award for Distinguished Body of Work
Since the late 1960s, the provocative and often challenging work of Adrian Piper has profoundly influenced the language and form of Conceptual art. Her 2010 exhibition Past Time: Selected Works 1973–1995, presented at Elizabeth Dee Gallery in New York, showcased several bodies of work that dealt with dissent in varying forms and represented a period of time widely considered as her most influential. Piper’s artistic practice flirts with the syntax of Minimalism and infuses it with explicitly political content, addressing issues of race, gender, and identity politics. Additionally, her work has been shaped by studies in philosophy, a subject on which she has lectured since earning a doctorate in the discipline thirty years ago. A keen interlocutor of mass culture, Piper has produced art and writing that makes us question our constantly shifting contemporary social landscape.
Lucy R. Lippard, Distinguished Feminist Award
For more than five decades, the critic, activist, and curator Lucy R. Lippard has been a consistent, passionate, and influential advocate of feminist art. A prolific author first honored by CAA in 1975 with the Frank Jewett Mather Award, she is known for her concise, accessible, and lucid prose that brings feminist perspectives to bear on a wide scope of art and activism—from Eva Hesse (1976) to The Pink Glass Swan: Selected Essays on Feminist Art (1995). Lippard’s curatorial efforts—such as c. 7,500 (1973), the groundbreaking all-woman exhibition of Conceptual art—have also been vital to the feminist art movement and offered some of the earliest considerations of global feminisms. Throughout her life, she has modeled a complex, ever-changing point of view as it intersects with progressive notions of art and politics.
Allan Sekula, Distinguished Lifetime Achievement Award for Writing on Art
Allan Sekula has devoted his life as an artist to writing, photography, installation, and film. While his multidisciplinary approach to problems of representation and politics has earned him accolades as an artist, his writings have helped students, scholars, and the public to think critically about interventions in the political and social realities of our world. The essays collected in his first book, Photography against the Grain: Essays and Photo Works 1973–83 (1984), significantly altered the way in which the documentary function of photography was conceptualized. His more recent volumes—such as Fish Story (1995), Titanic’s Wake (2003), and Performance under Working Conditions (2003)—mobilize us through his vision and words to carefully consider the effects of capitalism, globalization, information formats, and the dematerialization of image and word.
David Antin, Frank Jewett Mather Award
David Antin has been a singular, combative voice in art criticism since the mid 1960s. His Radical Coherency: Selected Essays on Art and Literature 1966 to 2005 (Chicago: University of Chicago Press, 2011) demonstrates his sustained critical commitment, constant formal experimentation, and a style of thought and expression that is unique to both the visual arts and poetry. The essays and “talking poems” in Radical Coherency display a no-nonsense, skeptical intelligence squaring off firsthand with the work of artists—many of them his contemporaries—who were bent on radically transforming art, from Marcel Duchamp and Andy Warhol to the artists of the Los Angeles County Museum of Art’s 1971 exhibition Art and Technology.
Alexander Nagel, Charles Rufus Morey Book Award
Alexander Nagel’s The Controversy of Renaissance Art (Chicago: University of Chicago Press, 2011) is a compelling reexamination of the key paradoxes that define this era and the works associated with it. Guided in part by sixteenth-century religious history and the writings of historians of that era, Nagel positions sixteenth-century art making in the realm of the experimental, a vantage also in concert with the efforts of the religious reformers concerned with ritual and devotional practices usually associated with the Middle Ages. A breakthrough volume that makes significant contributions to scholarship on sixteenth-century Italian art, Nagel’s book compels art historians more generally to reconsider “standard” interpretations of many canonical monuments of the periods in which they are working.
Maryan W. Ainsworth, Stijn Alsteens, and Nadine M. Orenstein, Alfred H. Barr Jr. Award
Man, Myth, and Sensual Pleasures: Jan Gossart’s Renaissance (New York: Metropolitan Museum of Art, in association with Yale University Press, 2010) is a “summa” of Maryan Ainsworth’s decades-long exploration of the artistic legacy of this place and time. Using a variety of methods—technical analysis, connoisseurship, archival research, biography, iconography, and sustained attention to each object—she and the other authors place Gossart at the center of a rich world of intertwined relationships. Together they reveal the artist’s groundbreaking engagement with Rome and antiquity, his intent study of architecture and sculpture, his carefully crafted experimentation in a variety of media, and his amazing versatility as a painter of religious scenes, mythological subjects, and innovative portraits over a long career. The book is also significant for the insightful way in which it situates Gossart among his contemporaries, including the painters Albrecht Dürer and Lucas Cranach, the sculptor Conrad Meit, and the patron and connoisseur Philip of Burgundy.
