CAA News Today

Jonathan Fineberg and Art Since 1940

posted by CAA — Jun 22, 2022

A prolific art historian and critic in the fields of 20th and 21st century art and the psychology of art, Jonathan Fineberg has shaped generations of students with his many publications and textbooks. As a long-time member of CAA, Fineberg describes his experience with the organization: 

 “Seymour Slive, one of my favorite art history professors in college told me I should join the College Art Association if I wanted to be an art historian. CAA was (is), he pointed out, my professional association!  I signed up right away (in 1966) and have remained an active member ever since.  I’ve served on the board, I started the “artist interviews” many years ago, I’ve chaired and participated in many sessions and committees over more than fifty years, and until COVID hit I think I only missed one annual conference – my personal protest against the racism and anti LGBTQ+ stance of the state of Louisiana (that was the year we went to New Orleans). I love CAA for the many things it does for artists and art historians.  

 In order to give back this year I decided that I have made my fair share of royalties on my survey book Art Since 1940: Strategies of Being, so I took back the rights from the publisher and have given a high-resolution copy of the last edition to CAA for free download by any students and teachers who want it. You will find it here. I hope it inspires students to love contemporary art as I do and to bring them to join their fellow travelers in the CAA.” 

 CAA is immensely grateful for Fineberg’s generous donation to CAA, a digital version of his seminal work, Art Since 1940: Strategies of Being, 3rd Edition. Fineberg is offering this publication at no-cost access to both members and non-members for three years. A valuable pedagogical resource at many universities, this text is out of print, which presents a problem for many art history professors and students who cannot obtain copies. We are grateful for Fineberg’s donation, and for his fifty-plus-year membership in CAA. 

Join our Board of Directors

posted by CAA — Jun 09, 2022

CAA seeks nominations for individuals passionate about shaping the future of the organization by serving on the Board of Directors for the 2023-2027 term. The board is responsible for all financial and policy matters related to CAA, promoting excellence in scholarship, and encouraging creativity and technical skills in design and art practice. CAA’s board is also charged with representing the membership regarding current issues affecting the visual arts and the humanities.

Candidates must be current CAA members. Nominations and self-nominations should include a short statement of interest, a résumé, and the following information: the nominee’s name, affiliation, email address, and telephone number, as well as the name, affiliation, and email address of the nominator if different from the nominee. Please send all information and/or any questions via e-mail to Maeghan Donohue, Manager, Strategic Planning, Diversity, and Governance. Deadline: July 8, 2022.

Filed under: Board of Directors, Governance

Pride Month and Art Journal Open

posted by CAA — Jun 08, 2022

 

This Pride Month, we highlight the rich scholarship and programs produced at CAA that center LGBTQ+ topics, as well as gender and sexual identity, in the fields of visual arts and the humanities. This week, we are sharing a bibliography of articles on these topics from our open-access journal Art Journal Open.

 

 

Downey, Kerry. “Creating Good-Enough Containers: Reflections on Queerness in Community-Based Museum Education.” Art Journal Open (January 9, 2019). 

 

Kerry Downey, They said to the ocean, 2016, monotype with chine-collé, 19 x 13.5 in. Printed with Marina Ancona / 10 Grand Press. 

Doyle, Jennifer and David Getsy. “Queer Formalisms: Jennifer Doyle and David Getsy in Conversation.” Art Journal Open (March 31, 2014). 

Math Bass, Body No Body Body, 2012, latex paint on canvas and wood, installation view, Overduin and Kite, Los Angeles, 2012 (artwork © Math Bass; photograph provided by Overduin and Kite) 

Getsy, David J. and Che Gossett, “A Syllabus on Transgender and Nonbinary Methods for Art and Art History.” Art Journal Open (February 4, 2022). Crossover article from Art Journal, 80, no. 4 (Winter 2021). 

Del LaGrace Volcano, Moj of the Antarctic: On the Mountain, Antarctica, 2005, giclée print, 30 x 36 in. (76.2 x 91.4 cm) (artwork © Del LaGrace Volcano)

Latimer, Tirza True. “Introduction: Conversations on Queer Affect and Queer Archives.” Art Journal Open (October 24th, 2013). Crossover article from Art Journal 72, no. 2 (Summer 2013). 

