CAA News Today
Candidates for the Upcoming Board of Directors Election
posted by Vanessa Jalet — November 13, 2012
The 2012–13 Nominating Committee has announced a slate of six candidates for the annual election of CAA members to serve on the Board of Directors for a four-year term (2013–17). Voting will begin when the webpages for the election, which will include the candidates’ statements, biographies, endorsements, and video presentations, are published in January 2013.
The six candidates are:
- Elizabeth Conner, Artist and Instructor of Studio Art, University of Washington Tacoma
- Constance Cortez, Associate Professor, School of Art, College of Visual and Performing Arts, Texas Tech University
- Jennifer Milam, Associate Professor, Department of Art History and Film Studies, University of Sydney
- Debra Riley Parr, Associate Professor of Art and Design History and Chair of Fashion Studies, Columbia College Chicago
- Sheila Pepe, Acting Assistant Dean for Academic Affairs, School of Art and Design, Pratt Institute
- John Richardson, Professor and Chair, Department of Art and Art History, Wayne State University
If you have questions about the Nominating Committee, the candidates, or the voting process, please contact Vanessa Jalet, CAA executive liaison.
Committee on Women in the Arts Picks for November 2012
posted by CAA — November 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.
November 2012
Susan Hamburger, detail of a cartouche in the installation of Creeping Ornamentalism, 2012, acrylic-painted collage on paper with foam-board molding, dimensions variable (artwork © Susan Hamburger; photograph provided by the Visual Art Center of New Jersey)
Susan Hamburger: Creeping Ornamentalism
Mitzi and Warren Eisenberg Gallery
Visual Art Center of New Jersey, 68 Elm Street, Summit, NJ 07901
September 14–December 2, 2012
In Creeping Ornamentalism, Susan Hamburger creates a Rococo period room complete with faux moldings and intricate hand-painted panels that focus on the destruction caused by Hurricane Irene in 2011. The three states she depicts in the panels—New Jersey, Vermont, and Massachusetts—are all places where the artist has lived in the past. Imagery of flora and fauna suggests growth and destruction, and Hamburger includes likenesses of each state’s endangered animals: the osprey, the vesper sparrow, and the blue-spotted salamander. Like previous period rooms by Hamburger, the installation at Eisenberg Gallery borrows designs from eighteenth- and nineteenth-century European decorative and fine arts to address current social, political, and economic issues.
Materializing “Six Years”: Lucy R. Lippard and the Emergence of Conceptual Art
Brooklyn Museum
200 Eastern Parkway, Brooklyn, NY 11238
September 14, 2012–February 3, 2013
Superb in its conception and realization, Materializing “Six Years” pays homage to the influential art critic and feminist pioneer, Lucy R. Lippard, by exploring the role that her 1973 book on conceptual art, Six Years, played in the critical construction of the emergent art movement back then and its historical perception today. Organized by Catherine Morris of the museum and Vincent Bonin, an independent curator, the exhibition—itself a prime example of feminist curatorial practice—brings together the work of approximately ninety international artists, including Vito Acconci, Eleanor Antin, and Richard Serra, to illuminate how Lippard’s curatorial projects, critical writing, and politics contributed to art making, writing, and display in the United States and beyond.
Mickalene Thomas, Origin of the Universe 2, 2012, rhinestone, acrylic paint, and oil enamel on wood panel, 44 x 48 in. Private collection, New York (artwork © Mickalene Thomas; photograph by Christopher Burke Studio and provided by the artist, Lehmann Maupin Gallery, New York, and Suzanne Vielmetter Los Angeles Projects)
Mickalene Thomas: Origin of the Universe
Brooklyn Museum
200 Eastern Parkway, Brooklyn, NY 11238
September 28, 2012–January 20, 2013
In her first solo museum exhibition, Origin of the Universe, now on view at the Brooklyn Museum, Mickalene Thomas places her jewel-encrusted paintings in four living-room installations into addition to hanging them traditionally. She also presents, for the first time, a new twenty-three minute biographical film, Happy Birthday to a Beautiful Woman, which chronicles the life of the artist’s mother, Sandra Bush, who also serves as a model and muse in other works. Highlights of the show include several versions of the painting Origin of the Universe, a reimagining of Gustave Courbet’s provocative L’Origine du monde (1866) both as an intimate self-portrait and as a portrait of the Thomas’s wife. References to the old masters mix freely with a painted collage aesthetic, bringing together art history, folk art, and mural painting.