Roy Flukinger, Alfred H. Barr Jr. Award for Smaller Museums, Libraries, Collections, and Exhibitions
With The Gernsheim Collection (Austin: Harry Ransom Center, University of Texas Press, 2010), Roy Flukinger has crafted an exceptional catalogue of the Helmut and Alison Gernsheim Collection, one of the earliest and most comprehensive collections of photography in the world. One hundred and twenty-six items are beautifully illustrated and analyzed in readable, absorbing prose that traces the story of the couple’s achievements as sleuths, gatherers, connoisseurs, photographers, devotees, and champions, while at the same time recognizing and examining their (sometimes controversial) role as architects of the study of photography. Contributions by Alison Nordstrom and Mark Haworth-Booth illuminate the role this collection has played in the history of photography as well as the Gernsheims’ commitment to the medium as a form of fine art. In this way, the book considers the process (in addition to the underlying principles, assumptions, and implications) of canon formulation in an emerging discipline.
Jacki Apple, Distinguished Teaching of Art Award
For the past twenty-eight years, Jacki Apple has provided students at the Art Center College of Design in Pasadena, California, with a dynamic, inspiring, and evolving model of the possibilities and rewards of an interdisciplinary practice. An artist, writer, and producer, she has produced work in multiple modes—performance, installation, drawing, book art, photography, film, radio, text, and audio—and presciently engages the opportunities afforded by new technologies. Praised by students and colleagues alike for her intelligence, generosity, enthusiasm, and critical discernment, Apple adeptly bridges various disciplines using a wide scope of knowledge about contemporary culture and technology and a depth of understanding about the history and practice of the visual and performing arts. A gifted communicator, Apple is exceptionally effective in encouraging students to think for themselves.
Gabriel P. Weisberg, Distinguished Teaching of Art History Award
Gabriel P. Weisberg’s distinguished teaching record—which includes faculty positions at the University of New Mexico, the University of Cincinnati, the University of Pittsburgh, Case Western Reserve University, and the University of Minnesota, where he is currently a professor in the Department of Art History—spans nearly half a century. His students, both graduate and undergraduate, praise his presentation of art as a dynamic interplay among culture, aesthetics, and human experience, revealed through direct examination of works of art in the context of primary historical documentation. Weisberg’s varied and distinguished background as a historian, curator, and administrator seamlessly integrates academic and museum realms, and his scholarship has shaped the discipline of nineteenth-century art history in a profound way.
Francesca G. Bewer, CAA/Heritage Preservation Award for Distinction in Scholarship and Conservation
Francesca G. Bewer, research curator in the Harvard Art Museums’ Straus Center for Conservation and Technical Studies, is an exemplary technical art historian. An expert in the materials and techniques of European Renaissance and Baroque bronze sculpture, she trained as both an art historian, at University College London, and as a conservator, at Palazzo Spinelli in Florence. A highly valued teacher and lecturer, Bewer has published a steady stream of superb texts in conservation and art-historical journals, exhibition catalogues, and monographs. She also recently authored a book on the history of conservation, A Laboratory for Art: Harvard’s Fogg Museum and the Emergence of Conservation in America, 1900–1950 (Cambridge, MA: Harvard Art Museum; New Haven: Yale University Press, 2010).
Rebecca Molholt, Arthur Kingsley Porter Prize
Rebecca Molholt’s article “Roman Labyrinth Mosaics and the Experience of Motion,” published in the September 2011 issue of The Art Bulletin, is an imaginative study of seven North African mosaics that were once floors in Roman bathhouses. She introduces a fresh methodology for their assessment, building on a distinction that Walter Benjamin drew between “vertical and horizontal forms of viewing.” Moholt argues that mosaics have long been read as if they were vertical easel paintings rather than understood as “materials underfoot,” which are experienced while kinetically moving over their horizontal surfaces. She uncovers a metaphoric reading of these mosaics that relates the labyrinths, their subject matter, and architectural context—the Roman bath—to athleticism and heroism.
Art Journal Award
An article by the online journal Triple Canopy, authored primarily by Colby Chamberlain of Columbia University, has won the 2012 Art Journal Award. The text, called “The Binder and the Server,” appears in the Winter 2011 issue.
CAA announced the shortlists for the 2012 Charles Rufus Morey Book Award and the two Alfred H. Barr Jr. Awards on December 2, 2011.
posted by CAA — Aug 31, 2011
Adrian Hicken, a professor at Bath Spa University in England, is the author of Apollinaire, Cubism, and Orphism (Burlington, VT: Ashgate, 2002).