Veronica Friedman, Pages from monthly planners, 1980 and 1981. Veronica Friedman Papers, Gay, Lesbian, Bisexual, Transgender Historical Society, San Francisco (photograph © Barbara McBane)

Queer Caucus for Art.Update from the Queer Caucus for Art.” Art Journal Open (January 26, 2016). 
Rosa, Maria Laura. “Questions of Identity: Photographic Series by Alicia D’Amico, 1983–86.” Art Journal Open (July 2, 2019).Crossover article from Art Journal 78, no. 1 (Spring 2019). 

Alicia D’Amico photograph of Liliana, a performance by Liliana Mizrahi, 1983, scanned copy of original negative, reproduction from original 35mm negative contact (photograph © Archivo Alicia D’Amico, Buenos Aires)

Shvarts, Aliza. “Toward a Reparative Pedagogy: Art as Trigger, Art as Repair.” Art Journal Open (April 7, 2022). 

 

 

Whitener, Brian. “Transiting in Anti-Patriarchal Worlds: The Queer Photography of Fernando Fuentes.” Art Journal Open (November 18, 2021).   

Fernando Fuentes, “Emma” (with Homero Emma Jimenez), 2020 (photograph by Constanza Moctezuma) 

 

Filed under: Advocacy, AJO, Publications

Pride Month and caa.reviews

posted by CAA — Jun 02, 2022

This Pride Month, we highlight the rich scholarship and programs produced at CAA that center LGBTQ+ topics, as well as gender and sexual identity, in the fields of visual arts and the humanities. This week, we are sharing a bibliography of publications and exhibitions on these topics reviewed this past year on our open-access journal caa.reviews.

 

Arscott, Caroline and Katie Scott, editors. Manifestations of Venus: Art and Sexuality. Manchester: Manchester University Press, 2001.
Battcock, Gregory. Oceans of Love: The Uncontainable Gregory Battcock. Ed Joseph Grigely, Cologne, Germany: Verlag der Buchhandlung Walther Konig, 2016.
Betancourt, Roland. Byzantine Intersectionality: Sexuality, Gender, and Race in the Middle Ages. Princeton, NJ: Princeton University Press, 2020.
Black Sheep Feminism: The Art of Sexual Politics. Dallas: Dallas Contemporary, 2016.
Brandt, Amy ed. Tseng Kwong Chi: Performing for the Camera. Norfolk, VA and New York: Chrysler Museum of Art, Grey Art Gallery, New York University, and Lyon Artbooks, 2015.
Butler, Connie. Mark Bradford: Scorched Earth. Exh. cat. Los Angeles: Hammer Museum in association with Prestel, 2015.

Mark Bradford. Lights and Tunnels, 2015 (photograph © 2015 Joshua White; provided by Hauser & Wirth)

Butt, Gavin. Between You and Me: Queer Disclosures in the New York Art World, 1948–1963. Durham, NC: Duke University Press, 2005.

 

 

De Salvo, Donna. Andy Warhol: From A to B and Back Again. Exh. cat. New Haven and New York: Yale University Press in association with The Whitney Museum of American Art, 2018.  

Installation view, Andy Warhol—From A to B and Back Again, Whitney Museum of American Art, New York, November 12, 2018–March 31, 2019 (photograph © 2018 by Ron Amstutz, provided by The Andy Warhol Foundation for the Visual Arts, Inc./Licensed by Artists Rights Society [ARS], New York) 

Corn, Wanda M. and Tirza True Latimer. Seeing Gertrude Stein: Five Stories. Exh. cat. Berkeley: University of California Press, 2011.

