The Art Journal Editorial Board invites nominations and self-nominations for the position of reviews editor for a three-year term: July 1, 2013–June 30, 2016 (with service as incoming reviews editor designate, July 1, 2012–June 30, 2013). A candidate may be an artist, art historian, art critic, art educator, curator, or other art professional with stature in the field; institutional affiliation is not required. Art Journal, published quarterly by CAA, is devoted to twentieth- and twenty-first-century art and visual culture.
Working with the editorial board, the reviews editor is responsible for commissioning all book and exhibition reviews in Art Journal. He or she selects books and exhibitions for review, commissions reviewers, and determines the appropriate length and character of reviews. The reviews editor also works with authors and CAA’s manuscript editor in the development and preparation of review manuscripts for publication. He or she is expected to keep abreast of newly published and important books and recent exhibitions in twentieth-century and contemporary art, criticism, theory, and visual culture. The three-year term includes membership on the Art Journal Editorial Board and a small annual honorarium, paid quarterly.
The reviews editor attends the Art Journal Editorial Board’s three meetings each year—held twice in New York in the spring and fall and once at the CAA Annual Conference in February—and submits an annual report to CAA’s Board of Directors. CAA reimburses the reviews editor for travel and lodging expenses for the two New York meetings in accordance with its travel policy, but he or she pays these expenses to attend the conference.
Candidates must be current CAA members and should not be serving on the editorial board of a competitive journal or on another CAA editorial board or committee. Members may not publish their own work in the journal during the term of service. Nominators should ascertain their nominee’s willingness to serve before submitting a name; self-nominations are also welcome. Please send a statement describing your interest in and qualifications for appointment, a CV, at least one letter of recommendation, and your contact information to: Art Journal Reviews Editor Search, College Art Association, 50 Broadway, 21st Floor, New York, NY 10004; or email the documents to Joe Hannan, CAA codirector of publications. Deadline: April 2, 2012; finalists will be interviewed in early May.
CAA warmly thanks the many contributions of the following dedicated members who joined CAA in 1961 or earlier. This year, the annually published list welcomes fourteen new members. Twelve are distinguished scholars and curators whose teaching, publications, and exhibitions have shaped the history of art over the last fifty years. The other two are celebrated artists: G. Kendall Shaw, a painter and former professor based in Brooklyn who showed recent work in a solo exhibition in New York this past fall; and Conrad H. Ross, a printmaker who lives and works in Alabama, where he taught at Auburn University for many years.
1961: Matthew Baigell; Malcolm Campbell; Margaret Diane David; W. Bowdoin Davis Jr.; David Farmer; J. D. Forbes; Isabelle Hyman; Henry A. Millon; Clifton C. Olds; Marion E. Roberts; David Rosand; Conrad H. Ross; G. Kendall Shaw; and Alan Shestack.
1960: Shirley N. Blum; Kathleen Weil-Garris Brandt; David C. Driskell; Mojmir S. Frinta; Dan F. Howard; W. Eugene Kleinbauer; Edward W. Navone; Linda Nochlin; and J. J. Pollitt.
1959: Edward Colker; Geraldine Fowle; Edith M. Hoffman; Carol H. Krinsky; James F. O’Gorman; Charles S. Rhyne; and Ann K. Warren.
1958: Samuel Y. Edgerton Jr.; Damie Stillman; and Clare Vincent.
1957: Marcel M. Franciscono; Bruce Glaser; William C. Loerke; Susan R. McKillop; and John F. Omelia.
1956: Svetlana L. Alpers; Norman W. Canedy; John Goelet; Joel Isaacson; John M. Schnorrenberg; and Jack J. Spector.
1955: Lola B. Gellman; Irving Lavin; Marilyn A. Lavin; and Suzanne Lewis.
1954: Franklin Hamilton Hazlehurst; Patricia C. Loud; Thomas McCormick; Jules D. Prown; Jane E. Rosenthal; Irving Sandler; Lucy Freeman Sandler; Harold E. Spencer; and A. Richard Turner.