The sudden death of George Thomas Noszlopy on June 5, 2011, age 78, removes a singular and memorable personality from the ranks of British art historians. A longtime member of CAA and a foundation member of the Association of Art Historians, he made notable contributions to the teaching and dissemination of art history in England for almost fifty years.
For more than a decade at Birmingham Polytechnic, Noszlopy served as course director of an ambitious and challenging master’s degree program of which he had been a principal instigator and architect in the early 1970s. At its height and under his aegis, this department was, perhaps, the largest and one of the most successful for postgraduate study of history of art and design in the country. To this achievement may be added his years of service as a regional convenor and tutor for the Open University and his supervision of many doctoral research candidates, an activity he continued as emeritus professor at Birmingham City University.
Born and educated in Budapest, Noszlopy belonged to a generation formed under two successive regimes: first the right-wing, pseudoparliamentarianism of Admiral Miklós Horthy and then the postwar Stalinism of Mátyás Rákosi and the tragic Imre Nagy. During these years black humor became the language of criticism, if not a technique of survival. Noszlopy was not alone in developing a somewhat wry, sardonic attitude. This was to become mollified later in life with an appreciative embrace of the ironic.
Noszlopy published some poetry while still attending gymnasium, but recognizing these efforts to be too derivative, he turned increasingly to the writing of art criticism and the study of art history. His early work matured in direct contact with major figures such as George Lukács and Robert Berény. Noszlopy shared their desire to search for radical alternatives to the then-dominant Stalinist orthodoxy, an attitude epitomized by his slightly older contemporary at university, the writer, poet, and activist István Eörsi, with whom Noszlopy served in the army.
Noszlopy took his first degree in museology (art history and subsidiary subjects) from Eötvös Lóránd University in 1956. His earliest academic experiences were blighted by his family’s “class alien” designation and the constant investigation of his alleged Trotskyist views. The decision to debar him from all universities and colleges in the country was repealed only after the death of Joseph Stalin in 1953.
During the revolutionary fervor of October 1956, Noszlopy was elected to the Revolutionary Committee of the Hungarian Artists’ Association but was soon arrested following the second Soviet military intervention later that year. He escaped from custody and left Hungary, thanks to the sympathetic assistance of an influential friend. Adopting the transitory existence of a stateless individual, he first lived in Vienna, then had a short sojourn in Paris. Noszlopy later remembered this relatively short period, when a single suitcase held his few possessions, as the most intense sense of freedom he had ever experienced.
After Paris, where he was introduced to a circle of scholars around André Chastel, Noszlopy settled in London, having accepted a grant from the Courtauld Institute of Art. He joined the expatriate intelligentsia gathered around the Irodalmi Ujság (Literary Gazette), the organ of the Hungarian Writers’ Union in exile, becoming a regular contributor until 1961 when the editorial office moved from London to Paris. Thus for some five years Noszlopy was an active participant in this cultural milieu, presided over by such established figures as the essayist and editor Béla Szász, the poet and essayist László Cs. Szabó, the poet György Faludy, and the novelist Tamás Aczél. When Gyula Illyés, the pioneer of surrealist and expressionistic leftist poetry from the interwar years and the leading socialist spokesman for the oppressed peasant class, visited England, Noszlopy acted as his guide.
By this time Noszlopy was a student at the Courtauld, where the renowned Hungarian scholar Johannes Wilde was then coming to the close of his tenure as deputy director. Three years after graduating in 1960, and with the support of Leopold Ettlinger at the Warburg Institute, Noszlopy secured a full-time teaching post at Coventry College of Art. Shortly afterward, he moved to a similar position at Birmingham College of Art and remained in Birmingham throughout his subsequent career.
As an art historian, Noszlopy was quick to embrace the methods of Aby Warburg and Erwin Panofsky. Controversially, while still at the Courtauld, he had extended this methodology to the examination of the iconography of Pablo Picasso’s Demoiselles d’Avignon, to the displeasure of Anthony Blunt. This approach to early-twentieth-century art became evident in Noszlopy’s subsequent studies and seminars on Guillaume Apollinaire and on allegorical imagery in Cubism. The manuscript of a book, “Robert Delaunay’s ‘La Ville de Paris’ and the origins of Orphic Cubism…,” rested in the hands of a publisher for some time but fell victim to an economic downturn. It never appeared. Had a book been published then (1973) it would surely have secured Noszlopy a deserved position among the early, postformalist revisionist historians of Cubism and Orphism.
In 1991 Noszlopy received a DPhil summa cum laude from his alma mater, Eötvös Lóránd University, in recognition of his research on Apollinaire and art in Paris before 1914. This event was emblematic of the scholar’s emotional and physical reconnection with Hungary and his intellectual roots. After years of enforced absence from the country, the thawing of East–West relations offered opportunities for visits, for renewing old friendships, and for reclaiming treasured family possessions. These rediscoveries catalyzed an essay on Tivadar Kosztka Csontváry and two short monographs: the first on an older contemporary, the painter György Gordon, was followed by one devoted to Gordon’s first wife, the caricaturist Edma (Márta Edinger).