Henri Matisse. Woman with a Hat (1905). Oil on canvas. 31 3/4 x 23 1/2 in. (80.7 x 59.7 cm). SFMOMA, Bequest of Elise S. Haas. © Succession H. Matisse, Paris / Artists Rights Society (ARS), New York. Photo: Ben Blackwell

Doyle, Jennifer. Hold It Against Me: Difficulty and Emotion in Contemporary Art. Durham: Duke University Press, 2013.
Findlen, Paula, Wendy Wassyng Roworth, and Catherine M. Sama, editors. Italy’s Eighteenth Century: Gender and Culture in the Age of the Grand Tour. Stanford: Stanford University Press, 2009.
Gallucci, Margaret A. Benvenuto Cellini: Sexuality, Masculinity, and Artistic Identity in Renaissance Italy. New York: Palgrave Macmillan, 2003.
Gill, Lyndon K. Erotic Islands: Art and Activism in the Queer Caribbean. Durham, NC: Duke University Press, 2018.
Gómez-Barris, Macarena. Beyond the Pink Tide: Art and Political Undercurrents in the Americas. American Studies Now: Critical Histories of the Present. Oakland: University of California Press, 2018.
Guyton, Wade. One Month Ago. Edition of 500. New York: Karma, 2014.  
Johnson, E. Patrick and Ramón H. Rivera-Servera, editors. Blacktino Queer Performance. Durham: Duke University Press, 2016.
Jones, Amelia. Seeing Differently: A History and Theory of Identification and the Visual Arts. New York: Routledge, 2012.
Jones, Amelia and Erin Silver. Otherwise: Imagining Queer Feminist Art Histories. Manchester: Manchester University Press, 2016.

With follow-up interview between Amelia Jones and David J. Getsy, Abstract Bodies and Otherwise: A Conversation with Amelia Jones and David Getsy on Gender and Sexuality in the Writing of Art History. February 16, 2018

Junge, Sophie. Art about AIDS: Nan Goldin’s Exhibition Witnesses: Against Our Vanishing  Berlin: De Gruyter, 2017.
Katz, Jonathan David and Rock Hushka, editors. Art AIDS America. Exh. cat. Seattle: Tacoma Art Museum in association with University of Washington Press, 2015.

Courtesy of the Zuckerman Museum of Art. Photos by Mike Jensen

Latimer, Tirza True. Eccentric Modernisms: Making Differences in the History of American Art. Oakland: University of California Press, 2016.
Murray, Derek Conrad. Queering Post-Black Art: Artists Transforming African-American Identity after Civil Rights. London: I.B. Taurus, 2016.
No Wrong Holes: Thirty Years of Nayland Blake. Institute of Contemporary Art, Los Angeles, September 29, 2019–January 26, 2020; MIT List Visual Arts Center (online), Cambridge, MA, October 16, 2020–February 14, 2021.

No Wrong Holes: Thirty Years of Nayland Blake, installation view, MIT List Visual Arts Center, Cambridge, MA, 2020–21 (photograph © Charles Mayer, provided by MIT List Visual Arts Center)

 Patel, Alpesh Kantilal. Productive Failure: Writing Queer Transnational South Asian Art Histories. Manchester, UK: Manchester University Press, 2017.
Rice, Shelley. Inverted Odysseys: Claude Cahun, Maya Deren, Cindy Sherman.  Cambridge, Mass.: MIT Press, 1999.
Salter, Gregory. Art and Masculinity in Post-War Britain: Reconstructing Home. London: Routledge, 2019.
Transamerica/n: Gender, Identity, Appearance Today. McNay Art Museum, San Antonio, June 20–September 15, 2019.

Jacolby Satterwhite, How lovly is me being as I am, 2014, neon, installation view from Transamerica/n: Gender, Identity, Appearance Today, McNay Art Museum, San Antonio, 2019 (artwork © Jacolby Satterwhite; photograph provided by the artist and Morán Morán, Los Angeles)

Tony Greene: Room of Advances. MAK Center for Art and Architecture, Schindler House, Los Angeles, June 18–September 7, 2014.

Tony Greene. His Puerile Gestures (1989). Mixed Media. 25 1/2 x 29 3/4 in. Collection of Ray Morales, from the estate of Norm MacNeil

Turner, James Grantham. Eros Visible: Art, Sexuality and Antiquity in Renaissance Italy.  New Haven: Yale University Press, 2017.
Tyburczy, Jennifer. Sex Museums: The Politics and Performance of Display. Chicago: University of Chicago Press, 2016.
Zanele Muholi: Isibonelo/Evidence. Brooklyn Museum, New York, May 1–November 8, 2015.

Zanele Muholi: Isibonelo/Evidence. Installation view. Courtesy of the Brooklyn Museum.