1953: Dorathea K. Beard; Margaret McCormick; John W. Straus; and Jack Wasserman.
1951: Wen C. Fong; and Carl N. Schmalz Jr.
1950: Jane Dillenberger; Alan M. Fern; and Marilyn J. Stokstad.
1949: Dario A. Covi; Norman B. Gulamerian; and Ann-Sofi Lindsten.
1948: William S. Dale; Clarke H. Garnsey; and Peter H. Selz.
1947: Dericksen M. Brinkerhoff; David G. Carter; Ellen P. Conant; Ilene H. Forsyth; and J. Edward Kidder Jr.
1946: Mario Valente.
1945: James Ackerman; Paul B. Arnold; and Rosalie B. Green.
In its regular roundup of obituaries, CAA recognizes the lives and achievements of the following artists, designers, architects, photographers, dealers, filmmakers, and other men and women whose work has had a significant impact on the visual arts. Included this month are the major twentieth-century artists John Chamberlain and Helen Frankenthaler, who both died in December 2011.
- Eve Arnold, a photojournalist and writer who was the first woman to join the Magnum Photo agency, died on January 4, 2012, at age 99. Beginning her career in the late 1940s, Arnold photographed celebrities, documented the McCarthy hearings and the civil rights movement, and did extensive work in Britain, China, and Russia.
- John Buchanan, director of the Fine Arts Museums of San Francisco who brought in a string of successive hit shows, including Tutankhamun and the Golden Age of the Pharaohs and a survey of masterpieces by Pablo Picasso from the Musée National in Paris, died on December 30, 2011. He was 58 years old
- John Chamberlain, a sculptor of found metal whose work bridged Pop art, Abstract Expressionism, and Minimalism, passed away on December 21, 2011, at the age of 84. Chamberlain first used car parts and then pieces of raw galvanized steel to create his sculptures, whose form and colors offered a dystopian take on the automobile as American Dream
- Niles Ford, a New York–based dancer and choreographer whose work combined elements of ballet, jazz, and modern dance while embedding themes of political and social activism, died on January 14, 2012. He was 52.
- Helen Frankenthaler, an abstract painter whose stain technique led to the development of the Color Field movement, passed away on December 27, 2011, at age 83. Once married to Robert Motherwell, Frankenthaler was an active member of the downtown New York art community in the 1950s and 1960s and had major solo exhibitions at the Jewish Museum (1960), the Whitney Museum of American Art (1969), and the Solomon R. Guggenheim Museum (1998)
- Andrew Geller, a postwar architect of prefabricated homes who designed the room in which Nikita Kruschev and Richard Nixon had their famous Kitchen Debate, died on December 25, 2011. He was 87
- Iris Gill, a painter inspired by nature who was a member of the San Diego branch of the Women’s Caucus for Art, died on January 2, 2012. She was 41 years old
- Jan Groover, an American photographer who had lived in France since 1991 and who produced painterly still lifes with formalist concerns, died on January 1, 2012, at age 68. In 1987, Groover became one of the first women to have a solo exhibition at the Museum of Modern Art in New York
- John McWhinnie, a dealer and collector of rare twentieth-century books and ephemera and the director of Glenn Horowitz Bookseller in New York, died on January 6, 2012. He was 43
- Robert Nelson, an avant-garde filmmaker active in the San Francisco art scene of the 1950s and 1960s, died on January 9, 2012, at the age of 81. Known for the wit and playful energy he brought to the world of underground filmmaking, Nelson was the creator of Plastic Haircut (1963), Oh Dem Watermelons (1965), and Grateful Dead (1967–68)
- Bill Radawec, an eclectic multimedia artist based in Los Angeles and Cleveland whose recent work consisted of colorful paintings inspired by manufacturer house paint chips and the work of Ellsworth Kelly and Brice Marden, died on July 5, 2011, at age 59. Well-loved for his generosity and support of other artists, Radawec organized art shows in major museums and artist-run galleries