While devoting much time to Renaissance and early-twentieth-century European art, Noszlopy was highly responsive to, and enthusiastic about, aspects of British art and crafts hitherto ignored, undervalued, or maligned by local populations and professionals. His study of the painter Bryan Pearce in 1964 was the first monograph devoted to the artist. This was followed by a “Note on West’s ‘Apotheosis of Nelson’” and essays and lectures on the iconography of Britannia. The four volumes in the series Public Sculpture of Britain, surveying the entire West Midlands of England, which Noszlopy had brought to press since 1998, make a fitting memorial to the humanity and humanistic breadth of a scholar who lived and worked in the region for most of his life.
posted by Christopher Howard — Aug 23, 2011
The 2012 Distinguished Scholar Session, taking place at the 100th Annual Conference in Los Angeles, will honor Rosalind Krauss, University Professor at Columbia University in New York. Yve-Alain Bois of the Institute for Advanced Studies will chair a session, called “The Theoretical Turn,” in which five to six participants—among them Harry Cooper, Jonathan Crary, Benjamin H. D. Buchloh, and Hal Foster—will explore and celebrate Krauss’s many contributions to the history of art. The Distinguished Scholar Session will be held in Room 515B at the Los Angeles Convention Center on Thursday, February 23, 2:30–5:00 PM.
Krauss’s acute observation of twentieth-century art began at Wellesley College in Massachusetts, where she received her undergraduate degree in 1962. She began writing criticism in 1966, mostly for Artforum, while working on her PhD at Harvard University, which she earned in 1969. MIT Press published an expanded version of her dissertation as Terminal Iron Works: The Sculpture of David Smith in 1971.1
Krauss continued writing criticism and generating art-historical essays that challenged steadfast analyses of Auguste Rodin, the Surrealists, and Jackson Pollock, to name a few topics. She joined the Artforum editorial board in the late 1960s and appeared on the masthead as assistant editor from 1971 to 1974. Krauss and her colleague Annette Michelson left the magazine in 1975 to establish the scholarly October, which strove to forge a relationship between contemporary concerns and scholarship, with particular emphases on the history of modernism, its fundamental premises, and the ability of writing to reinvigorate the era. For Krauss and others, October was an opportunity to integrate artists such as Richard Serra and Sol LeWitt into their theoretical convictions and investigative criticism.
Krauss collected her essays into several influential books, including Passages in Modern Sculpture (1977), The Originality of the Avant-Garde and Other Modernist Myths (1985), and Bachelors (1999). She has also written monographs on David Smith and Cindy Sherman, among others, as well as shorter books such as The Optical Unconscious (1993) and A Voyage on the North Sea (New York: Thames and Hudson, 2000). Her curatorial work—which includes Joan Miro: Magnetic Fields (1971) and Robert Morris: The Mind/Body Problem (1994) at the Solomon R. Guggenheim Museum and Richard Serra/Sculpture at the Museum of Modern Art in 1986—has resulted in significant advances in art history while relaying her amorous relationship with the provocations of Minimalism and the tactility of sculptural mediums. Most recently, she organized L’Informe: Mode d’emploi with Bois at the Centre Georges Pompidou in 1996.
For the last decade, Krauss has battled what she calls the “post-medium condition”—the claim that a momentous shift from a singular artistic medium (such as canvas, plaster wall, or metal armature) to work that amalgamates various materials has only advanced ambiguity in art. In contrast, she suggests that the specificity of the aesthetic medium vitalizes modernism’s strengths, and that contemporary work that integrates text and technology has the capacity to triumph in similar terms. Perpetual Inventory (2011) is Krauss’s most recent publication intent on restoring logic and scrutinizing specificity in the history of art. A personal meditation on the relationships between aesthetics and memory, called Under Blue Cup, is forthcoming.
The integration of literary and philosophical references in her writing, combined with an enthusiasm for ravaging stagnant theories, has made Krauss a tenacious teacher and mentor. She joined Hunter College in New York in 1974, rising to Distinguished Professor both there and at the Graduate Center. In 1995 she transitioned to the Department of Art History and Archaeology at Columbia, where she became Meyer Shapiro Professor of Modern Art and History and then, ten years later, University Professor. Krauss’s experiences as a scholar and educator culminated in the textbook Art since 1900: Modernism, Antimodernism, Postmodernism (New York: Thames and Hudson, 2004), a didactic yet vital interpretation of modern art that was coauthored by Bois, Buchloh, and Foster. (A revised edition is expected soon.) As a further testament to her academic success, Krauss was an honorary degree from the Courtauld Institute of Art in 2008 and another from Harvard University in 2011.