 

Filed under: Advocacy, caa.reviews, Publications

Depiction of eryngoes, De materia medica, MS M 652, f. 57r., The Morgan Library & Museum (relates to Griebeler, Botanical Icons: Critical Practices of Illustration in the Premodern Mediterranean)

MEET THE GRANTEES 

Twice a year, CAA awards grants through the Millard Meiss Publication Fund to support book-length scholarly manuscripts in 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. 

Thanks to the generous bequest of the late Prof. Millard Meiss, CAA began awarding these publishing grants in 1975. 

SPRING 2022 GRANTEES 

Claudia Calirman, Dissident Bodies: Brazilian Women Artists, (1960s-2020s), Duke University Press 

Karen Mary Davalos and Tatiana Reinoza, Self Help Graphics at Fifty: A Cornerstone of Latinx Art and Collaborative Artmaking, University of California Press 

Andrew Griebeler, Botanical Icons: Critical Practices of Illustration in the Premodern Mediterranean, University of Chicago Press  

Joan Kee, The Geometries of Afro Asia: Art beyond Solidarity, University of California Press  

Miriam Kienle, Queer Connections: Ray Johnson’s Correspondence Art Network, University of Minnesota Press  

Murad Mumtaz, Faces of God: Images of Muslim Devotion in Indian Painting, Brill 

 

We’re delighted to announce that twenty-four scholars have been awarded Terra Foundation for American Art Research Travel Grants in 2022.

These grants provide support to doctoral, postdoctoral, and senior scholars from both the US and outside the US for research topics dedicated to the art and visual culture of the United States prior to 1980.

The Terra Foundation prioritizes projects that interrogate and broaden definitions of American art and lends support for projects engaged in transforming or complicating how the story of American art is told. To expand histories of American art, we encourage projects that reflect a commitment to inclusive and equitable research and museum practice; generate new scholarship and interpretive frameworks; employ critical methodologies and innovative models; and/or engage diverse partners and audiences.

 

INTERNATIONAL RESEARCH TRAVEL GRANTS FOR US-BASED SCHOLARS

Doctoral Scholars

Manon Gaudet, Yale University, “Beyond Landscape: Property and the Contested Ground of North American Visual Culture, 1900-1945”

Michaela Haffner, Yale University, “The Visual Culture of Naturopathic Cures & the Fashioning of White Wellness”

Annie Ochmanek, Columbia University, “Conceptualism and the Connexionist World: The Art of Eduardo Costa, Hannah Weiner, Christine Kozlov, and Stanley Brouwn”

Constanza Robles, Boston University, “Visualizing Alliances through Art and Architecture: Pan Americanism, Hispanismo and Latin Americanism in World Fairs, 1901-1929”

Lea Stephenson, University of Delaware, “’Wonderful Things’: Egyptomania, Empire, and the Senses, 1870-1922”

Postdoctoral & Senior Scholars

Maria Elena Buszek, University of Colorado, Denver, “Art of Noise: Feminist Art and Popular Music

John J. Curley, Wake Forest University, “Critical Distance: Black American Artists in Europe 1957-1968”

Emily Voelker & Erin Hyde Nolan, UNC Greensboro and Maine College of Art, “Reading Native American Portraits in Ottoman: Global Economies of Nineteenth-century Survey Photograph”

 

INTERNATIONAL RESEARCH TRAVEL GRANTS TO THE UNITED STATES

Doctoral Scholars

Marion Belouard, University of Limoges, “Painting nature, exchanging knowledge. John James Audubon (1785-1851), a rare bird in Atlantic history?”

Cora Chalaby, University College London, “Control Systems: Helen Frankenthaler, Joan Mitchell, Alma Thomas, and Howardena Pindell’s Orderly Abstractions”

Clara Johanna Lauffer, Central Institute for Art History, Munich, “Rewriting the ‘pictures generation’: the production of white masculinity in appropriation art”

Mylène Palluel, Université Paris 1 Panthéon-Sorbonne, “The ‘Longue durée’ paradigm in 1960s American art and social sciences. Case studies in Minimal Art, Conceptual Art and Land Art”

Mona Schubert, University of Cologne, “Photographic Media at documenta in the 1970s and the US-American Art Scene”