Sandra Ramos: Viaje al “Sueno Americano”
Accola Griefen Gallery
547 West 27th Street, New York, NY 10001
October 18–November 24, 2012
The Cuban artist Sandra Ramos plays with the motifs of childhood, fantasy, and travel in three series that address life in her native Havana, the wider world of the United States, and the disconnect between fiction and reality in which both countries are complicit. In Collectibles, Ramos has created books and dioramas that depict the artist as a small doll-like figure among silhouettes of famous skyscrapers. In Travel to the American Dream, the artist adds collaged elements and graphite drawing to digital prints of American passports and immigration documents. In Habana Mirage, curved pieces of mirrored Plexiglas pairing depictions of the skylines of Manhattan and Havana hug the corners of the gallery, evoking a self-reflective convergence.
Penny Slinger, Bookworm (An Exorcism), 1977, unique photocollage, 13½ x 20 in. (artwork © Penny Slinger; photograph provided by the artist and Broadway 1602, New York)
Penny Slinger: An Exorcism Revisited, 1977–2012
Broadway 1602
1181 Broadway, Third Floor, New York, NY 10001
September 11–November 30, 2012
Penny Slinger is one of the few women artists to have gained recognition for her work despite the sexism of the British art world in the 1960s, due partly from the support of her mentor, the poet and Surrealist art historian Sir Roland Penrose. Slinger, still active as an artist today, is known for her employment of Surrealist tropes (collage, self-transgression, sexual symbolism) from a woman’s point of view. She has also enjoyed a varied career outside the art world, as a set designer and director for a radical feminist theater collective in London called Holocaust, and as the author of the popular collage novels 50% – The Visible Woman (1971) and Exorcism (1977). In addition to presenting her mixed-media work, the exhibition at Broadway 1602 will display archival material that illuminates other sides of her art practice, such as an unrealized film project.
Under Pressure
Joslyn Art Museum
2200 Dodge Street, Omaha, NE 68102
October 6, 2012–January 6, 2013
Under Pressure is a group exhibition that includes stellar modern and contemporary prints by Hung Lui, Kara Walker, Lorna Simpson, Helen Frankenthaler, Vija Celmins, Ellen Gallagher, Jennifer Bartlett, Barbara Krueger, and Kiki Smith. Organized by Toby Jurovics, chief curator of the Joslyn Art Museum, the show is culled from the collection of Jordan D. Schnitzer and his Family Foundation and will travel to Kansas, Utah, and Montana through 2014.
Kiki Kogelnik: I Have Seen the Future
Kunstverein Hamburg
Klosterwall 23, Hamburg, Germany 20095
September 15–December 30, 2012
I Have Seen the Future, an exhibition devoted to the Austrian artist Kiki Kogelnik, is the latest in a series of shows at the Kunstverein that seeks to reevaluate marginalized women artists associated with the male-dominated Pop art movement of the 1960s. Kogelnik, like her peer Evelyne Axell, the subject of a 2011 retrospective at the museum, made work about the female body in assemblage, painting, and sculpture. She is remembered within feminist art circles primarily for her super heroines—silhouettes with caricatured facial features often evoking the artist herself. Kogelnik’s work also addressed the political and cultural changes of the decade with topical paintings such as Heavy Clouds over the Cuba Crisis (1964) and Hit the Moon (1969), and through a series of colorfully painted bomb sculptures.
November 2012 Picks from CAA’s Committee on Women in the Arts
posted by Christopher Howard — November 09, 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 November 2012 include several important exhibitions in New York, New Jersey, and Nebraska, and in Germany. The first is Creeping Ornamentalism, a prescient, timely installation by Susan Hamburger that focuses on the destruction caused by Hurricane Irene in 2011 in New Jersey, Vermont, and Massachusetts.
In New York, the Brooklyn Museum boasts two stellar shows, Materializing “Six Years”: Lucy R. Lippard and the Emergence of Conceptual Art and Mickalene Thomas: Origin of the Universe, and two commercial galleries are showing the work of Sandra Ramos and Penny Slinger. Out west, the Joslyn Art Museum in Omaha is showing prints by numerous women artists in Under Pressure. Across the Atlantic, Kunstverein Hamburg presents Kiki Kogelnik: I Have Seen the Future.
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: Susan Hamburger, detail of a cartouche in the installation of Creeping Ornamentalism, 2012, acrylic-painted collage on paper with foam-board molding, dimensions variable (artwork © Susan Hamburger; photograph provided by the Visual Art Center of New Jersey)
Affiliated Society News for November 2012
posted by CAA — November 09, 2012
American Council for Southern Asian Art
The American Council for Southern Asian Art (ACSAA) announces its sixteenth biennial meeting, to be held at the University of California, Los Angeles, from November 7 to 10, 2013. Following the format of previous ACSAA meetings, the council invites proposals for individual papers (with approximately 350-word abstracts) that reflect current directions of scholarship in South and Southeast Asian art. ACSAA is also introducing a second format for submissions, based on discrete panels that will follow the CAA method for organizing sessions. Accordingly, the council invites members to submit proposals for panels they wish to chair based on themed topics, research questions, or theoretical positions. If the panel is selected, the ACSAA membership will be invited to submit their proposals for papers directly to the panel chair, who will be responsible for the final selection of presenters. Proposals for panels are due on December 15, 2012; selected panels announced to the membership in mid-January 2013. All proposals for papers are due, either to a panel or as individual submissions (but NOT both), on March 31, 2013, with the final selections of both individual paper proposals and panel contributions announced at the end of April 2013. Please send all submissions and queries electronically to Alka Patel of the University of California, Irvine.