CAA inaugurated its Distinguished Scholar Session in 2001, first honoring James S. Ackerman of Harvard University. Since then, the organization has recognized the most illustrious writers, teachers, and curators, including Leo Steinberg (2002), John Szarkowski (2006), Linda Nochlin (2007), Svetlana Alpers (2009), and Jonathan Brown (2011).
1. MIT Press in Cambridge, Massachusetts, has published Krauss’s books mentioned in this article, unless indicated otherwise.
posted by CAA — Aug 17, 2011
Read about the latest news from 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 American Academy in Rome has upgraded their website to include images of the community at a higher resolution and dedicated sections for News, Events, Publications, and Society of Fellows. The site is compatible with mobile devices and will soon offer the content in Italian.
The Art Institute of Chicago in Illinois has received a $40,000 Access to Artistic Excellence grant from the National Endowment for the Arts on behalf of School of the Art Institute of Chicago. The reward will go toward the Teacher Institute of Contemporary Art, a professional-development program that will facilitate workshops and lectures on new media and visual arts for 120 high school teachers across the United States.
The Art Institute of Chicago in Illinois has also been awarded $400,000 from the Getty Foundation to help the Online Scholarly Catalogue Initiative produce an online publication of forty-nine paintings and twenty-three drawings by Claude Monet and Pierre-August Renoir. The catalogue will be fully interactive and include features such as contemporary research, pigment analysis, access to underdrawings or infrared filters, a glossary of technical terms, and “sticky notes” for a user’s own observations.
The Baltimore Museum of Art in Maryland has been granted an $80,000 award from the National Endowment for the Arts through the Access to Artistic Excellence program to aid the reinstallation of the West Wing for Contemporary Art, a collection that extends from Abstract Expressionism to the present. New lighting and technology systems will allow the museum to display light-sensitive objects and new media.
Brigham Young University in Provo, Utah, has received a $60,000 from the National Endowment for the Arts’ Access to Artistic Excellence program to support the touring exhibition, The Weir Family, 1820–1920: Expanding the Traditions of American Art, which originated at the Brigham Young University Museum of Art.The funds will facilitate an accompanying catalogue and educational programs to investigate the contributions of John Weir and his two sons, Julian Alden Weir and John Ferguson Weir.
The Amon Carter Museum of American Art in Fort Worth, Texas, has received a $75,000 Picturing America School Collaboration Project Grant from the National Endowment for the Humanities for the second year in a row. The grant will predominantly fund the 2011 Picturing America Teaching Institute, in which Texan educators in public, private, and home-schooling environments to learn about American art and its relevance to the classroom. The program also provides classroom resources, online curricula, student fieldt rips, and interactive video conferences.
The Chrysler Museum of Art in Norfolk, Virginia, has been awarded a $45,000 grant by the National Endowment for the Arts through the Access to Artistic Excellence program. The museum will publish a catalogue on its permanent collection of glass, logging each item and providing previously unpublished scholarly analyses.
The Sterling and Francine Clark Art Institute in Williamstown, Massachusetts, has received two 2011 Independent Publisher Book Awards in the category of fine arts: Picasso Looks at Degas by Elizabeth Cowling and Richard Kendell won a silver medal, and Eye to Eye: European Portraits 1450–1850 by Richard Rand and Kathleen M. Morris earned a bronze. The awards recognize original content, design, and production among independent, self-published, and university-press publications, as well as their impact on the community.
Cornell University in Ithaca, New York, has received $60,000 from the Access to Artistic Excellence program hosted by the National Endowment for the Arts. The fund will aid the reinstallation of the European and American works in the Herbert F. Johnson Museum of Art’s collection, with an emphasis on flexibility and variety and a reinvigorated engagement with the public.
The Crystal Bridges Museum of American Art, scheduled to open in Bentonville, Arkansas, in November 2011, has received an $800 million contribution on behalf of the Walton Family Foundation. The funds are allocated for operating needs, general endowment, and future capital needs.
The Dallas Museum of Art in Texas has been awarded an $85,000 grant by the National Endowment for the Arts’ Access to Artistic Excellence program to create the Archival Exhibition Resources Online interface, which will enable the public to access digital content created for and during an exhibition, including images, video, audio, and other documents.
The Getty Research Institute in Los Angeles has acquired Harald Szeemann’s extensive archive including correspondence with artists, proposals and brainstorms for exhibitions, documentary photographs of exhibitions, and other rare ephemera from his vibrant, international career as a curator. The Getty also attained Szeemann’s library, containing 28,000 volumes of monographs, artists’ books, and limited-edition publications.