Clara Royer, Université Paris 1 Panthéon-Sorbonne, “Slow-Scan: the (geo)political turn of media arts (1960-1990)”

Yana Shtilman, Université de Paris, “Public image, private lives: Creating the image of the “New Negro” woman in the Harlem Renaissance (1920-1943)”

Achang Su, China Academy of Art, “The Identity Issues and Abstract Transformation in the works of Modern Chinese-American Artist George Chann from 1950s to 1960s”

Postdoctoral & Senior Scholars

Alice Butler, Courtauld Institute of Art, “The Perversions of Textile in Feminist Art”

Anne-Claire Faucquez, Université Paris 8, “The narrativization of colonial slavery in American museums: arts and representations” (collaborating with Androula Michael)

Roula Matar, École nationale supérieure d’architecture de Versailles, “James Johnson Sweeney’s Contribution to a Critical and Didactical Approach to Exhibition Installation”

Androula Michael, Université de Picardie Jules Verne – UFR des arts, “The narrativization of colonial slavery in American museums: arts and representations” (collaborating with Anne-Claire Faucquez)

Yvonne Schweizer, Eberhard Karls Universität Tübingen, “Linking Mediatization and Mediation. Art Institutions as Media Producers since 1970”

Harry Weeks, Newcastle University, “The Artist’s Second Shift”

Andrew Witt, Humboldt-Universität zu Berlin, “Exile Modernism: Photography c. 1940”

LEARN MORE ABOUT THE TERRA FOUNDATION RESEARCH TRAVEL GRANTS

Filed under: Grants and Fellowships — Tags:

Materiality and Mediation: Global Conversations
Tuesday, 4th October 2022.

A virtual symposium convened by the CAA, the Design History Society, and the International Association of Word and Image Studies

To what extent are materiality and mediation useful foci in the study of design, word and image? What happens when we bring them together? How do materiality and mediation work in tandem as productive subjects of enquiry? What are the local, regional and international variations in the ways these foci are understood and engaged by design historians and those working in word and image studies?

This global collaborative project brings together three intersecting constituencies—art and design, design history, word and image studies—to examine the ways in which materiality and mediation intersect.

For more information on the event, its requirements, and how to apply:
Proposals may address the following, but are not limited by this list:
  • mediating the ethics and sustainability of extraction and deployment of materials
  • sensoriality of materials and mediation
  • mediation as material activism
  • mediating intersections of materiality and form (natural/synthetic/digital matter; art/craft/design/film/photography; prose/poetry/drama)
  • localizing/globalizing materials through mediation
  • ‘raw and cooked’ materials
  • mediating materialities of scale
  • mediating immateriality
  • mediating materials as signifiers of identity politics
  • (Im)material media of mediation
  • agency of materials
  • dialogues and disputes between makers and mediators.
Format:
To promote transnational dialogue by the most equitable and sustainable means, speakers and participants are invited to make their contributions virtually. Four 15-minute presentations will be followed by a one-hour round table discussion and Q&A. Presenters will be asked to record a talk in advance, for screening at the event, followed by live discussion.
Proposals must include:
  • a proposal title;
  • an abstract of 250 words;
  • a statement of relevance to the symposium theme, Materiality and Mediation: Global Conversations;
  • and a one-page CV listing major publications.

Please send your proposal via email to the DHS Administrator, Jenna Allsopp, (designhistorysociety@gmail.com) by 12 midnight GMT on Tuesday June 14, 2022. Notifications of acceptance will be emailed on July 8, 2022.

The Design History Society and the International Association of Word and Image Studies are two of CAA’s affiliated societies. If you have an interest in joining CAA as an affiliated society, please visit this page.

Nominations Open for CAA Juries

posted by CAA — Apr 21, 2022

CAA invites nominations and self-nominations for individuals to serve on our Awards for Distinction, Publication Grant, Fellowship, and Travel and Support Grant juries. Terms begin July 2022. 

Candidates must possess expertise appropriate to the jury’s work and be current CAA members. They should not hold a position on a CAA committee or editorial board beyond May 31, 2022. CAA’s president and vice president for committees appoint jury members for service. Materials are due to CAA by June 1, 2022.