- James Rizzi, a New York–based Pop artist known for his three-dimensional graphic constructions, died on December 26, 2011, at age 61. Playful, colorful, and full of childlike energy, Rizzi’s work included designs for tourist guides and German postage stamps, as well as the cover artwork for Tom Tom Club’s first album in 1980 and two music videos for the band
- Garrison Roots, a public artist, sculptor, and chair of the Department of Art and Art History at the University of Colorado in Boulder, where he had taught since 1982, died on December 21, 2011. He was 59 years old
- Anne Tyng, a pioneering female architect and architectural theorist who had a professional and personal relationship with Louis Kahn, died on December 27, 2011, at age 91. Born in Jiangxi, China, Tyng was one of the first women to graduate from Harvard’s architecture school, in 1944
- Haydee Venegas, an art critic and educator who served as vice president of the International Association of Art Critics, died on December 31, 2011. She was 61
- John C. Wessel, a New York–based art dealer who championed gay artists in the 1980s and 1990s, passed away on December 9, 2011. Born in 1941, Wessel also served as regional representative for the National Endowment for the Arts from 1977 to 1984
- Eva Zeisel, a renowned ceramic tableware artist and designer, died on December 30, 2011, at the age of 105. After emigrated to the United States from Vienna in 1938, Zeisel began a celebrated teaching career at Pratt Institute in Brooklyn, 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 to Christopher Howard, CAA managing editor, for the February/March listing.
posted by Christopher Howard — January 24, 2012
CAA’s nine Professional Interests, Practices, and Standards Committees welcome their newly appointed members, who will serve three-year terms (2012–15). In addition, three new chairs will take over committee leadership, with one current chair appointed for an additional year. New committee members and chairs will begin their terms next month at the 100th Annual Conference, to be held February 22–25, 2012, in Los Angeles. CAA warmly thanks all outgoing committee members for their years of service to the organization.
A call for nominations for these committees appears annually from July to September in CAA News and on the CAA website. CAA’s president, vice president for committees, and executive director review all nominations in December and make appointments that take effect the following February.
New Committee Members and Chairs
Committee on Diversity Practices: Peggy Blood, Savannah State University; Sunanda K. Sanyal, Art Institute of Boston; and Susan Zurbrigg, James Madison University. Barbara Nesin, president of the CAA Board of Directors, is a new board liaison.
Committee on Intellectual Property: Elaine Koss, Frick Collection; Judith Metro, National Gallery of Art; and Gretchen Wagner, ARTstor.
Committee on Women in the Arts: Temma Balducci, Arkansas State University; Melissa Dabakis, Kenyon College; Kalliopi Minioudaki, independent curator and art historian, New York; Margaret Murphy, independent artist and curator, Jersey City; and Sarah Schuster, Oberlin College.
Education Committee: Barbara Airulla, Franklin University. Rosenne Gibel has been appointed chair for one more year, and Hilary Braysmith received a term extension for committee membership through February 2013. Georgia Strange of the University of Georgia joins the committee as a board liaison.
International Committee: Timothy Collins, Glasgow School of Art; Radha Dalal, College of Charleston; and Rosemary O’Neill, Parsons the New School of Design. Ann Albritton of Ringling College of Art and Design has been named committee chair, succeeding Jennifer D. Milam of the University of Sydney. Anne-Imelda Radice of the Dilenschneider Group is a new board liaison.
Museum Committee: Bruce Boucher, University of Virginia Art Museums; Saadia N. Lawton, Lincoln University; and Celka Straughn, Spencer Museum of Art, University of Kansas, Lawrence.
Professional Practices Committee: Elliot Bostwick Davis, Museum of Fine Arts, Boston; and Helen C. Evans, Metropolitan Museum of Art. James Hopfensperger of Western Michigan University takes over as chair from Charles Wright of Western Illinois University.