The International Center of Photography in New York has been granted $100,000 through the Access the Artistic Excellence program of the National Endowment for the Arts to organize Roman Vishniac’s collection of more than 20,000 items from the early twentieth century. The collection encompasses many iconic photographs of Jewish life in Europe between the World Wars.
The Mildred Lane Kemper Art Museum in St. Louis, Missouri, has received approximately $33,000 from the Institute of Museum and Library Services to conduct a survey of 435 sculptural objects, ranging from antiques to contemporary work, and determine long-term plans for care and treatment. This conservation effort will support research and educational advancement; it will also increase access to the museum’s sculpture by facilitating public display and loans to institutions.
The John Michael Kohler Arts Center in Sheboygan, Wisconsin, has been awarded $75,000 by the National Endowment for the Arts’ Access to Artistic Excellence program to support an artist-in-residence program. In collaboration with the Plymouth School District, the Kohler will support eight visual artists during the 2011–12 school year for two weeks at a time.
Maryland Institute College of Art in Baltimore has been honored by the Corporation for National and Community Service for programs that allow their students and staff members to participate in volunteer efforts and generous civic engagement. The school has thus been admitted to the 2010 President’s Higher Education Community Service Honor Roll.
The New York State Historical Association has received $16,000 from the Access to Artistic Excellence program funded by the National Endowment for the Arts to support the conservation of seventy-three folk, Native American, and academic works of art housed in the Fenimore Art Museum. The award will animate the institution’s conservation priorities and treatment recommendations and facilitate a storage plan.
The Philadelphia Museum of Art in Pennsylvania has received a $250,000 exhibition grant from the Pew Center for Arts and Heritage to fund a midcareer retrospective of Zoe Strauss, a photographer and native Philadelphian who highlights blue-collar experiences and marginalized people and places. The show—comprising more than 125 prints placed between the photography galleries and the lobby—will also host an interactive kiosk designed by publishing and curatorial collective Megawords, a slide show of Strauss’s work projected on the museum’s façade, and select photographs appearing on billboards throughout the city.
Rutgers University in New Brunswick, New Jersey,has been awarded $65,000 through the Access to Artistic Excellence program on behalf of the National Endowment for the Arts to support public programs related to Momentum: Women/Art/Technology. This exhibition, organized by Rutgers’ Institute for Women and Art with the Mason Gross School of the Arts, will be accompanied by lectures and symposia, educational workshops, interactive web activities, and a film and video festival highlighting the work of established and contemporary female artists who manipulate technology.
The San Diego Museum of Art in California has received a $60,000 grant from the National Endowment for the Arts’ Access to Artistic Excellence program to reinstall their permanent collection of East Asian art. Approximately four hundred works from Japan, Korea, and China from 1000 BCE to the present will be on display.
The School of the Art Institute of Chicago in Illinois has accepted a $5 million donation from Leroy Neiman, an artist and alumni, to build the Leroy Neiman Center, a two-story student hub opening in spring 2012. The architecture firm Valerio Dewalt Train Associates will fabricate the interior design of the space, which will house a café, lounge, art gallery, and more.
The University of Maryland in College Park has been honored with a $60,000 grant from the Access to Artistic Excellence program, funded by the National Endowment for the Arts to support the conservation of the permanent collection at the David C. Driskell Center for the Study of the Visual Arts and Culture of African Americans and the African Diaspora. The award will facilitate the documentation of roughly 1,000 works, the addition of a full-time registrar, and further development of the collection’s management policies and procedures.
The University of North Carolina, Chapel Hill, has received a $25,000 grant via the National Endowment for the Arts’ Access to Artistic Excellence program to publish a catalogue documenting the Ackland Museum of Art’s collection of Mediterranean art. The publication will cite 225 objects in the collection hailing from Egyptian, Grecian, Etruscan, and Roman origins between the third and first millennia.
The Whitney Museum of American Art in New York has announced an eight-year collaboration with the Metropolitan Museum of Art to begin in 2015 at the Whitney’s landmark building, designed by Marcel Breuer. The Metropolitan will generate exhibitions and educational programming at the Breuer building with a global emphasis while supporting dialogue between the two distinct collections, publications, and educational initiatives. The Whitney will maintain a small space in the building for storage and permanent site-specific works.
The Yale Center for British Arts in New Haven, Connecticut, has launched a new online catalogue of their extensive collection and is offering free high-resolution images of all objects in the public domain. An exhibition, called Connections, will be on display through September 11, 2011, to emphasize the value of the vivacious holdings.