Art Libraries Society of North America
Art Documentation, the official bulletin of the Art Libraries Society of North America (ARLIS/NA) seeks peer reviewers for the journal. The bulletin’s editor, Judy Dyki, welcomes reviewers in all areas of interest and expertise; please note that there is a special need for individuals capable of reviewing articles about cataloging and metadata, digital collections, museum libraries, and new media and technology. Active since 1982, Art Documentation is now published in collaboration with the University of Chicago Press; the inaugural issue under the new partnership came out in spring 2012.
Please mark your calendars for the ARLIS/NA forty-first annual conference, taking place April 25–29, 2013, in Pasadena, California. The program committee is now accepting poster proposals and calling for moderators. The deadline for poster proposals is November 16, 2012; please visit the proposal guidelines for more information. Visit our website to review the panel sessions and workshops of the ARLIS/NA fortieth annual conference, which took place in spring 2012 in Toronto, Ontario.
Historians of Eighteenth-Century Art and Architecture
The Historians of Eighteenth-Century Art and Architecture (HECAA) have chosen a new president, Michael Yonan of the University of Missouri, and a new treasurer, Jennifer Germann of Ithaca College in Ithaca, New York. HECAA’s panel at next year’s American Society for Eighteenth Century Studies conference, taking place April 3–7, 2013, in Cleveland, Ohio, will be chaired by Heather McPherson of the University of Alabama in Birmingham and is entitled “Interiors as Space and Image.” This coming February at CAA’s Annual Conference in New York, HECAA’s panel, “Art in the Age of Philosophy,” will be chaired by Hector Reyes of the University of California, Los Angeles.
Historians of Islamic Art Association
Historians of Islamic Art Association (HIAA) would like to thank participants and attendees at its third biennial symposium, “Looking Widely, Looking Closely,” hosted by the Metropolitan Museum of Art in New York, October 18–20, 2012. HIAA also expresses deep appreciation to leadership donors and other contributors to the Oleg Grabar Memorial Fund in support of a new program of Grabar Grants and Fellowships. Finally, congratulations to the following members on their recent HIAA awards: Ayla Lester for the 2012–13 Grabar Post-Doctoral Fellowship; Hala Auji for the 2012–13 Grabar Travel Grant; and Ünver Rustem for a 2012 Graduate Student Travel Grant. To learn more and/or to apply in the future, please visit HIAA’s grants and fellowship webpage.
Historians of Netherlandish Art
Pieter Bruegel, Children’s Games, 1560, oil on panel, 118 x 161 cm. Kunsthistoriches Museum, Vienna, (artwork in the public domain)
The next formal deadline for submitting manuscripts to the Journal of Historians of Netherlandish Art, the peer-reviewed, open-access electronic journal published by the Historians of Netherlandish Art (HNA), is March 1, 2013. In addition to longer articles, the journal now welcomes shorter notes on archival discoveries, iconographical issues, technical studies, and rediscovered works. Please review the submission guidelines or contact the journal’s editor-in-chief, Alison Kettering, for more information.
International Sculpture Center
The International Sculpture Center (ISC), publisher of Sculpture magazine, will hold its next International Sculpture Symposium in Auckland, New Zealand, from February 11 to 15, 2013. Highlights of this exciting event include an opening party hosted by Auckland Art Gallery, with a traditional Powhiri welcome, keynote addresses by world-renowned sculptors, and art professionals in panel discussions. Optional activities and tours will include trips to Connell’s Bay Sculpture Park on Waiheke Island, a private tour of Alan Gibbs’s The Farm, an afternoon at Sculpture on the Gulf, Brick Bay Sculpture Trail and Vineyard, Zealandia, the Pah Homestead private home collections, and more! Please visit the conference website for more information and updates and to join the mailing list. You may contact ISC by email or call 609-689-1051, ext. 302, with any questions about this or other events.