Services to Artists Committee: Blane De St. Croix, independent artist, Brooklyn; Niku Kashef, California State University, Northridge; and Jenny Krasner, independent artist, New York. Sharon Louden, an independent artist based in New York, succeeds Jacki Apple of Art Center College of Design as chair. Saul Ostrow of the Cleveland Institute of Art is a new liaison from the CAA board.
Student and Emerging Professionals Committee: Anitra Haendel, California Institute of the Arts; Amanda Hawley Hellman, Emory University; and Megan Koza Young, Spencer Museum of Art, University of Kansas, Lawrence. Serving as board liaison is Leslie Bellavance of Alfred University.
posted by Christopher Howard — January 23, 2012
CAA has awarded travel grants to twenty art historians and artists from around the world who will convene in Los Angeles to attend and participate in the 100th Annual Conference, taking place February 22–25, 2012. The CAA International Travel Grant Program was made possible by a generous grant from the Getty Foundation.
At the conference, the twenty recipients will participate in mentoring activities and other events planned in connection with the grant. Members of CAA’s International Committee have agreed to host the participants, and the National Committee for the History of Art will also lend support to the program.
This travel-grant program is intended to familiarize international professionals with the Annual Conference program, including the session participation process. CAA accepted applications from art historians, artists who teach art history, and art historians who are museum curators; those from developing countries or from nations not well represented in CAA’s membership were especially encouraged to apply. In late 2011, a jury of CAA members selected the final twenty awardees, whose names, home institutions, and primary areas of scholarly and professional interest are as follows:
- Salam Atta Sabri, Director, National Museum of Modern Art, Baghdad, Iraq. Atta Sabri conducts research on missing works of art from Iraq and is also a ceramic artist
- Parul Pandya Dhar, Associate Professor, Department of History, University of Delhi, Delhi, India. Dhar focuses on the history of Indian art and architecture to 1300 CE, cultural interactions in South and Southeast Asia, the visual arts and visual archives as sources of history, performing arts, and the historiography of Indian art
- Federico Freschi, Associate Professor, History of Art, Wits School of Arts, University of Witwatersrand, Johannesburg, South Africa. Freschi’s work explores South African modern art and architecture and postcolonial identity politics
- Rosa Gabriella de Castro Gonçalves, Professor of Art Theory and Aesthetics, Universidade Federal da Bahia, Salvador, Brazil. Gonçalves is interested in the role of modernism in recent debates in art theory
- Angela Harutyunyan, Assistant Professor, Department of Fine Arts and Art History, American University of Beirut, Beirut, Lebanon. Harutyunyan is interested in methodologies of reading and historicizing contemporary art and studies the political aesthetics of the Armenian avant-garde
- Gyöngyvér Horváth, Assistant Professor of Art History, Moholy-Nagy University of Art and Design, Budapest, Hungary. Horváth studies the historiography of narrative painting
- Didier Houenoude, Assistant Professor, Université d’Abomey-Calavi, Cotonou, Benin. Houenoude teaches art history and drawing and closely follows contemporary art in Benin
- Nadhra Shahbaz Naeem Khan, Visiting Faculty, Department of Humanities and Social Sciences, Lahore University of Management Sciences, Lahore, Pakistan. Khan’s work focuses on Sikh art and architecture
- Irena Kossowska, Professor of Art History, Nicolaus Copernicus University, Toruń, Poland. Kossowska works on national identity in Central Europe as reflected in the visual arts and also researches nineteenth- and twentieth-century European art
- Jean Celestin Ky, Professor of Art History, University of Ouagadougou, Ouagadougou, Burkina Faso. Celestin researches African art and works with the National Museum of Burkina Faso in conserving and promoting contemporary art
- Pavlína Morganová, Researcher and Professor, Academy of Fine Arts, Prague, Czech Republic. Morganová works on contemporary art