The Yale University Art Gallery in New Haven, Connecticut, has been awarded $125,000 by the Access to Artistic Excellence grant program, funded by the National Endowment for the Arts, to support the renovation of its ancient Mediterranean collection. The grant will initiate the construction of a new gallery to house the treasures from the university’s excavations in Dura-Europos in the 1930s and refurbish the existing exhibition space with another 13,000 objects from Egypt, Etruria, Greece, the Near East, and Rome.
posted by Emmanuel Lemakis — Jan 27, 2011
Come one, come all! Renowned for its glamorous parties, the Metropolitan Museum of Art will be hosting the CAA Centennial Reception during the 2011 Annual Conference in New York. Join your friends and colleagues, fellow conference attendees, and special guests for an unforgettable evening that will celebrate the beginning of CAA’s Centennial year.
The reception will take place on Thursday evening, February 10, 7:30–9:00 PM, in the magnificent spaces of the Great Hall and the Temple of Dendur, and the passage of Egyptian art between them. It immediately follows the presentation of CAA’s 2011 Awards for Distinction in the Grace Rainey Rogers Auditorium. Wine, beer, soft drinks, and hors d’oeuvre will be served. The Met Store will be open too, making available its excellent inventory of gift items in addition to its superb collection of art monographs, catalogues, and books. CAA is grateful to Thomas Campbell, director of the Metropolitan, for generously opening the museum for this special occasion.
A $35 ticket is required for admission. Although online sales have ended, you may pick up a ticket at the Events Tickets booth in the Registration Area at the Hilton New York, 2nd Floor Promenade. CAA will not be selling tickets at the museum. The awards presentation, however, is free and open to the public.
The Metropolitan Museum of Art is located at 1000 Fifth Avenue at 82nd Street on Manhattan’s Upper East Side. To attend the reception, climb the stairs and walk through the main museum entrance. To attend the awards ceremony, taking place 6:00–7:30 PM, enter the auditorium through the 83rd Street entrance.
Conference attendees may also visit the museum free of charge during the week just by showing their registrant badges.
posted by Christopher Howard — Oct 18, 2010
The Women’s Caucus for Art (WCA), a CAA affiliated society, has announced the 2011 recipients of its Lifetime Achievement Award: Beverly Buchanan, Diane Burko, Ofelia Garcia, Joan Marter, Carolee Schneemann, and Sylvia Sleigh. In addition, WCA has given the 2011 President’s Art and Activism Award to Maria Torres.
The awards ceremony will be held on Saturday, February 12, 2011, during the annual WCA and CAA conferences in New York. The awards ceremony, free and open to the public, will take place from 6:00 to 7:30 PM in the Beekman/Sutton rooms at the Hilton New York, followed by a ticketed gala from 8:00 to 10:00 PM at the nearby American Folk Art Museum. Called LIVE SPACE, the gala will include a walk-around gourmet dinner with three food stations and an open bar, as well as the opportunity to meet the award recipients, network with attendees, and tour the museum.
Ticket prices for LIVE SPACE are $75 for WCA members and $135 for nonmembers (Prices will increase after January 12). CAA members receive a special price of $120. All tickets include reserved seating at the awards presentation. For more information or to purchase tickets, please visit the WCA website.
Born in 1940, Beverly Buchanan began creating art at an early age. She received a bachelor’s degree in medical technology from Bennett College in Greensboro, North Carolina, and then earned a master’s of science in parasitology and a master’s of public health degree, both from Columbia University. Rather than pursuing a degree in medicine, she decided to focus on making art. Buchanan studied at the Art Students League before moving to Georgia, where she still lives, dividing her time between there and Michigan. Her early sculptures were poured concrete and stone, and she has since worked in a variety of media, focusing on southern vernacular architecture. Buchanan is the recipient of a John Simon Guggenheim Memorial Foundation fellowship, a Pollock-Krasner Foundation award, and two National Endowment for the Arts fellowships. In addition, she was a Georgia Visual Arts honoree and a recipient of an Anonymous Was a Woman Award, and was honored with a Recognition Award by CAA’s Committee for Women in the Arts in 2005.
A painter and photographer who resides in Philadelphia and Bucks County, Pennsylvania, Diane Burko has been involved in the feminist movement since the early 1970s. She is a founding member of WCA who also founded and organized the first multivenue feminist citywide art festival in Philadelphia, called “Philadelphia Focuses on Women in the Visual Arts, Past and Present,” also known as “Focus.” After that event, Burko continued her feminist commitment to the present day, serving on the WCA and CAA boards and on the Philadelphia Art Commission. She is now the chair of CAA’s Committee on Women in the Arts. Burko has been recognized with fellowships from the Bellagio Center, the Terra Summer Residency in Giverny, and the National Endowment for the Arts, among many other honors. One of the first movers and shakers in the feminist art movement, Burko has not yet been fully recognized for her important contributions.