Italian Art Society
The Italian Art Society (IAS) seeks proposals for papers for the annual IAS-Kress Lecture Series in Italy, to take place in Rome in late May or early June 2013. The deadline for submission is January 4, 2013. The distinguished senior scholar selected to present will speak on a topic related to the host city and will receive an honorarium and supplementary lecture allowance. This annual lecture series is intended to promote intellectual exchange among art historians of North America and the international community of scholars living or working in Italy. IAS also welcomes contributions to its winter newsletter. Please email your exhibition reviews, short articles, and announcements related to Italian art and architecture by January 15, 2013. The society urges those interested in the study of Italian art and architecture to join; visit the website. Also, visit IAS on Facebook.
Japan Art History Forum
The Japan Art History Forum (JAHF) is pleased to announce the publication of The Concept of Danzō:“Sandalwood Images” in Japanese Buddhist Sculpture of the Eighth to Fourteenth Centuries, by Christian Boehm, as part of the Saffron Asian Art and Society Series. In other book-related news, JAHF has announced that MIT’s Visualizing Cultures, a pioneering online center for image-driven scholarship, has dedicated its two latest chapters to contemporary Japanese paintings and photographs excavated from museum vaults and private artists’ collections. “The Forgotten Reportage Painters” chapter focuses on four painters who transformed a forgotten history of resistance in the 1950s into daringly original works of art. “Hamaya Hiroshi’s Photos” recontextualizes the Magnum photographer Hiroshi’s iconic images of the massive anti-Security-Treaty protests in Tokyo in 1960. Hiroshi’s book, Days of Rage and Grief, has long been out of print, and the vintage prints were buried in his personal archive for fifty years. Now, for the first time, these buried masterworks have been permanently archived in an online gallery. JAHF would also like to alert its members to a documentary film by Linda Hoaglund, called ANPO:Art X War (2010), which tells the untold story of resistance to United States military bases in Japan after the passing of the 1960 Treaty of Mutual Cooperation and Security between the US and Japan.
National Council of Arts Administrators
The National Council of Arts Administrators (NCAA) is looking forward to seeing old and new friends at CAA’s 2013 Annual Conference in New York. The NCAA annual reception will be held on Thursday, February 14, from 5:00 to 8:00 PM at the New York Hilton. A joint CAA/NCAA session, “Hot Problems/Cool Solutions in Arts Leadership,” will be presented on Wednesday, February 13, from 12:30 to 2:00 PM. Also, NCAA is pleased to announce its new website. Those with up-to-date memberships will receive an email message to assist in creating a new log-in ID and password. This gives you access to the members area, where one can post positions, email the membership, link to arts administrators’ resources, and use a discussion forum. Please note: this area will be accessible for current members only, so register today to join NCAA!
National Council on Education for the Ceramic Arts
Registration is now open for “Earth/Energy,” the forty-seventh annual conference of the National Council on Education for the Ceramic Arts (NCECA), taking place March 20–23, 2013, in Houston, Texas. Programming includes a keynote lecture by the artist Janine Antoni, panel discussions, gallery presentations, and more than seventy exhibitions of ceramic art throughout the greater Houston region. The conference will take place at the George R. Brown Convention Center, 1001 Avenida de las Americas, Houston, Texas 77010.
Society for Photographic Education
Registration is now open for the Society for Photographic Education’s (SPE) fiftieth annual conference, “Conferring Significance: Celebrating Photography’s Continuum,” taking place in Chicago, Illinois, March 7–10, 2013. Join 1,500 artists, educators, and photographic professionals for programming and dialogue that will fuel your creativity—presentations, industry seminars, and critiques to stimulate and engage you! Explore our exhibits fair featuring over seventy exhibitors showing the latest equipment, processes, publications, and schools with photo-related programs. Participate in one-on-one portfolio critiques and informal portfolio sharing, and take advantage of student volunteer opportunities for reduced admission. Other conference highlights include a print raffle, a silent auction, film screenings, exhibitions, tours, receptions, a dance party, and more! Keynote speakers include Richard Misrach, Martin Parr, and Zwelethu Mthethwa. You can preview the conference schedule and register online at the conference website.
Society for the Study of Early Modern Women
The Society for the Study of Early Modern Women (SSEMW) has recently updated its website. Members may now directly upload their news, announcements of publications, and upcoming conferences. New officers for 2012–13 are Abby Zanger as vice president and Deborah Uman as treasurer. SSEMW is closely associated with the Attending to Early Modern Women Conference, which took place earlier this year at the University of Wisconsin in Milwaukee. The society’s annual meeting took place in late October at the Sixteenth Century Studies Conference in Cincinnati, Ohio. This year’s plenary speaker was Lisa Vollendorf of San José State University, who presented, “Towards a History of Gender Violence: Methodologies and Challenges.” Her talk was followed by the SSEMW business meeting and reception. SSEMW sponsored seven sessions at the conference.