Amanda Williams speaks at Convocation at CAA’s 108th Annual Conference in Chicago 

 

AWARDS FOR DISTINCTION JURIES 

CAA has vacancies in the following juries for the annual Awards for Distinction for three years (2022–2025). Terms begin in July 2022. 

  • The Alfred H. Barr Jr. Award/Alfred H. Barr Jr. Award for Smaller Museums, Libraries, Collections, and Exhibitions for museum scholarship (3 vacancies) 
  • Charles Rufus Morey Book Award for non-catalogue books in the history of art (2 vacancies) 
  • Frank Jewett Mather Award for art criticism (1 vacancy) 
  • Arthur Kingsley Porter Prize for Art Bulletin articles (2 vacancies) 
  • The CAA/American Institute for Conservation Award for Distinction in Scholarship and Conservation (2 vacancies) 
  • Jury for the Artist Award for Distinguished Body of Work, Distinguished Artist Award for Lifetime Achievement, and Distinguished Teaching of Art Award (1 vacancy) 
  • Jury for the Distinguished Teaching of Art History Award and the Distinguished Lifetime Achievement Award for Writing on Art (3 vacancies) 
  • Distinguished Feminist Awards for Scholars and Artists (1 vacancy) 

PUBLICATION GRANT JURIES 

CAA has vacancies on our Publication Grant juries for three years (2022–2025). Terms begin in July 2022. 

  • Millard Meiss Publication Fund (2 vacancies) 

PROFESSIONAL DEVELOPMENT FELLOWSHIP JURIES 

CAA has vacancies on our Professional Development Fellowship juries for three years (2022–2025). Terms begin in July 2022. 

  • Professional Development Fellowship in Art History (2 vacancies) 

TRAVEL/SUPPORT GRANT JURIES 

CAA has vacancies on our jury for three years (2022–2025). Terms begin in July 2022. 

  • CAA Support Grant in Memory of Archibald Cason Edwards, Senior, and Sarah Stanley Gordon Edwards (2 vacancies) 
  • Art History Fund for Travel to Special Exhibitions (2 vacancies) 

 

HOW TO APPLY 

Nominations and self-nominations should include a brief statement (no more than 150 words) outlining the individual’s qualifications and experience and a CV (an abbreviated CV no more than two pages may be submitted). Please send all materials by email to Cali Buckley: cbuckley@collegeart.org. Nominations must be sent as a Microsoft Word or Adobe PDF attachment. 

For questions about jury service and responsibilities, contact info@collegeart.org.  

Deadline: June 1, 2022 

Filed under: Governance, Service — Tags:

Filmed at the National Museum of Mexican Art, this program features a discussion about mentoring between two Chicago-based artists, Rubén Aguirre and Dan Ramirez, mediated by Cesáreo Moreno, Director and Curator of the National Museum of Mexican Art. Their conversation takes place inside the Aguirre’s exhibition Tectonic Reflections, open at the National Museum of Mexican Art until July 24. This program was a part of the session, “Mentoring Beyond the Classroom: The Continuing Relationship Over Time,” at CAA’s 2022 Annual Conference in February, chaired by Richard Serrano, a member of CAA’s Services to Artists Committee.

CWA Picks: March/April 2022

posted by CAA — Apr 21, 2022

The March and April “picks” include exhibitions that encourage viewers to reframe familiar historical narratives and hierarchies. The content explored by these artists ranges from political icons to advertising and myth; and their approaches weave together tradition with experimentation. The works in these exhibitions move between the past and the present, providing a perspective tied to both individual and collective memory. 

 

Angela Davis — Seize the Time
September 08, 2021 – June 15, 2022
Zimmerli Art Museum, Rutgers University

This exhibition is inspired by an archive in Oakland, California, collected and curated by Lisbet Tellefsen and includes contemporary works focused on the political icon, Angela Davis. The exhibit provides a rich and layered portrait of a public figure, whose image, for decades, has been associated with revolution, anti-racism, and social justice.