- Cristian Nae, PhD Lecturer, Department of Art History and Theory, Faculty of Fine Arts, George Enescu University of Arts, Iaşi, Romania. Nae examines post–World War II art history, critical theory, hermeneutics, and cultural studies
- Judy Peter, Lecturer, Faculty of Art, Design, and Architecture, and Head, Department of Jewellery Design and Manufacture, University of Johannesburg, Johannesburg, South Africa. Peter works in art history, theory, cultural and postcolonial studies, the history of jewellery. She is also interested in curriculum development in the context of a neoliberal South Africa
- Daniel Premerl, Research Associate, Institute of Art History, Zagreb, Croatia. Premerl is interested in Renaissance and Baroque art and art-historical methodology
- Malvina Rousseva, Professor, Institute of Art Studies, Bulgarian Academy of Sciences, Sofia, Bulgaria. Rousseva pursues research in archaeology, Thracian tombs and temples, interdisciplinary studies, architectural history, cultural and visual studies, and philosophy
- Ganna Rudyk, Deputy Director General of Research, Bohdan and Varvara Khanenko Museum of Arts, Kyiv, Ukraine. Rudyk is a specialist in Islamic art who presents Islamic and generally non-Western art to broad publics
- Dóra Sallay, Curator of Italian Painting, Museum of Fine Arts, Budapest, Hungary. Sallay works with thirteenth- to sixteenth-century Italian art, in particular Sienese painting, the history of collecting and museums, and the history of the reception of Gothic and Renaissance painting
- Olabisi Silva, Director, Centre for Contemporary Art, Lagos, Nigeria. Silva is working on the first roaming African art academy, placing equal emphasis on artistic practice, art history, critical thinking, and curatorial practice
- Shao-Chien Tseng, Associate Professor of Art History, Graduate Institute of Art Studies, National Central University, Jhongli City, Taiwan. A specialist in nineteenth-century French art, Tseng is interested in modern art and natural history, landscape painting and photography, and postcolonialism and Taiwanese art
- Jagath Weerasinghe, Director and Professor, Postgraduate Institute of Archaeology, Colombo, Sri Lanka. Trained in fine arts, archeology, and conservation, Weerasinghe recently established his country’s first graduate program in art history, which will offer postgraduate diplomas and master of arts degrees in art history, focusing primarily on Asian art
CAA hopes that this travel grant will not only increase international participation in the organization’s activities, but will also expand international networking and the exchange of ideas. The Getty Foundation grant allows CAA to expand greatly the participation of international colleagues beyond its regular program of Annual Conference Travel Grants for graduate students and international artists and scholars.
posted by Christopher Howard — January 23, 2012
Advance registration for CAA’s 100th Annual Conference, taking place February 22–25, 2012, at the Los Angeles Convention Center, has been extended to Monday, January 30, 2012. This is also your last chance to purchase advance tickets for special events and workshops.
Advance registration ends on Monday, January 30, 2012.
- Members: $235
- Student and retired members: $135
- Nonmembers: $365
Join us for a variety of special events including CAA’s Centennial Reception at the Los Angeles County Museum of Art, Tours to the Getty Villa and the Getty Center, An Evening at UCLA, as well as the Santa Monica and Venice Art Tour!
Looking to advance your career? This year’s conference will include a bevy of professional-development workshops designed specifically for artists, art historians, and professionals in the visual arts. Workshops address topics such securing tenure, job hunting, and much more! Workshop space is limited, so book your place today! Each workshop costs $45.
Have you booked your accommodation yet? Conference attendees can also take advantage of substantial discounts on rooms at the JW Marriott Los Angeles LA Live, just steps away from the Los Angeles Convention Center. The Westin Bonaventure, the Millennium Biltmore, and the Figueroa Hotel also offer discounts to conference attendees.
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 Christopher Howard — January 11, 2012
Each month, CAA’s Committee on Women in the Arts produces a curated list, called CWA Picks, of recommended exhibitions and events related to feminist art and scholarship in North America and around the world.