Society of Architectural Historians
The Society of Architectural Historians (SAH), in partnership with the University of Virginia Press, has launched SAH Archipedia and SAH Archipedia Classic Buildings: two editions of an interactive, media-rich online encyclopedia of American architecture. SAH Archipedia is the full edition that links to scholarly resources and is available through Rotunda, the digital imprint of the University of Virginia Press; it is accessible through institutional or individual subscriptions. SAH Archipedia Classic Buildings is a free edition that will contain one hundred of each state’s most representative buildings as well as teacher guides for using the information in the classroom. SAH has also launched its new streamlined website, which features members-only access areas. The majority of the website is open to the public and includes the ability to create a website account to post comments on the SAH blog and to post opportunities/calls for papers/sessions, awards, fellowships, grants, exhibitions, conferences, and events.
Society of North American Goldsmiths
The Society of North American Goldsmiths (SNAG) has updated their website; new features include an elegant new look, updated content, improved navigation, and a higher level of functionality. As a part of this new site, SNAG has created Maker Profiles, a location for the online portfolios of artist members. This is a great destination for anyone looking for wonderful and interesting new work. Come check out why the artists, designers, jewelers, and metalsmiths of SNAG are the best in the field! SNAG recently published its annual special exhibition in print issue of Metalsmith. Guest edited by Valerie Steele, director and chief curator of the Museum at the Fashion Institute of Technology, the issue takes a look at the sinister pleasures of Gothic-influenced jewelry and metal art. This darkly beautiful issue is available online at Qmags.com and in print. In addition, SNAG has coordinated an exhibition of the featured work, taking place December 7, 2012–March 10, 2013, at the National Ornamental Metal Museum in Memphis, Tennessee.
Visual Resources Association
The Visual Resources Association (VRA) has produced a guidelines document of particular importance to educational image users. VRA’s Statement on the Fair Use of Images for Teaching, Research, and Study complements the highly regarded Code of Best Practices for Academic and Research Libraries facilitated by the Center for Social Media and the Washington College of Law’s Program on Information Justice and Intellectual Property. Written by the attorney Gretchen Wagner, with the guidance of an advisory committee of prominent copyright scholars and legal experts, the VRA guidelines describes six uses of still images that the association believes fall within the United States doctrine of fair use: (1) preservation; (2) use of images for teaching purposes; (3) use of images on course websites and in other online study materials; (4) adaptations of images for teaching and classroom work by students; (5) sharing images among educational and cultural institutions to facilitate teaching and study; and (6) reproduction of images in theses and dissertations. The Association of Research Libraries (ARL) has characterized the VRA guidelines as “a clear and concise statement of best practices around a medium that can seem especially intimidating for educational users. It is a reliable guide, written by professionals who work with images every day and vetted by well-known experts in the field of copyright law.” On February 26, 2012, CAA’s Board of Directors voted unanimously to endorse both VRA’s and ARL’s fair-use guidelines.
Update on CAA after Superstorm Sandy
posted by Christopher Howard — November 06, 2012
Wednesday afternoon update: CAA staffers will return to the office on Thursday, November 8.
As of Tuesday morning, November 6, CAA’s building at 50 Broadway in lower Manhattan has electric power, but the telephones, internet, and heat are not operable. The office will remain closed until further notice. The situation, however, is being reviewed several times a day.
The full CAA staff, which lives throughout the New York, New Jersey, and Long Island regions, is safe.
The senior staff held a conference call on Sunday to discuss options for working. Email is being supported offsite on an emergency and temporary basis. Consequently, there are delays in the transmission of emails—some messages may not be delivered. It will take time to repair telephone service. The building superintendent’s office at 50 Broadway cannot yet determine when heat will be restored.
CAA’s website and conference site are functioning normally. People may continue registering for the conference, workshops, opening reception, and tours; they may also renew their membership or join the organization.
If you are an artist, scholar, or other professional in the visual arts who has been affected by Superstorm Sandy, please consult the list of disaster resources posted by the New York Foundation for the Arts.
Jeffrey R. Hayes: In Memoriam
posted by CAA — October 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
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.
Recent Deaths in the Arts
posted by Christopher Howard — October 24, 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. This month was marked by the loss of the conceptual artist Michael Asher, the Belgian abstract painter Raoul De Keyser, the sculptor and activist An Dekker, and the English gallery director Michael Stanley. CAA has published a special obituary of Jeffrey R. Hayes, a professor of art history at the University of Wisconsin in Milwaukee.