Ofelia Garcia is professor of art at William Paterson University, where she was dean of the College of the Arts and Communication for a decade. She earned her BA at Manhattanville College and her MFA at Tufts University, and was a Kent fellow at Duke University. Garcia has been on the art faculty at Boston College, a critic at the Pennsylvania Academy of the Fine Arts, director of the Print Center in Philadelphia, and president of the Atlanta College of Art and Rosemont College. Also a former president of WCA, Garcia has served on numerous boards, including those of CAA, the American Council on Education, and Haverford College; she was most recently board chair of the Jersey City Museum. Garcia now serves as vice chair of the New Jersey State Council on the Arts, on the Hudson County Art Commission, and on the boards of the Brodsky Center for Innovative Editions and Catholics for Choice.
Joan Marter is distinguished professor of art history at Rutgers University. She received her PhD from the University of Delaware and has lectured and published widely. She is currently editor-in-chief of The Grove Encyclopedia of American Art, a five-volume reference set forthcoming from Oxford University Press in 2010. Marter serves as editor of Woman’s Art Journal, in print continuously for thirty-one years. She has published monographs on artists such as Alexander Calder and has written extensively about Abstract Expressionism and women artists. In 2004, she was inducted into the Alumni Wall of Fame at the University of Delaware. A former member of the CAA Board of Directors, Marter is currently president of the Dorothy Dehner Foundation for the Visual Arts.
Carolee Schneemann is a multidisciplinary artist whose radical works in performance art, installation, film, and video are widely influential. The history of her imagery is characterized by research into archaic visual traditions, pleasure wrested from suppressive taboos, and the body of the artist in dynamic relationship with the social body. Her involvement in collaborative groups includes the Judson Dance Theater, Experiments in Art and Technology, and many feminist organizations. Schneemann has exhibited her work at the Museum of Contemporary Art in Los Angeles, and in New York at the New Museum of Contemporary Art, the Museum of Modern Art, and the Whitney Museum of American Art. Internationally, she has shown at the Museo Nacional Centro de Arte Reina Sofía in Madrid, the Moderna Museet in Stockholm, and the Centre George Pompidou in Paris. Her recent multichannel video installation Precarious was presented at Tate Liverpool in September 2009. The Samuel Dorsky Museum of Art at the State University of New York in New Paltz presented a major retrospective in summer 2010.
Born in 1916 in Wales, Sylvia Sleigh paints portraits in a realist style, informed by sources ranging from the Pre-Raphaelites to famous portraits throughout history. Her first solo exhibition was held in 1953 at the Kensington Art Gallery; her most recent, at I-20 Gallery in New York, closed in January 2010. She married the art critic Lawrence Alloway in 1954, with whom she became part of the London avant-garde. They later moved to the United States, where she continued painting and showing her work. In 1970, Sleigh became actively involved in feminism and started painting life-size nudes in her precise, realist style. She was active in many of the first women-artist-run galleries, including A.I.R. Gallery and Soho 20. Her work can be found in numerous major public and private collections. Sleigh was honored with CAA’s Distinguished Artist Award for Lifetime Achievement in 2008.
Winner of the 2011 Presidents Art and Activism Award is Maria Torres, president and chief operations officer of the Point Community Development Corporation, a nonprofit organization dedicated to youth development and the cultural and economic revitalization of the Hunts Point section of the South Bronx in New York. The Point’s mission is to encourage the arts, local enterprise, responsible ecology, and “self-investment” in a community traditionally defined in terms of its poverty, crime rate, poor schools, and substandard housing. In 1993, Torres received a BS from Cornell University. That same year, she launched the Neighborhood Internship Bank for at-risk youth, the first employment service of its kind in the South Bronx, and established La Marqueta, an outdoor community market aimed at lowering the barriers to the marketplace for neighborhood entrepreneurs. In 1994, Torres worked with Paul Lipson, Mildred Ruiz, and Steven Sapp to found the Point. Recipient of Union Square Award in 1998, she served on the Board of the Bronx Charter School for the Arts from 2002 to 2009.
About the Awards
The WCA Lifetime Achievement Awards were first presented in 1979 in President Jimmy Carter’s Oval Office to Isabel Bishop, Selma Burke, Alice Neel, Louise Nevelson, and Georgia O’Keeffe. Past honorees have represented the full range of distinguished achievement in the visual arts, and this year’s awardees are no exception, with considerable accomplishments and contributions represented by their professional efforts.