The CWA Picks for January 2012 include five solo shows of women artists at museums and galleries across the United States. The Norton Museum of Art in West Palm Beach, Florida, presents Jenny Saville, and the Tufts University Art Gallery in Medford, Massachusetts, will exhibit the work of Nancy Holt. Cathy Wilkes is on view at the Carnegie Museum of Art in Pittsburgh, Pennsylvania, and the Harold B. Lemmerman Gallery of New Jersey City University in Jersey City has organized a survey of Margaret Murphy’s work. Last, Zoe Strauss receives a midcareer retrospective at the Philadelphia Museum of Art in Pennsylvania.
In California, the performance artists Andrea Fraser and Vaginal Davis will stage one-day events for Pacific Standard Time’s Performance and Public Art Festival, and the Los Angeles County Museum of Art is presenting an exhibition of work created between 1931 and 1968 by female Surrealist artists living in the United States and Mexico.
Check the archive of CWA Picks at the bottom of the page, as several museum and gallery shows listed in previous months may still be on view or touring.
Image: Jenny Saville, Stare, 2004–5, oil on canvas, 120⅛ x 98½ in. Collection of the Broad Art Foundation, Santa Monica (artwork © Jenny Saville)
posted by CAA — January 10, 2012
Each month, CAA’s Committee on Women in the Arts selects the best in feminist art and scholarship. The following exhibitions and events should not be missed. Check the archive of CWA Picks at the bottom of the page, as several museum and gallery shows listed in previous months may still be on view or touring.
Norton Museum of Art
1451 South Olive Avenue, West Palm Beach, FL 33401
November 30, 2011–March 4, 2012
Jenny Saville is the inaugural exhibition of the Norton Museum of Art’s Recognition of Art by Women (RAW) series, and the first solo American museum exhibition of the British figurative artist. This exhibition will bring together her most recognizable monumental figure and portrait paintings along with drawings from her recent series Reproduction drawing (based on the Leonardo cartoon of The Virgin and Child with St. Anne and John the Baptist from the National Gallery, London) depicting mother and child images. The presentation will include twenty-eight canvases and drawings dating from 1992 to 2011 and smaller studies, not previously shown, from the artist’s studio.
In Wonderland: The Surrealist Adventures of Women Artists in Mexico and the United States
Los Angeles County Museum of Art
5905 Wilshire Boulevard, Los Angeles, CA 90036
January 29–May 6, 2012
The Surrealist movement in art is most often identified with male artists, many of whom objectified women in their paintings. Numerous female artists at the time, however, developed their own identity-based imagery. This exhibition looks at female Surrealists working in the United States and Mexico and contains 175 works in a variety of media that were created between 1931 and 1968 by artists such as Lee Miller, Yayoi Kusama, and Frida Kahlo.
Nancy Holt: Sightlines
Tufts University Art Gallery
Aidekman Arts Center, Tufts University, 40 Talbot Avenue, Medford, MA 02155
January 19–April 1, 2012
Since the late 1960s, Nancy Holt has created a far-reaching body of work, including Land Art, films, videos, site-specific installations, artist’s books, concrete poetry and major sculpture commissions. Nancy Holt: Sightlines showcases the artist’s transformation from the perception of the landscape through the use of different observational modes in her early films, videos, and related works from 1966–80.
Carnegie Museum of Art
4400 Forbes Avenue, Pittsburgh, PA 15213
November 12, 2011–February 26, 2012
Carnegie Museum of Art presents the first solo American museum exhibition to combine the painting and sculptural installations of the Irish artist Cathy Wilkes. Often examining personal experiences, including motherhood, Wilkes is best known for vulnerable, haunting sculptures and installations in which sculpted and found objects are altered and arranged into humanistic—if sometimes disturbing—domestic scenes. Including nine paintings, a recent sculpture, and a newly commissioned installation, this exhibition provides a comprehensive view of Wilkes’s practice.