- Michael Asher, the trailblazing Los Angeles conceptual artist and beloved CalArts professor, passed away on October 15, 2012. He was 69 years old. Active since the early 1970s, Asher was one of the first artists to engage in institutional critique by altering the norms that define galleries, museums, and schools. His contribution to the 2010 Whitney Biennial, which requested that the museum be free and open for twenty-four-hours, earned him the prestigious Bucksbaum Award
- Bruno Bobak, a Polish-born Canadian “war artist” during the Second World War, passed away on September 24, 2012, at the age of 88. Bobak enlisted in the Canadian Army at the age of 18, making him the youngest soldier to create artwork during the war. His watercolors and drawings were evocative and disturbing, showing the bare reality of life on the front lines
- Melvin Charney, a Montreal-based architect and teacher, died on September 17, 2012. He was 75 years old. Charney created bold public works that blurred the lines between art and architecture, such as the garden for the Canadian Centre for Architecture and the world’s first human-rights monument in Ottawa, Canada. He was also instrumental in establishing the architecture program at the University of Montreal
- Raoul De Keyser, a Belgian abstract painter, died on October 5, 2012. He was 82 years old. In an ever-expanding art world that prizes the brashest statement, De Keyser’s compositions stood out as examples of forceful gentleness, muted and lyrical. Long admired as a “painter’s painter,” he came to greater prominence during the 2000s with a series of major exhibitions in Germany, France, and England. He is represented by David Zwirner in New York
- An Dekker, a socially conscious sculptor of biomorphic forms, died on September 14, 2012, at the age of 80. Dekker was born in the Netherlands and traveled extensively throughout Europe and Africa. Residing in London the 1970s and 1980s, she was a cofounder of the Hackney Flashers’ photography workshop (with her fellow artist Jo Spence, also recently deceased) and the Women’s Graphic Workshop
- Préfète Duffaut, a Haitian muralist and painter, passed away on October 6, 2012, at the age of 89. Duffaut created brilliantly colored murals of imaginary cities for hospitals and churches. His imagery was inspired by the Haitian religion of voodoo and a personal mysticism
- Gilbert Warren Einstein, an art dealer who founded G. W. Einstein Company in New York, passed away on September 21, 2012, at the age of 70. Einstein’s gallery specialized in twentieth-century works on paper, and he was a member of the International Fine Print Dealers Association of America
- Robin Fior, a British graphic designer at the forefront of the 1960s print revolution, died on September 19, 2012. He was 77 years old. Fior made a name for himself as a designer for radical newspapers, such as Black Dwarf and Peace News. He was political to the bone, active in the Campaign for Nuclear Disarmament, and in later years served as the art director at the left-wing Pluto Press
- Ulrich Franzen, a polarizing German-born architect whose projects exemplified the modernist architecture ethos of “form follows function,” passed away on October 6, 2012. He was 91. Franzen’s most visible project was the skywalks at Hunter College in New York, an enclosed pedestrian walkway connecting the school’s buildings; other prominent commissions included Houston’s Alley Theater in 1968
- Richard Gordon, a photographer and writer based in Berkeley, California, died on October 6, 2012. He was 67 years old. Gordon’s black-and-white street photography followed the tradition of Henri Cartier-Bresson, Helen Levitt, and Robert Frank. An exhibition devoted to his 1970s photographs of American cities is on view at Gitterman Gallery in New York until November 7, 2012
- Pedro E. Guerrero, a photographer who gained recognition for his dynamic images of Frank Lloyd Wright’s architecture, died on September 13, 2012, at the age of 95. Guerrero’s working relationship with Wright, which began in the late 1930s, led to magazine assignments and book projects. In the 1960s and 1970s he embarked on a new photography series documenting the work and personality of the artists Alexander Calder and Louise Nevelson
- Jeffrey R. Hayes, a professor of art history and director of the master’s degree program in liberal studies at the University of Wisconsin in Milwaukee, passed away on June 18, 2012. He was 65 years old. A specialist in outsider art, Hayes wrote several books on the artist Oscar Bluemner. CAA has published a special obituary of Hayes
- Mick Jones, a British illustrator, teacher, and dedicated socialist, died in August 2012 at the age of 68. Jones took part in the Prague Spring of 1968, an experience that revealed to him how art can be a force for social change. Back in England he shared his devotion to politics through community murals and trade-union banners. He spearheaded the Camden Mural Project (1978), which instructed young people in the art of mural painting in public spaces and housing projects
- Jeremy Le Grice, an English painter inspired by the landscape of his native Cornwall, died on August 9, 2012. He was 75. As a young man he studied with the Cornish painter Peter Lanyon and took classes at the Slade School of Art in London. Le Grice’s paintings, a cross between abstraction and representation, have a rough-hewn quality, fitting for an artist who lived for most of his life in close proximity to the sea