 

De: Lata, works by Bibiana Suarez
March 2022
National Museum of Puerto Rican Arts & Culture, Chicago, IL

Puerto Rican artist Bibiana Suárez’s colorful paintings of image and text are directly inspired by her observations of food labels. The title of the show is a play on words that points toward her motivations and includes the verb delatar (to be a bore) and the noun lata (can). Suarez is interested in exploring the often-misleading representations of contemporary Latinas and the marketing of Latino culture through food and advertising.

 

Harmonia Rosales: Entwined
January 19, 2022 – May 1, 2022
Art, Design & Architecture Museum, UC Santa Barbara

This exhibition presents work by the Afro-Cuban American artist Harmonia Rosales. Rosales’ paintings pull from Greek and Yoruba mythologies and encourage viewers to question historical representations of women.

 

Agency: Feminist Art and Power
January 22, 2022 – June 5, 2022
Museum of Sonoma County

Agency: Feminist Art and Power is an exhibition curated by Karen M. Gutfreund and presented in collaboration with the Feminist Art Project. The twenty-eight exhibiting womxn artists represent a diverse range of perspectives and experiences. The work explores notions of freedom, race and identity. 

 

Hear Me Roar: Women Photographers
August 23, 2021 – May 27, 2022
Lehigh University, Bethlehem, PA

Hear Me Roar: Women Photographers is a series of exhibitions organized in honor of the 50th anniversary of the first class of undergraduate women at Lehigh University. Each exhibit highlights the work of women photographers currently found in the University’s collection.

Featured artists include:  Holly Andres, Kristin Capp, Sandra Eleta, Donna Ferrato, Florence Meyer Homolka, Jeanine Michna-Bales, Lydia Panas, Joyce Tenneson, Eugenia Vargas-Pereira, and Jennifer Williams. 

 

To Know the Fire: Pueblo Women Potters and the Shaping of History
September 3, 2022
Krannert Art Museum, University of Illinois Urbana-Champaign

To Know the Fire includes a selection of earthenware vessels from the Pueblo communities of New Mexico and Arizona generously gifted to KAM by the late George Ogura. The art of pottery making was a skill handed down through generations of women and continues today. It is also a practice steeped in collaboration and shared resources. Many of the pieces included in the show are dated between the 1930s and 1980s by artists from the acclaimed Nampeyo (Hopi-Tewa Pueblo), Navasie (Hopi Pueblo), Lewis (Acoma Pueblo), and Martinez (San Ildefonso Pueblo) families. A selection of more recent miniature vessels also demonstrates the potters’ virtuosity, producing exquisitely detailed, minute replicas.

 

Sharon Norwood: The Root of the Matter
February 3, 2002 – May 28, 2022
Washington and Lee University, Lexington VA

This exhibition features the work of Sharon Norwood, who explores the conceptual role of line and its relationship to the body and race. Norwood’s practice involves a range of approaches including ceramics, drawings, paintings, installations, and video. The alterations the artist makes to found objects encourages viewers to expand their view of historical narratives.

 

Opener 34: Ruby Sky Stiler—New Patterns
January 29, 2022 – May 15, 2022
Skidmore College, Saratoga Springs, New York 

Ruby Sky Stiler’s work is deeply connected to the past, while still grounded in the contemporary. From Greco-Roman sculpture to iPhone photographs, Stiler weaves content and material, breaking down time and temporal hierarchies and allowing viewers to oscillate between the past and the

present. The exhibit includes a site-specific mural for the Tang Teaching Museum, as well relief paintings, and large-scale sculpture.

 

Women, Surrealism, and Abstraction
August 25, 2020 – May 7, 2022
Utah State University, Nora Eccles Harrison Museum of Art, Logan, Utah 

Women, Surrealism, and Abstraction is an exhibit consisting of work found in the Museum collection and highlights the often-overlooked female, surrealist artists of the 20th century. The exhibit expands our understanding of Surrealism by including a range of mediums beyond painting and sculpture from photography and printmaking to fiber arts.

 

Womanhouse
February 18, 2022 – April 2, 2022
4859 Fountain Avenue, Los Angeles, CA

This exhibition, organized by LAND and Anat Ebgi Gallery celebrates the 50th anniversary of Womanhouse. Through a series of performances, film screenings, and archival materials, this exhibition shares the history, trajectory and current influence of Womanhouse and west coast Feminist Art. 

 

 

Filed under: Committees, CWA Picks