Margaret Murphy, A Ten-Year Survey; Decoding the Marketplace: coupons, dollar stores, and eBay
Harold B. Lemmerman Gallery
New Jersey City University, Hepburn Hall, Room 323, 2039 Kennedy Boulevard, Jersey City, NJ 07305
January 30–March 7, 2012
This exhibition highlights varied bodies of work created during the last decade by the artist Margaret Murphy. Included in the exhibition are the Tarot Cards series (1997–2000), the Sweet 16 series (2005–7), and the Parlor Paintings (2006–7). Seen together for the first time, these paintings and collages demonstrate Murphy’s insightful feminist critique of the American consumer culture and misrepresentation of women as seen through commodity objects such as porcelain figurines and product packaging.
Andrea Fraser, Men on the Line, KPFK
National Center for the Preservation of Democracy
111 North Central Avenue, Los Angeles, CA 90012
January 23, 2012
Vaginal Davis, My Pussy is Still in Los Angeles (I Only Live in Berlin)
Bullock Department Store Wilshire
3050 Wilshire Boulevard, Fifth Floor, Los Angeles, CA 90010
January 29, 2012
In late January, West of Rome Public Art will host performances by two legendary and controversial feminist artists as part of Pacific Standard Time’s Performance and Public Art Festival. Both works are part of a series inspired by the Los Angeles–based Woman’s Building (1973–81), whose history and influence is currently explored in the PST exhibition Doin’ It in Public.
Zoe Strauss: Ten Years
Philadelphia Museum of Art
26th Street and the Benjamin Franklin Parkway, Philadelphia, PA 19130
January 14–April 22, 2012
This midcareer survey of the work of Zoe Strauss, a resident of south Philadelphia, focuses on her decade-long public art project in which each year on the first Sunday in May she exhibited more than two hundred of her photographs in a space beneath a section of Interstate 95 in south Philadelphia. Most of her subjects are disenfranchised people or places.
The Fall 2011 issue of Art Journal, CAA’s quarterly of modern and contemporary art, was published and mailed in late December. A benefit of CAA membership, the journal is sent to those individual members who elect to receive it and to all institutional members.
The issue opens with a state-of-the-field essay by Krista Thompson, “A Sidelong Glance: The Practice of African Diaspora Art History in the United States.” The third of four Centennial essays commissioned with funds from the Andy Warhol Foundation for the Visual Arts, Thompson’s study offers an extraordinary range of reference and comprehensive citations that suggest it will be highly useful to historians, students, and artists alike. The art historian Amelia Jones organized a forum for the issue, “Performance, Live or Dead,” with texts by the artists Ron Athey, Sharon Hayes, and William Pope.L, the historians Sven Lütticken and Branislav Jakovljević, and the curators Sophia Yadong Hao and Helena Reckitt. Each writer considers the phenomenon of reenactment, which has been prominent in the performance art of recent years.
The cover essay, Miwako Tezuka’s “Experimentation and Tradition: The Avant-Garde Play Pierrot Lunaire by Jikken Kōbō and Takechi Tetsuji,” examines the 1955 collaboration of vanguard visual and performing artists in Tokyo on a staging of Arnold Schoenberg’s song cycle Pierrot Lunaire. Tezuka sees the production, little known in the West until now, as a major catalyst in the reinvigoration of new arts following destitution and stagnation in postwar Japan.
A final feature considers broadcast radio as a medium for public art. Sarah Kanouse’s “Take It to the Air: Radio as Public Art” explores works by Jon Brumit, Ricardo Miranda Zuñiga, and the collective LIGNA to emphasize the surprising ways in which they treat radio as a participatory, two-way medium. The Art Journal website includes audio and video documentation that complements the printed piece.
The Reviews section includes Lisa Florman’s assessment of the Guggenheim exhibition catalogue Chaos and Classicism: Art in France, Italy, and Germany, 1918–36; Jaleh Mansoor on Rosalyn Deutsch’s Hiroshima after Iraq: Three Studies in Art and War; and Lara Weibgen’s analysis of Boris Groys’s History Becomes Firm: Moscow Conceptualism. Available both in print and online is Robert Slifkin’s review of two recent books and an exhibition on the artist Paul Thek.