- Howard R. Moody, a reverend with a love for radical art and social justice, passed away on September 12, 2012, at the age of 92. For over thirty years Moody was the minister of Judson Memorial Church in New York’s Greenwich Village. No ordinary congregation, the church became famous as an alternative space for experimentation in visual art, theater, and dance; likewise establishing itself as a safe haven for the marginalized poor and drug-addicted inhabitants of the neighborhood
- Harris Savides, a cinematographer who worked closely with young directors, died on October 9, 2012. He was 55 years old. Independent filmmakers depended on Savides’s exacting vision and technical skill to achieve the perfect look for their films. Notable films include Sofia Coppola’s Somewhere (2010) and Noah Baumbach’s Margot at the Wedding (2007), both of which benefited from Savides’s moody and poetic atmosphere
- Serge Spitzer, a Romanian-born installation artist whose work addresses the passing of time and collective memory, died on September 9, 2012, at the age of 61. The artist participated in Documenta and the Venice Biennale. One of his best-remembered works was a 2010 installation at the Palais de Tokyo in Paris, a labyrinthine network of plastic tubing that evoked earlier forms of communication in the city
- Michael Stanley, the director of Modern Art Oxford, a contemporary art gallery in England, passed away on September 22, 2012. He was 37 years old. As the director of both Modern Art Oxford and the Milton Keynes Gallery, Stanley championed young artists, including Jenny Saville, Phil Collins, and Pawel Althamer. This year he served as a judge for the prestigious Turner Prize
- John Steiger, a Chicago-based illustrator and artist known for his educational drawings, died on September 5, 2012, at the age of 89. A veteran of World War II, Steiger contributed work to Encyclopaedia Britannica Films and the children’s magazine Highlights; he also maintained a separate studio practice as a realist painter
- Albin Trowski, a Polish-born artist and illustrator who made his home in Manchester, England, following World War II, passed away on September 12, 2012. He was 93 years old. A gifted draftsman, Trowski realized charming city scenes and landscapes in watercolor and oil paint
- Rodney Uren, an Australian architect known for his large-scale urban projects, passed away on September 9, 2012, at the age of 63. He was a principal designer at the international design firm Hassell Practice; notable projects include the Olympic Park Station, a majestic, environmentally friendly structure that was built for the Sydney Olympics in 2000
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 November list.
CAA Mails 2013 Conference Information and Registration
posted by Emmanuel Lemakis — October 23, 2012
This week CAA will begin mailing Conference Information and Registration, which provides important details, instructions, and deadlines for attending and participating in the 101st Annual Conference, to all individual and institutional CAA members. Nonmembers and those wanting a digital file now can download a PDF of the booklet. The conference will take place February 13–16, 2013, in New York.
Following sections on registration and CAA membership, Conference Information and Registration describes travel, lodging, and transportation options and explains the basic processes for candidates seeking jobs and employers placing classifieds and renting booths and tables in the Interview Hall. In addition, the publication lists topics for eleven Professional-Development Workshops. If you want to connect with former and current professors and students, consult the Reunions and Receptions page. The booklet includes paper forms for CAA membership, conference registration, workshops, special events, and mentoring enrollment.
The contents of Conference Information and Registration also appear on the conference website, which is being updated regularly between now and the February meeting. You may also choose to join CAA and register online.
Solo Exhibitions by Artist Members
posted by CAA — October 22, 2012
See when and where CAA members are exhibiting their art, and view images of their work.
Solo Exhibitions by Artist Members is published every two months: in February, April, June, August, October, and December. To learn more about submitting a listing, please follow the instructions on the main Member News page.
October 2012
Mid-Atlantic
Terence Hannum, Empyrean, 2012, gouache on paper, 30 x 22 in. (artwork © Terence Hannum)Terence Hannum. Stevenson University Art Gallery, Stevenson, Maryland, August 27–October 6, 2012. Veils. Drawing and collage.
Midwest
Linda Stein, Defender 696, 2010, leather, metal, and mixed media, 38 x 22 x 14 in. (artwork © Linda Stein)Linda Stein. George A. Spiva Center for the Arts, Joplin, Missouri, July 19–September 7, 2012. The Fluidity of Gender: Sculpture by Linda Stein. Sculpture.
Northeast
Sharon Butler, Rooftop Structure (Green), 2012, pigment and binder on prestretched canvas, 18 x 24 in. (artwork © Sharon Butler)Sharon Butler. Real Art Ways, Hartford, Connecticut, September 20–November 11, 2012. Sharon Butler: Gone Wrong. Painting.
Cora Cohen. Heather Gaudio Fine Art, New Canaan, Connecticut, September 29–November 29, 2012. Another Blank Space: Recent Paintings by Cora Cohen. Painting.
Dianna Frid, The Waves, 2011, unique book with canvas, cloth, embroidery floss, adhesives, paper, acrylic paint, and cellophane, 7½ x 11½ in. open, 7½ x 21½ in. closed (artwork © Dianna Frid)Dianna Frid. BravinLee Programs, New York, September 6–October 13, 2012. “The Waves” and “The Comets.” Artist’s books.
John William Keedy, It’s Hardly Noticeable XV, 2012, archival pigment print, 27 x 40 in. (artwork © John William Keedy)John William Keedy. Genesee Center for the Arts and Education, Rochester, New York, September 14–October 27, 2012. It’s Hardly Noticeable. Photography.
Michael Rich, First Signs of Spring, 2011, oil and wax on canvas, 40 x 36 in. (artwork © Michael Rich)Michael Rich. Chace-Randall Gallery, Andes, New York, September 21–November 4, 2012. Traveler. Painting.
Michael Rich, All Is Quiet, 2012, oil and wax on canvas, 29 x 35 in. (artwork © Michael Rich)Michael Rich. Old Spouter Gallery, Nantucket, Massachusetts, August 10–23, 2012. Restoration. Painting.
Lorna Ritz, Darkness Falling, 2010, oil on canvas, 40 x 50 in. (artwork © Lorna Ritz)Lorna Ritz. Augusta Savage Gallery, University of Massachusetts, Amherst, Massachusetts, September 10–28, 2012. Falling into the Night Sky. Painting.
Fotini Vurgaropulou. A Repeat Performance, Antiques etc, Greenwood Lake, New York, October 8–November 2, 2012. Cast & Reel. Cast glass sculpture and mixed media.
South
Heather Deyling, detail of Color Sprawl, 2012, acrylic on felt (artwork © Heather Deyling)Heather Deyling. Cochenour Gallery, Georgetown College, Georgetown, Kentucky, August 24–September 16, 2012. Color Sprawl: Works by Heather Deyling. Painting, collage, and installation.
Corinne Diop, Circle, 2012, photomontage, 30 x 20 in. (artwork © Corinne Diop)Corinne Diop. Smith House, Arts Council of the Valley, Harrisonburg, Virginia, September 7–October 1, 2012. Surface. Photomontage and mixed media.
Rev. James Randolph DentonBeauvais Lyons. Downtown Gallery, University of Tennessee, Knoxville, Tennessee, September 7–8, 2012. The Legacy of Rev. James Randolph Denton: Performance and Installation. Printmaking and taxidermy.
Judith Pratt, Shunga, 2011, acrylic and magnets on wood, 60 x 28 x 28 in. (artwork © Judith Pratt)Judith Pratt. Charles E. Beatley Jr. Central Library, Alexandria Commission for the Arts, Alexandria, Virginia, August 1–December 27, 2012. Judith Pratt: Portable Apparitions. Sculpture.
Linda Stein, Justice for All 698, 2010, acrylicized metallic paper, archival inks, and mixed media, 79 x 40 x 9 in. (artwork © Linda Stein)Linda Stein. Alexandria Museum of Art, Alexandria, Louisiana, September 21–November 24, 2012. The Fluidity of Gender: Sculpture by Linda Stein. Sculpture.
THATCamp CAA: An Unconference on Digital Art History
posted by Christopher Howard — October 17, 2012
Registration for CAA’s THATCamp has now closed.
CAA invites interested participants to attend its first Humanities and Technology Camp (THATCamp) “unconference” on digital art history, taking place on the two days immediately preceding the Annual Conference: Monday, February 11, NOON–5:00 PM, and Tuesday, February 12, 9:00 AM–3:00 PM. The event will take place at Macaulay Honors College, City University of New York, located at 35 West 67th Street in Manhattan.
CAA’s THATCamp is free and open to graduate students and scholars at all career stages. The only requirements for attendance are an active interest in how digital technology is affecting the discipline of art history and the humanities in general and a willingness to share your questions and ideas. Space is limited! Register today to secure your place. Graduate students may apply for a limited number of fellowships funded by the Samuel H. Kress Foundation to lessen the cost of travel expenses to New York.
The purpose of the CAA unconference is manifold: to increase awareness of existing digital projects in art history, architectural history, and archeology; to foster a community of scholars invested in digital art history; to identify digital tools that may be used to improve future CAA conferences; to facilitate technology workshops and training sessions; and to provide support for art-history professionals pursuing nontraditional career paths.
“Unconference” is a term that may be new to people in art and academia but has, in fact, been around since the late 1990s. It is used to describe a participant-driven meeting that in many respects is the opposite of a traditional academic conference. Formal presentations or a set program of speakers are not determined beforehand. Unconferences generate productive encounters among diverse groups of people, an experience that can be compared to being a member of an improvisational acting troupe.
THATCamp itself, however, is a recent invention, founded in 2008 at the Center for History and New Media at George Mason University in Fairfax, Virginia, as a meeting for technology and humanities professionals—including professors, librarians, and museum curators—to share ideas and collaborate on projects. The camps have since sprung up in locations across the United States and internationally.